Н. М. Савченкова / N.M. Savchenkova


The text deals with the refusal of modern directors from cinema of a subjective position and the transition to phenomenological optics. Classical theories of cinema (J.-L. Baudry, V. Benjamin, K. Metz) describe the cinematographic spectacle as a complex result of «double objectification» that forms a special regime of faith-unfaith. It is this paradoxical mode that allows the viewer to get in the cinema a «impression of reality», which is ensured by the rhythm of the hallucinatory state / awakening. Modern cinema is no longer guided by the dream / wake opposition, destroying the boundaries of these concepts. Such directors as B. Tarr, K. Reigadas, K. Beauvois, A. German-senior, strive to recreate the space-time characteristics of reality, insist on the ontological circumstances of this or that event. Modern film researchers believe that cinematic experience turns into a transitional space, a rupture zone, where the viewer not only wanders in the mirror labyrinth of the internal and external, images and reality, but performs the act of thought while forming its very ability to think.


cinema; reality; impression of reality; experience of reality; the openness; the habitation; Plato’s cave; revery; atonement; «apparatus for thinking thoughts»; caesura


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