Humanities & Social Sciences 5 (2016 9) 1198-1209 ~ ~ ~ УДК 81’374.73 Initial Film Rhetoric: Catastrophe Measurement and Visual Estimation Alexander P. Liusyi* The Heritage Indtitute 2 Kosmonavtov Str., Moscow, 129366, Russia Received 29.03.2016, received in revised form 18.04.2016, accepted 05.05.2016 The Crimean text originated as the South Pole of the Petersburg text. <...> In the process of its genesis Semyon Bobrov’s cumbersome poetics was absorbed by Alexander Pushkin’s poetic ease. <...> As for literary “fi lm poetics”, it is of the Crimean origin, and Bobrov remains unrivalled here, especially in the poetics of catastrophism. <...> Later mythology of selfdenial turned to be especially inherent to two cities in the world, the cities being Petersburg and New York. <...> Regarding the Petersburg and Moscow texts, the strengthening was due to cinematographism of the word but not due to real screen adaptations. <...> In particular, it was Andrew Bely who had specifi c cinematographic thinking. <...> He created fi lm poetics in his novels “Petersburg” and “Moscow”. <...> This poetics was far ahead of the real development of cinematography of his and even our time. <...> The paradox is that no one aims at screen adaptation of Bely’s novels. <...> They limit themselves to Vladimir Sorokin, who turned out to be closer to the capital that came alive again as offi ce and raw Phoenix (Moscow as New Petersburg of New Russia). <...> As for New York, thanks to cinematography it has long been a symbol of the city destroyed by all sorts of catastrophes. “September 11” is neither more nor less than a symbolic repetition of many scenes from catastrophe fi lms. <...> Imaginary disasters till 11.09.2011 compensate for a monotonous rhythm of everyday life, whereas after this date they virtualize a radical experience and function as an emotional protection, formed by a daily monotonous rhythm. <...> However, the response to the terrorist attack at the state level was akin to the cowboys’ reaction to early westerns when they fi red at the screen. <...> In Russia catastrophism is not as much gets its cinematographic adaptation but it is added to the category of museum ehxibits by the media. <...> The launch of the mechanism of formation of a global screen room <...>