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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-585</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>Стилевые особенности отечественного арт-фильма</article-title><trans-title-group xml:lang="en"><trans-title>Stylistic Features Of Russian Arthouse</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>Познин</surname><given-names>Виталий Федорович</given-names></name><name name-style="western" xml:lang="en"><surname>Poznin</surname><given-names>Vitaly Fyodorovich</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>Санкт-Петербургский государственный университет</institution><country>Россия</country></aff><aff xml:lang="en"><institution>Saint Petersburg State University</institution><country>Russian Federation</country></aff></aff-alternatives><pub-date pub-type="collection"><year>2015</year></pub-date><pub-date pub-type="epub"><day>09</day><month>04</month><year>2024</year></pub-date><volume>7</volume><issue>2(24)</issue><fpage>41</fpage><lpage>51</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Познин В.Ф., 2024</copyright-statement><copyright-year>2024</copyright-year><copyright-holder xml:lang="ru">Познин В.Ф.</copyright-holder><copyright-holder xml:lang="en">Poznin V.F.</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/585">https://www.vestnik-vgik.com/jour/article/view/585</self-uri><abstract><p>В статье исследуются стилистические особенности российских кинокартин последнего десятилетия, которые принято называть арт-фильмами. Основное внимание в этих фильмах уделено экранной трактовке художественного пространства, которое характеризуется условностью окружающей среды, что в свою очередь связано с доминированием притчевого начала, склонностью авторов к созданию символов и аллегорий. Характерной особенностью отечественных артхаусных фильмов является то, что действие в них происходит в отдаленных местах, где приметы цивилизации и культуры сведены к минимуму. Схожесть в трактовке экранного пространства и времени в арт-фильмах и доминирование в них негативного восприятия действительности привело к схожести ряда используемых стилистических приемов.</p></abstract><trans-abstract xml:lang="en"><p>The article analyzes stylistic features of Russian arthouse films of the last decade. Contrary to mainstream these movies are designed for narrow, aesthetically advanced audience. It is commonly known, that the style of any film is primarily determined by interpretation of screen space, formed first of all through visual images. Every fresh artistic cinema current differs from others by the method of interpretation of artistic space. Proven practices show that most of the art films of the last decade have one thing in common. This is the mode of interpretation of the art space, characterized by realistic, but in the same time conventional environment, in which the characters act. Interpretation of spatial and temporal space in Russian arthouse is close to conventional theatrical style. This phenomenon is explained by the dominance of parabolic plots with abundance of symbols and allegories. Russian art films are also marked with negative perception of reality. Their action mostly takes place in the middle of nowhere with the minimum civilizational and cultural properties. The choice of location, conventional environment, slow-paced action, unambiguous characters are the dominant features defining the style of majority of art films.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>современное российское кино</kwd><kwd>арт-фильм</kwd><kwd>художественное пространство фильма</kwd><kwd>фестивальное кино</kwd><kwd>Russian actual cinema</kwd><kwd>Russian art house</kwd><kwd>screen space</kwd><kwd>art style</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">Лотман Ю.М. О русской литературе. Статьи и исследования (1958-1993). История русской прозы. Теория литературы. - СПб.: Искусство, 1997</mixed-citation><mixed-citation xml:lang="en">Лотман Ю.М. О русской литературе. Статьи и исследования (1958-1993). История русской прозы. Теория литературы. - СПб.: Искусство, 1997</mixed-citation></citation-alternatives></ref></ref-list><fn-group><fn fn-type="conflict"><p>The authors declare that there are no conflicts of interest present.</p></fn></fn-group></back></article>
