vgikВестник ВГИКVestnik VGIK2074-08322713-2471ВГИКvgik-1018Research ArticleКИНОЯЗЫК И ВРЕМЯ | ГЕНЕЗИС ОБРАЗАFILM LANGUAGE AND TIME | IMAGE GENESISКаноны запечатления действительности в документальном кинематографе 1960-х годовThe Canons of Capturing Reality in the Documentary Cinema of the 1960sБезенковаМ. В.BezenkovaMaria V.201906022025113(41)3041Copyright © Безенкова М.В., 20242024Безенкова М.В.Bezenkova M.V.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://www.vestnik-vgik.com/jour/article/view/1018

В статье прослеживаются основные пластические и монтажно-динамические выразительные средства, определяется жанровое своеобразие документального кинематографа 1960-х годов. Также выявляются новые канонические элементы в стилистике фильмов той поры, сформировавшие устойчивый образ документальных кинолент периода «оттепели».

The essay deals with the problems of new expressive means thatappeared in Soviet documentaries in the late 1950s — 1960s. It analyzes the mainexpressive means of capturing the new screen reality on examples of Castles inthe Sand (dir. Yakov Bronstein and Algimantas Vidugiris), Katyusha (dir. ViktorLisakovich), Marina’s Life (dir. Leonid Kvinikhidze), Look at the Face (dir. PavelKogan), and Nikolai Amosov (dir. Taimuraz Zoloev). Its main interests are plasticsolutions, the frame structure, the designation of the object of shooting and theauthor's presence in the interframe space or inside the frame; changes in theattitudes of the author and the protagonists, the author’s attention to personality,and the expressiveness of human presence in the film.The essay discusses the existential and philosophical components of thedocumentary films of that period, as well as changes in the aesthetic andideological pictures of the world, which influenced the principle of capturingreality and the concept of authenticity. Documentaries of the Thaw are viewedvia the formation of new canons of capturing screen reality, including newcapturing techniques (hidden camera, habitual camera, method of provocation),principles of intraframe editing and new space-time frame characteristics.The principles of intraframe editing, new spatial and temporal characteristics ofthe frame are presented in the progressive analysis of assembly phrases and thecompositional structure of the frame of films. The author examines the principlesof the formation of the protagonists' characters, the positioning of a personwithin the frame and the general stylistic paradigm of documentary genres.Taking as examples film portraits, film essays and polemical films, the essayexplores novel means of forming spectator paradigms in the documentaries ofthe Thaw within the context of the author’s attitude towards the selected materialand the protagonist.

канондокументальное кино1960-ехроникадокументалистикасоветское документальное киноэстетический канонавторская модель реальностиcanondocumentary cinema1960schronicledocumentarySoviet documentary cinemaaesthetic canonauthor's model of reality UDC 778.5.03.03с(09)«1960» Maria V. Bezenkova PhD in ArtsAssociate ProfessorFilm Studies DepartmentSergei Gerasimov All-Russian State Institute of Cinematography (VGIK) The Canons of Capturing Reality in the Documentary Cinema of the 1960sReferencesЛотман Ю. Семиотика кино и проблемы киноэстетики. Таллин: ЭЭСТИ и РААМАТ, 1973. 138 с.Lotman Y. (1973) Semiotika kino i problemy kinoestetiki [Semiotics of cinema and problemsМиф и художественное сознание XX века. Сборник под ред. Н.А. Хренова. М.: Гос. ин-т искусствознания, 2011. 686 с.of film aesthetics]. Tallin: EESTI i RAAMAT, 1973. 138 p.Прожико Г.С. Концепция реальности в экранном документе. М.: ВГИК, 2004. 454 с.Mif i khudozhestvennoye soznaniye XX veka [Myth and artistic consciousnessФранк Г. Карта Птолемея. М.: Искусство, 1975. 231 с.of the XX century]. Sbornik pod red. N.A. Khrenova. Moscow: Gos. in-t iskusstvoznaniya,Шкловский В. Гамбургский счет. М.: Искусство, 1990. 547 с.686 p.Шкловский В. За 60 лет. М.: Искусство, 1985. 573 с.Prozhiko G. (2004) Kontseptsiya real'nosti v ekrannom dokumente [The concept of realityЭйзенштейн С.М. Собрание сочинений: в 6 т. Т. 2. М.: Искусство, 1964. 566 с.in a screen document]. Moscow: VGIK, 2004. 454 p.Frank G. (1975) Karta Ptolemeya [Ptolemy Map]. Moscow: Iskusstvo, 1975. 231 p.Frank G. (1975) Karta Ptolemeya [Ptolemy Map]. Moscow: Iskusstvo, 1975. 231 p.Shklovskiy V. (1990) Gamburgskiy schet [Hamburg account]. Moscow: Iskusstvo, 1990. 547 p.Shklovskiy V. (1990) Gamburgskiy schet [Hamburg account]. Moscow: Iskusstvo, 1990. 547 p.Shklovskiy V. (1985) Za 60 let [For 60 years]. Moscow: Iskusstvo, 1985. 573 p.Shklovskiy V. (1985) Za 60 let [For 60 years]. Moscow: Iskusstvo, 1985. 573 p.Eyzenshteyn S.М. (1964) Sobraniye sochineniy: v 6-ti tomakh [Collected works in 6 volumes].Eyzenshteyn S.М. (1964) Sobraniye sochineniy: v 6-ti tomakh [Collected works in 6 volumes].Vol. 2. Moscow: Iskusstvo, 1964. 566 p.Vol. 2. Moscow: Iskusstvo, 1964. 566 p.

The authors declare that there are no conflicts of interest present.