The objectives of this article are to consider the specifics of the cinematic reality, by analogy with the concept of artistic reality, as well as an attempt to form a method for the analysis of film reality. The article describes the main features of the cinematic reality with the help of this analysis you can better understand cinema as an art form with special affectivity and temporary. The concept of reality is interpreted by the author phenomenologically as a special experience that arises when watching a movie. The author puts forward the idea that metaphor of the figure (foreground) and the background, which is a method to study everyday reality in social sciences, becomes an important method for studying the phenomenon of cinema. Because it is the background that creates that particular experience, the illusion of reality that occurs when watching a movie. Then the author describes the features of cinematic space and time, and specific techniques that cinema uses to construct the space «outside the field» of the frame, which is an important part of the cinematic reality. He describes the believable nature of the cinematic image, the roots of which can be traced in the collective mode of production, the features of the space and time of the film. In the article the conclusion is drawn that the cinema reality is significantly different from art reality of literature, painting or theater. The most important difference is that in cinema the role of the subject viewer is much lower, he is in a situation when the potentiality of art reality is carried out irrespective of him, unlike other types of arts, there is updating of virtuality. In cinema there is randomness of image-representatives, technical representation of depth of space and duration of time, background of experiencing complete independent reality is created.
- 13.00.00 CULTURE. CULTURAL SCIENCES
Level of Research Output
- VAK List