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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">vgik</journal-id><journal-title-group><journal-title xml:lang="ru">Вестник ВГИК</journal-title><trans-title-group xml:lang="en"><trans-title>Vestnik VGIK</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2074-0832</issn><issn pub-type="epub">2713-2471</issn><publisher><publisher-name>ВГИК</publisher-name></publisher></journal-meta><article-meta><article-id custom-type="elpub" pub-id-type="custom">vgik-550</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>КИНОЯЗЫК И ВРЕМЯ | ГЕНЕЗИС ОБРАЗА</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>FILM LANGUAGE AND TIME | IMAGE GENESIS</subject></subj-group></article-categories><title-group><article-title>Время и смысл. Опыт темпорального анализа кинопроизведения</article-title><trans-title-group xml:lang="en"><trans-title>Time and Essence. Study of Cinema Product Temporal Analysis</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Мариевская</surname><given-names>Наталья Евгеньевна</given-names></name><name name-style="western" xml:lang="en"><surname>Marievskaya</surname><given-names>Natalia Yevgenyevna</given-names></name></name-alternatives><email xlink:type="simple">noemail@neicon.ru</email><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff-alternatives id="aff-1"><aff xml:lang="ru"><institution>ВГИК</institution><country>Россия</country></aff><aff xml:lang="en"><institution>VGIK</institution><country>Russian Federation</country></aff></aff-alternatives><pub-date pub-type="collection"><year>2014</year></pub-date><pub-date pub-type="epub"><day>09</day><month>04</month><year>2024</year></pub-date><volume>6</volume><issue>4(22)</issue><fpage>33</fpage><lpage>46</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Мариевская Н.Е., 2024</copyright-statement><copyright-year>2024</copyright-year><copyright-holder xml:lang="ru">Мариевская Н.Е.</copyright-holder><copyright-holder xml:lang="en">Marievskaya N.Y.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://www.vestnik-vgik.com/jour/article/view/550">https://www.vestnik-vgik.com/jour/article/view/550</self-uri><abstract><p>В статье ставится вопрос о выявлении смысловых категорий при анализе художественного времени произведения кинематографа. На примере темпорального анализа фильма Ларса фон Триера показан алгоритм движения к смысловому ядру кинопроизведения. Анализ форм времени, входящих в состав произведения, проявляет подлинный смысл риторики автора, идущей, возможно, вопреки его намерениям и вразрез с декларациями. Обусловливается, что причинная связь является связью временной, а связь сюжета и художественного времени внутри кинематографического произведения - фундаментальной.</p></abstract><trans-abstract xml:lang="en"><p>Is the ingenuous inquiry “What is the film about?” so simple, for the response to that thing which sometimes causes confusion not only for a common audience, but for an experienced critic. The issue for unveiling film essence through its artistic time analysis has been declared. Lars von Trier’s “Nymphomaniac” has been considered as an example for temporal analysis, algorithm of motion towards cinema product’s essence core being given. Through analysis of time forms constituting film parts, genuine essence has been brought to light what the author has really had in mind - probably even contrary to his aims and against his statements. The conclusion reads that causal relationship has been found as temporal relationship. Hence, film story and artistic time within cinema product is declared to be substantially valid. Looking into horizontal time of “Nymphomaniac” made the author's idea of logics deployment and its general outline clear. For this purpose temporal forms that include plot-making essence, first of all cyclic and non-linear time, have been taken into consideration. Film temporal construction reveals itself at once through the heroine’s realized procedure of remembrance of her own life circumstances that led to a catastrophe occured at that very evening when Seligman found her covered with sewage and in an extremely bad state. The above mentioned procedure supposes convergence towards the truth that a hero confirms in relation to himself. So that does happen in Lars von Trier’s film. The inner film cycle ends with that. The question still remains why Joe for whom a person’s life is the highest value that nobody can make an attempt on, pulls the trigger and kills the man who provides her with a lodge and became her speaker during that long tormented night. What does these two heroes’ conflict content consist of? For the purpose of answering the question it has been studied how time for both heroes is constructed. It has been shown that characters’ conflict is an unsolvable conflict of two different value systems connected with different types of culture.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>кинематографическое произведение</kwd><kwd>сюжет</kwd><kwd>художественное время</kwd><kwd>смысл</kwd><kwd>причинность</kwd><kwd>нелинейное время</kwd><kwd>циклическое время</kwd><kwd>время персонажа</kwd><kwd>cinema work</kwd><kwd>plot</kwd><kwd>artistic time</kwd><kwd>essence</kwd><kwd>causes</kwd><kwd>non-linear time</kwd><kwd>the cyclical time</kwd><kwd>character’s time</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Жижек С. Киногид извращенца. Кино, философия, идеология: сборник эссе / Славой Жижек; предисл. А. Павлова; пер. с англ. - Екатеринбург: Гонзо, 2014. - 472 с.</mixed-citation><mixed-citation xml:lang="en">Жижек С. Киногид извращенца. 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