Author defines concept of culture of fear through the frame of reference of cognitive sociology. He uses Zerubavel's typology of the mind. Rigid mind refers to construction of exact and unchangeable mental categories. In addition, rigid mind gives rise to strict and supposed unchangeable social borders of a particular society. Malign form of rigid mind is a foundation forany chauvinism, ethnocentrism, xenophobia, homophobia, and many other forms of culture of fear. On the other hand, art is closely connected to fuzzy mind. Author's conclusion is that art is almost an ideal form of critique of culture of fear, for it is capable of transforming rigid mind into flexible mind. Critical art does this by applying moral order that stems from the principles of universal human rights. Author illustrates his theoretical findings applying them to Vinko Möderndorfer's movie Predmestje (Suburb).
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