Crimean text originated as the South pole of the Petersburg text. In the process of its Genesis bulky poetics of Semen Bobrov was easily absorbed of poetrical lightness by Alexander Pushkin. Literary "kinematika" has the Crimean origin, and here the Bobrov remains unrivalled, especially in the poetics of catastrophism. In further two cities in the world has been especially inherent in the mythology of selfdenial –these are Petersburg and New York. In both cases the catastrophism was amplified by kinematika. In the case of St. Petersburg and Moscow lyrics is the rise due to difficult words, but not really feasible adaptations. In particular, human thinking had Andrew Bely, created in the novels "Petersburg" and "Moscow" poetics of cinema, far ahead of the real development the cinema of his and even our time. The paradox is that no one aims at the adaptation of the novels by Bely, limited by Vladimir Sorokin, appeared closer to the national capital, a resurgent, as office and raw Phoenix (Moscow as New Petersburg of New Russia).

New York thanks to the cinema has long been a symbol of all sorts of catastrophes destroying the city. "September 11," not that other, as a symbolic repetition of many scenes of the film-catastrophe. Imaginary disasters till 11.09.2011  compensate for the monotonous rhythm of everyday life, and then virtualize radical experience and function as emotional protection, formed by the daily monotonous rhythm. However, the response to the terrorist attack at the state level was akin to the reaction of the cowboys in early westerns, shoting from the audience on the screen. In Russia, the catastrophic cinematographies not so much, how many media use efficiency. Start of the mechanism of formation of the global screening room indicated in the final film Balabanov "Morphine".