Methods of Using the Type Expressiveness of the Actor in the Cinema of “New Sincerity”

Abstract

One of the characteristics of films related to the “new sincerity”
trend is the priority use of the type expressiveness of the actor. The essay
compares between the methods of using the type expressiveness of an actor in
the artistic concepts of Lev Kuleshov and Sergei Eisenstein and in the films of
“new sincerity”.
Lev Kuleshov's concept of the “model” is characterized by emotionality
produced by posing instead of experiencing emotions corresponding to a
specific pose. In the films of “new sincerity” this emotionality is characteristic
of the protagonists and is interpreted as their inability to experience and reflect.
This complex mental state is typical of protagonists in the “new sincerity” films.
Such characteristic features of Sergei Eisenstein's “masks” as their static
character, negativity and actions and appearances conditioned by social status
are interpreted by “new sincerity” filmmakers as protagonists' problems,
their inability to be sincere with themselves and with others. Identification of
protagonists with their social “masks” threatens them with death.
On the visual level, the type expressiveness of actors is emphasized by long
plans, using a panoramic lens when shooting close-ups of faces; symbolism
in a costume. Often masks, dolls and mummers appear in the frame as signs
indicating a human individuality dying under a social mask.
The use of type expressiveness of the actor in the films of “new sincerity” is
explored in the essay as an example of the artists' striving for the authenticity of
screen reality, which results from the authenticity of the actor’s existence within
the frame and the “reflection” of the hero’s unconscious sphere characteristic of
“type”.