The scene as a space for artistic searches of the director-author. Part 1. Rainer Werner Fassbinder: stage-screen experiments

The purpose of the article is to identify the problems of creativity of directors who have realized their artistic potential both in auteur cinema and in the space of the stage and to determine scientific guidelines that will contribute to a comprehensive analysis of the phenomenon of the filmmaker in the performing arts. Research methodology. Methods of scientific analysis, comparison, generalization, self-analysis of the artist were used in the elaboration of the theme. In addition, analytical and systematic methods were applied in their unity, which is necessary to study the art aspect of the problem. The scientific novelty of the study is to determine the universality of directing as a specific kind of artistic and aesthetic activity; in clarifying the interaction of performing and screen arts in the use of expressive means; in determining the features of the filmmaker's activity in the stage space through the adaptation of screen means in theatrical productions, which first became the subject of a special study; in the coverage, the activities of directors-authors who resorted to reforming the language of language and the language of stage production; in identifying the original principles of filmmaking and specific means of cinematic expression, which not only found a direct embodiment in films and contributed to the emergence of outstanding authorial films but also had a significant impact on the author's theatrical direction, which sought to visualize stage images. Conclusions. It is proved that the stage work of filmmakers-authors calls into question the theoretical postulates about the perniciousness of the intrusion of theater culture into screen works. It has been found that pictorial and expressive means provide a chronology of image creation (long shots, in-frame editing, acoustic, light, and shadow effects), the use of which in cinema is considered a high degree of skill, have their origins in the performing arts. Keywords: director-author, stage space, directing means, theater, screen.

Directing models of author cinema in the context of intercultural dialogue. Part 1. Co-production as a way to implement the producing and directing models

The purpose of the article is to identify problems of intercultural cooperation in the production and distribution of films directed by auteur cinema and to identify scientific guidelines that will contribute to a comprehensive analysis of the phenomenon of Ukrainian auteur cinema in the intercultural space. Methodology. An analytical method was used to study the topic, which is necessary to study the art history and cultural aspects of the problem. In addition, the researcher used methods of systematization and generalization, which were useful to argue the identity of the phenomenon of directing auteur cinema, its place in modern cultural processes, as well as to determine the objective patterns that characterize auteur cinematographic practices in modern intercultural space. A cross-cultural method was also used, which helped to identify the peculiarities of production and distribution of films directed by auteur films in the system of international cooperation. In turn, the culturological approach led to a generalized socio-cultural orientation of the study of the author's cinema of postmodern and postmodern culture. The scientific novelty of the study is that the problem of intercultural cooperation in the production and distribution of auteur cinema in Ukraine and abroad in the context of the functioning of international support programs has first become the subject of a special study; the content of the concepts "intercultural dialogue", "co-production" as certain specific integrity and unity of interconnected elements are argued; the works of Ukrainian film directors-authors, whose films were created as international projects, are singled out and characterized; the expediency of using the system method in studying the peculiarities of the international filmmaking process is proved; a comprehensive analysis and features of production and distribution of films by directors-authors in co-production projects in Ukraine and abroad. Conclusions. Acquaintance with the materials presented in the article expands the arsenal of knowledge on the specifics of production and distribution of films of directorial models of auteur cinema within intercultural projects and allows their use in training courses on the theory and history of cinema and directing. Key words: intercultural dialogue, director-author, producer, Ukrainian author's cinema, co-production, director's model of authorship.

New York: Gateway to the East

After a number of aborted attempts to secure distribution and exhibition in the West in the 1950s and 60s, producers of the Chinese cinema came to understand that film festival prizes, which had been the Japanese model, were not going to work for them. Instead, early attempts were made to break into the US market via an exhibition in New York. The commercial distribution of Hong Kong’s commercially-oriented martial arts movies in the 1970’s satisfied the long-standing desire of producer Run Run Shaw for success in the West, but hardly provided a similar opportunity for the more specialized auteur-cinema of the Mainland and Taiwan in the 1980s. Instead, the New York Film Festival emerged as the premier showcase for Fifth Generation Chinese filmmakers and the New Cinema of Taiwan, along with the Art cinema of Hong Kong’s Wong Kar-wai.

ОТРАЖЕНИЕ ТЕОРИИ АВТОРСКОГО КИНО НА КИНЕМАТОГРАФ КЫРГЫЗСТАНА на примере фильмов Актан Арым Кубата

На сегодняшний день в кино режиссер играет большую и важную роль. Условно авторов фильма разделяют на два типа: коммерческие и авторские режиссеры. Второй тип режиссеров это те, у которых есть свое видение, свой стиль и почерк в кино. В этой статье будут рассматриваться фильмы кыргызского режиссера Актана Арым Кубата в контексте теории авторского кино, а также отражение этой теории на кыргызский кинематограф. Теория авторского кино является эффективной на западе, но в нашем кыргызском кинематографе отсутствуют конкретные исследования на эту тему. Исходя из этого тема является актуальной и статья будет полезной для студентов, магистрантов. Режиссер бүгүнкү күндө кинодо чоң жана маанилүү ролду ойнойт. Фильмдин авторлору шарттуу түрдө эки түргө бөлүнөт: коммерциялык жана автордук режиссерлор. Экинчи түрдөгү режиссерлор - бул кинодогу өзүнүн көз карашы, өзүнө таандык стили бар адамдар. Бул макалада кыргыз режиссеру Актан Арым Кубаттын тасмалары автордук кино теориясынын контекстинде изилденет. Ошондой эле бул теориянын кыргыз киносунда чагылдырылышы каралат. Автор теориясы Батышта эффективдүү, бирок биздин кыргыз киносунда бул темада атайын изилдөө жокко эссе. Ушунун негизинде, тема актуалдуу жана макала студенттер, магистранттар үчүн пайдалуу болот. In cinema, the director is the most important figure. The film authors are conventionally divided into two types: commercial director and director of auteur films. The second type of directors are those who have their own vision, their own style in cinema. This article will examine the films of the Kyrgyz director Aktan Arym Kubat in the context of auteur cinema theory. In addition, the reflection of this theory on the Kyrgyz cinema. The theory of auteur cinema is effective in the West, but there is no specific research on this topic in our Kyrgyz cinema. Based on this, the topic is relevant and the article will be useful for students.

Planting the Seeds of Artistic Subversiveness in À Bout De Souffle: Godard’s Trailblazing Cinematic Language

The following article frames a particular case study: Jean-Luc Godard’s À bout de souffle (1960), referenced in the paper with its American title, Breathless. Foraging through the dense and sophisticated thicket of narrative, visual and textual features, the present study will attempt to untangle the overall intrinsic complexity of Godard’s film, as it exceeds simple commonalities between genre conventions or traditional stylistic approaches. The abrasive dialectical opposition that Breathless enacts against classical storytelling is indeed central to the specific cluster that can be examined under the labels of “experimental cinema”, “auteur cinema”, “art cinema”, predicated on Godard’s abundant departures from cinematic (mainstream) norms. The methodology adopted in the article will encompass both a cultural studies approach and the visual strategies of textual analysis from the perspective of film studies. This will spur a close examination of Godard’s directorial style, paying attention to a rich plethora of technical devices inscribed within salient sequences and offset against the matrix of creative options presented by the French Nouvelle Vague.

Cruising

When William Friedkin’s psycho thriller Cruising was shown at the Berlin International Film Festival and hit cinemas worldwide in 1980 it was mainly misunderstood: the upcoming gay scene dismissed it as an offence to their efforts to open up to society and a distorted image of homosexuality, prompting the distributors to add a disclaimer that preceded the picture: Genre audiences were confused about the idea of a sexualized cop thriller with procedural drama that frequently turns into a horror film with the identity of the killer changing with each murder. Seen from today’s perspective, Friedkin’s film turned out to be an enduring cult classic documenting the gay leather scene of the late 1970s as well as providing a stunning image of identity crisis and an examination of male sexuality in general. In the fading years of the New Hollywood era (1967–1976), William Friedkin—the ‘New Hollywood Wunderkind’, with an Academy Award for his cop drama, The French Connection (1971), and following the tremendous success of his horror film, The Exorcist (1973)—proves once more the strength of his unique approach in combining genre and auteur cinema to create a fascinating film that turns 40 in 2020. This book dives into the phenomenon that is Cruising: it examines its creative context and its protagonists, as well as explaining its ongoing popularity.

Viaje a un mito de autor a través de los géneros en El muerto y ser feliz (Javier Rebollo, 2012)

At a time when the concept of auteur cinema is being deeply questioned, the cinematographic work of Spanish director Javier Rebollo (1969-) can be understood as a sample of formal characteristics and experimental narratives leading to a reaffirmation of director as an auteur. In Rebollo’s third film, El muerto y ser feliz (The Dead Man and Being Happy) (2012), Santos, a dying hitman, goes on a journey from Buenos Aires to Northern Argentina that progressively acquires a symbolic meaning, as it is a journey from civilization to nature, from life to death, and, ultimately, from history to myth. The physical decline of Santos and his overcoming of physical death–and of linear time–through his transformation in myth, is parallel to a deconstruction of traditional cinematic language in the movie. Through a meta-reflective articulation of the road movie genre and through the distancing effect caused by the existence of two narrators who, competing with each other, simultaneously construct and deconstruct Santos’ story with their ironic and polysemic words, Rebollo attempts to reaffirm his position as a director-auteur, as the sole creator of an auteur myth (“mito de autor”) versus the traditional myth, oral and collective by nature.