КІНОЕКРАН ЯК МЕДІАЛЬНА ПОВЕРХНЯ
CINEMA SCREEN AS A MEDIAL SURFACE

Summary/Abstract: The purpose of the article is to identify the characteristic markers of cinema from the perspective of the theory of the medial surface of B. Groys. The methodology of the article consists of general scientific approaches, a comparative analysis of media and the theory of B. Groys, as well as more general postulates of the media theory. The scientific novelty lies in the substantiation of the specific modalities of cinema as a medial surface. Conclusions. The projection screen is a media surface, behind which the intentions of the filmmakers can be hidden. A modern film is an extremely complex, multifactorial phenomenon and most of these factors can be the object of attention of a “suspicious subject”. Today, the viewer needs to "authenticate" in the complex dispositive of the auto-reference "reality", which is called the "cinema-universe." The ontology of cinema itself is in doubt in two opposite aspects: as an object of art with its inherent conventions, as well as an object having reference connections with the real world. All this is in a state of the delicate balance between "trust" and "suspicion." It is postulated that the medial surface has two main modalities: semiotic and “instrumental”.

• Details
• Contents