Studying comments on video reviews and reviews of the “Teach Good” project, we periodically encounter misunderstandings of our position on the part of individual readers. Their opinion usually boils down to the fact that the project “for some reason scolds good films and praises the bad ones.”

Indeed, a quick glance at our articles reveals a fundamental discrepancy in the assessment of most films between official critics and experts and the assessment of the project. How is it that we, without hesitation, call many films that receive international awards and film awards and even sell out to full houses, wretchedness and vulgarity and assign a negative rating?

In fact, there is no contradiction in this situation - it’s just that we and official critics have a different rating system. But to explain this idea in detail, you need to understand how it works modern system cinema. Let's start with the film awards. Why are they given, and why are they needed? Watch the video review:

A bonus is simply a reward tool. It’s like raising children – we praise them when they behave correctly. So it is here: screenwriters, directors and actors are praised for behaving “correctly”, promoting the ideas, ideals and goals that the customer needs.

For example, during the Cold, that is, information, war in the West, awards were given, in particular, to those films that exposed Russians as stupid and backward. In the USSR, at the same time, awards were given to those films that demonstrated the friendship of peoples and the superiority of the socialist system over the capitalist one.

Why are they giving bonuses now that the Iron Curtain is gone?

Our analysis of the majority of popular films that have collected many awards indicates that awards are given primarily for effective:

• propaganda of sex, vulgarity and perversion
• propaganda of alcohol, tobacco and other drugs
• propaganda of stupidity, violence and immorality

“Wait! - many will shout. “Prizes are given for good acting, for an interesting plot, for realism, depth of thought, and high artistic achievements!”

Of course, all of the above plays important role, but only in the context of how effective the propaganda of vulgarity, immorality and drugs will be. That is, the award is given not just for the propaganda of all this negativity (after all, there are a lot of such films), but for high-quality, talented, veiled propaganda, which the audience will consume with delight and will also say thank you.

Read reviews of so-called experts on popular films - in 99% of cases they will tell you about the actors’ performances, the director’s talent, touching notes, and so on, but they will not tell you the most important thing “WHAT DOES THIS FILM TEACH?” or in another way – “WHAT IDEAS IS HE PROMOTION?” For the same reasons, they don’t talk about it at international film festivals. Well, think for yourself, couldn’t director Zvyagintsev be given a prize in London for promoting Russophobia, vulgarity and drugs? No, of course, he was given this award for his talent as a director.

And after this film also received the American Golden Eagle as an award and was nominated for an Oscar, then even the Minister of Culture of the Russian Federation V. Medinsky stopped believing his eyes and changed his opinion about the film, rejoicing at the skill of the filmmakers. But you and I don’t need to rejoice at this, because today this skill is directed against us and is realized in the veiled and talented propaganda of vulgarity, drugs and immorality.

Such propaganda pursues a specific goal: destruction of the institution of family, reduction and degradation of the population.

At the same time, I think no one doubts that over the past 20 years since the defeat of the USSR in cold war a significant part of the population of our country managed to fundamentally change their views and values. This propaganda works effectively for both children and adults.

It should also be understood that both the Russian and Western film award systems are aimed at the same goals. Here is something written to Nikita Mikhalkov back in 2012, but nothing has changed since then. We recommend reading it in full, but we will only note the main points:

Many authors, especially in documentary films, openly mock the sick and wretched heroes of their films, moral and spiritual values, covering up their unprofessionalism with loud claims of “art-house” and “modern” approaches to creativity.

Organizers of leading student and youth festivals, when selecting and compiling programs, give such films the greatest preference, providing the most popular evening hours and prestigious venues.

At the same time, films that carry moral values ​​and positive emotions, shot according to all the canons of cinema, giving light and hope, are removed by the organizers to the outskirts of festivals, or do not pass the competitive selection at all. There is no need to talk about prize places for such films at all.

A similar situation arises when creating packages of films sent to international film festivals.

This policy is not only discrediting, but also encourages young filmmakers to film immoral smut and vulgarity, promising prestigious awards and international recognition. But these are precisely the guidelines that guide us in our creative quests. It is the decisions of authoritative juries that often show us what is “good” and what is “bad.”

This is how the mechanism of structureless management in cinema works. There is no need to order anyone to make bad films. Simply, with the help of film award institutes and film festivals, you promote those who work for your goals, that is, in our case, who promote everything negative. That is why in the so-called cultural bohemia today there are so many perverts or simply morally degraded people. They are needed to broadcast their lifestyle to the rest of the population.

Let us repeat the key idea once again: what the film teaches is of paramount importance, that is, what ideas and values ​​it carries, and the acting, the talent of the screenwriter, camera work and so on only affect how effectively the meanings embedded in the film will be conveyed to the viewer.

What to do?

Just waiting for the system to change can take a very long time. It is imperative to write complaints, call on people to think, resist, fight using available means, and within the framework of the “Teach Good” project we are participating and will participate in this fight, but in any case, the situation will not change quickly, because the system is almost global in nature and was built over a long period of time.

However, this does not mean that we must come to terms with the fact that we and our children will have to watch all the negativity that is shown today in cinemas and on TV. Firstly, almost everyone can and should remove TV from the house, but completely limit yourself and your children from watching modern films not at all necessary, since, contrary to the system, good films are still being made today. Of course, you will rarely hear a flattering review about them in the press or see them on the list of critics' recommended ones, but, nevertheless, there are quite a lot of them, and our task is to find such films and share them with each other.

As part of the “Teach Good” project, it has already been developed. Each review answers the question “what does the film teach?” and covers issues such as violence/sex/drugs/morality. Depending on the results for each of these indicators, the film receives a rating, based on which the reader can decide to watch the film.

An extremely simple and understandable rating system allows anyone to participate in common cause both in creating a database of good modern films, and in identifying technologies of propaganda and manipulation in all other films, which is also important, as it helps readers independently learn to distinguish good from bad.

But in order for this mechanism, which can conventionally be called “people’s censorship,” to work successfully and be useful, no matter how trivial it may sound, the Project needs your reviews of films written from the perspective of traditional family values ​​and the answer to the question “what does this film teach”?

If you watched a movie, share your impressions, recommend it to other readers, or vice versa, tell us why you shouldn’t watch it. The only thing that allows all this negativity to be shown on TV today is our silence. This means that we need to not be shy about expressing our position, being louder, more noticeable, and bolder. There is power in the truth and we must spread this truth!

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There is an opinion that modern Russian cinema is experiencing better times, is in the deepest crisis and urgently needs to be saved. But maybe everything is not so sad? Editorial website offers you its version of the most worthy films of the 21st century shot in Russia. We did not consider the arthouse theme, choosing films that will appeal to almost everyone.

Of course, our list is not complete, and you can suggest your options in the comments.

Return

Suddenly, their dad appears in the lives of two brothers, whom they had previously only seen in photographs. The father pulls the boys out of their usual life and takes them on a “camping trip” to the island, where he is left alone with them. The film is a real Russian drama, enveloping and forcing you to completely immerse yourself in its world. A kind of continuation of “Return” was Andrei Zvyagintsev’s second and no less worthy film, “Exile” (2007): here attention is no longer focused on the problem of fathers and children, but on the problems of men and women.

I stay

Doctor Tyrsa, a skeptical and serious person, talk about afterlife They always just irritated me. Until he himself found himself on the verge of life and death. It was then that he realized that life on earth was not so bad.

Dad

The only meaning in the life of this man from a provincial town is his talented son: young violinist serves big hopes. When does he become best student conservatory, the father decides to visit his son. But the son meets his father in a completely different way than he expected.

Stories

Four stories about different people. Four stories about the life we ​​see around us. The filmmakers manage to find pain points modernity and draw the viewer’s attention to them.

Chapiteau show

The film is divided into 2 parts: “Love and Friendship” and “Respect and Cooperation”. The development of stories united by one place and time occurs in parallel. "Top Show" is amazing picture, showing how unpredictable everything is in our world. Definitely worth watching.

Island

During the Second World War, Anatoly commits treason and, on the orders of the Germans, shoots his comrade Tikhon. Years pass, and legends are made about the miraculous abilities of the monk Anatoly. However, the terrible sin he committed does not give him peace.

What Men Talk About

The film is based on the play “Conversations of Middle-Aged Men About Women, Cinema and Aluminum Forks.” An excellent guide for women who still have no idea what men talk about in the company of their friends. No less worthy creations with the participation of “Quartet I” are the films “Election Day” (2007) and “Radio Day” (2008).

Legend No. 17

Biography film. The whole world knows Valery Kharlamov - the legendary No. 17, who raised our team to the pinnacle of glory. A film about real hockey and one of the most memorable and spectacular sports battles.

Cook

A heartwarming film for a quiet, pleasant evening. The story is about how a little girl had to become an adult and face this terrible world alone. Why was she left alone?

we are from the future

Four young people are excavating at the sites of military operations of the Great Patriotic War. They are not too worried about the fate of the trophies - the main thing is to earn money. Until they themselves mystically are not transported back to 1942, finding themselves in the midst of heavy fighting.
Patriotic and instructive.

Inadequate people

Vitaly is thirty years old, he is tired of problems and mental discomfort. Looking for better life he moves to Moscow, finds a job and begins a measured life. But those around him have other plans for him.

Hipsters

The story is about how Moscow youth of the 50s had to fight for the right to be different from everyone else: listen to different music, dance boogie-woogie, wear different clothes. A real holiday film.

House of Sun

Screen adaptation of Ivan Okhlobystin's story "House of the Rising Sun". Meeting the leader of the hippie movement changes the correct and prosperous life of the girl Sasha. New friends show her what it means to be free and happy. Sunny, kind and warm movie.

"Cinema is a theater for the poor."

Anna Akhmatova /

We all love to watch movies, some for pleasure and to lift our spirits, others for education or to search for some answers, and others cannot understand why at all. But everyone modern man cannot imagine his life without cinema.It is likely that he devotes the most time to the art of cinema, since films are shown in almost every home through television.

Let's see what they write about cinema in the Wikipedia encyclopedia:

" The concept of cinema includes cinema search- a type of modern fine art, the works of which are created using moving images, and the film industry (film industry) - a branch of the economy that produces films, special effects for films, animation, and demonstrates these works to viewers."

The main difference between modern cinema and films of past years is that today it does not teach only positive things, does not respond only to “good” ones. life questions, but also points to the negative aspects of life.

IN Currently, a huge number of films are being produced, varying in subject matter. Cinema has been revived and presents to the audience all kinds of series, varying in genre: from comedy to tragedy, from drama to satire. New films based on real facts and events are appearing. Many people prefer American cinema, especially action films and thrillers, for their huge number of exciting special effects. Personally, I am very pleased that at present many directors are turning to the theme of the Great Patriotic War and reflect those events about which nothing was previously known.

Nowadays, all films can be divided into films that generate commercial profit, and independent, non-commercial auteur films. Movies that generate income have mass character. But there are also directors who consider themselves “independent of independents.”

They believe that making a profit from their paintings is wrong and shameful.

Let me tell you about new trends in cinema, thanks to which it has become modern!

Short films At first sight, short film

differs from the full-length film only in the short duration of the film (mostly 15-20 minutes). But it seems so only at first glance, because in the narrow time frame of a short film it is necessary to accommodate the entire range of spectator experiences that exists in a full-length film. Therefore, short films are, from an artistic point of view, a completely separate type of cinematic art and a separate type of cinematic creativity.

Technical novelty - digital cinema At the beginning of the 21st century, with the development of digital image recording technologies, the concept of “digital cinema” or “digital video” appeared. digital video ). This term refers to a new type of filming, when frames are recorded using a digital camera directly onto a digital storage medium. In this case, film for filming becomes unnecessary, and the film projector is replaced by a digital projector, or a high-quality interactive film is produced using laser recorders. digital intermediate

But there is no dispute about taste, so I wish you to get as many pleasant impressions as possible while watching modern cinema. Well, don’t forget about the classics either!

History of cinema

Cinematography (from the Greek κινημα, gen. κινηματος - movement and Greek γραφω - write, depict) - industry human activity which involves creating moving images. Sometimes also referred to as cinematography (from French cinematographe, obsolete) and cinematography. Cinematography was invented in the 19th century and became extremely popular in the 20th century. The concept of cinema includes cinematography - a type of modern fine art, the works of which are created using moving images, and the film industry (film industry) - a branch of the economy that produces films, special effects for films, animation and demonstrates these works to viewers. Works of cinematic art are created using film technology. The science of film studies studies cinema.

The influence of cinema on culture and art is undeniable; the influence of cinema on politics and economics is enormous. In many countries, the film industry is a significant sector of the economy. Film production is concentrated in film studios. Films are shown in cinemas, on television, and distributed on video in the form of video discs.

The birth of cinema

Historically, cinema appeared as a result of solving the problem of fixing on a material medium an image of the continuous movement of objects and projecting this movement onto the screen. To solve this problem it was necessary to create several technical inventions: flexible photosensitive film, chronophotographic camera, projector of rapidly changing images. The first flexible photosensitive non-flammable film was invented by Russian photographer I.V. Boldyrev (1878-1881), then American inventors G. Goodwin in 1887 and J. Eastman in 1889 created flammable celluloid film. The first chronophotographic cameras were designed in the 80s years XIX century. These include: the “photo gun” of the French physiologist E. Marey (1882), the apparatus of the French inventor O. le Perns (1888), the apparatus of the English inventors W. Friese-Green and M. Evans (1889), the apparatus of the Russian photographer V.A. Dubuc (1891), “Phonoscope” by the French physiologist J. Demeny (1892). The pioneers in the creation of devices for projecting rapidly changing images onto a screen were: German and Russian photographers O. Anschütz and V.A. Debuque, who created projection devices of different designs in 1891 and 1892, respectively, but with the same name - “Tachyscope”, the French inventor E. Reynaud, who created a projector called “Optical Theater” in 1892, and Russian inventors I.A. Timchenko and M.F. Freudenberg (1893).

Inventions that are closest to cinema in their technical specifications are: Edison’s “kinetoscope”, I.A.’s apparatus. Timchenko (1893), “chronophotographer” by J. Demeny (1893), projector by the American inventor J.A. Le Roy (1894), the “panoptic” projector of the American inventor W. Latham (1895), the “pleograph” of the Polish inventor K. Pruszynski (1894), etc. And already in 1895-1896, devices were invented that combined all the basic elements cinema: in France - “cinematograph” by the brothers L. and O. Lumiere (1895) and “chronophotograph” by J. Demeny (1895); in Germany - the “bioscope” by M. Skladanovsky (1895) and the film projector by O. Mester (1896); in England - “animatographer” R.W. Paula (1896); in Russia - “chronophotographer” by A. Samarsky (1896) and “strobegrapher” by I. Akimov (1896), in the USA - “vitascope” by T. Armat (1896).

The spread of cinematography began with the filming and public demonstration of the first short films. On November 1, 1895, in Berlin, M. Skladanovsky demonstrated his “bioscope,” and on December 28, 1895, in Paris, the Lumiere brothers demonstrated their “cinematograph.” During 1896-1897, public screenings of short films were made in all the world's capitals. In Russia, the first shows were organized in April 1896 in Moscow and St. Petersburg, and then at the All-Russian Fair in Nizhny Novgorod. At the same time, the first domestic amateur filming was carried out (V. Sashin, A. Fedetsky, S. Makarov, etc.).

Silent film era

The first short films (15-20 meters, approximately 1.5 minutes of demonstration) were mostly documentaries, but already in the comedy dramatization of the Lumiere brothers “The Watered Waterman” the trends in the emergence of feature films are reflected. The short length of the first films was due to the technical imperfections of film equipment, however, by the 1900s, the length of films had increased to 200-300 meters (15-20 minutes of demonstration). Improvements in filming and projection technology contributed to a further increase in the length of films, a qualitative and quantitative increase artistic techniques filming, acting and directing. And the wide dissemination of cinema and the popularity of cinema ensured its economic profitability, which, however, could not but affect artistic value films being made. During this period, with the complication and lengthening of the plots of films, cinema genres began to form, their artistic originality, a set specific to each genre is created visual techniques. “Silent” cinema reached its peak in the 1920s, when it was already fully formed as independent species art having its own artistic means.

The arrival of sound

Even before the beginning of the 20th century, Thomas Edison tried to synchronize the kinescope with the phonograph, but failed. However, later William Dixon, Edison's co-author, claimed that already in 1889 he managed to create a kinetophonograph - a device that reproduced sound and image simultaneously. However, there is no evidence to support his words.

In the early period of cinema, sound films were tried to be created in many countries, but they faced two main problems: the difficulty of synchronizing image and sound and the insufficient volume of the latter. The first problem was solved by recording both sound and image on the same medium, but solving the second problem required the invention of the low-frequency amplifier, which did not happen until 1912, when the language of cinema had developed so much that the absence of sound was no longer perceived as a serious disadvantage .

As a result, a patent for that sound cinema system, which subsequently brought about the sound revolution, was received in 1919, but film companies did not pay any attention to the possibility of cinema to speak, wanting to avoid rising costs of production and distribution of films and the loss of foreign-language markets. Until, in 1925, Warner Brothers, which was on the verge of bankruptcy, invested in a risky sound project.

Already in 1926, Warner Brothers released several sound films, consisting mainly of musical numbers, but special success the audience did not have them. Success came only with the film “The Jazz Singer,” in which, in addition to Al Jolson’s musical numbers, his short lines were also present. October 6, 1927, the day of the premiere of The Jazz Singer, is considered to be the birthday of sound cinema.

Further technical progress in cinema

Although the first primitive color film (with a red-green gamma, without of blue color) was released back in 1922, it did not impress the audience. The first "full color" Technicolor short film, La Cucaracha, was released in 1934. The first full-length color film “Becky Sharp” by American director of Armenian origin Ruben Mamoulian was released in 1935, this year is considered to be the year of the appearance of color cinema. In the USSR, the first live-action color film, “Grunya Kornakova,” was filmed already in 1936.

In the 1950s, technological progress went even further. The development and implementation of magnetic recording and sound reproduction, as well as the creation and development of new types of cinema (panoramic, stereoscopic, split-screen, etc.) led to a significant improvement in the quality of film screening, and people began to talk about the “effect of presence” of the viewer. The impression was enhanced by stereophonic sound reproduction, which made it possible to create “spatial sound perspective” - the sound seemed to follow the image of its source, causing the illusion of the reality of the sound source.

Nowadays, there are very sophisticated film sound systems. The number of individual sound channels reaches up to 7, and in exotic systems even up to 12. Of course, all this is designed to enhance the depth of immersion of the viewer into the atmosphere of the film being watched.

The original text is on the website"Cinema world "

Stereo

Cinematography pioneers such as William Freese-Green and the Lumière brothers experimented with stereoscopic and three-dimensional images on the silver screen. They invented systems by which two films of film, colored red and blue-green, were simultaneously projected onto a screen for viewing through special glasses with similarly colored lenses.

The first stereoscopic feature film, The Power of Love, was released in 1922 in black and white. In the 1930s, polarizing filters were invented to control the amount of light hitting film. This made it possible to begin experiments with color stereoscopic cinema, which were simultaneously carried out in Germany and Italy.

But large-scale use of stereoscopic cinema only began in the 1950s, when Hollywood was looking for ways to win back audiences. Arch Oboler's "Bovan's Devil" was one of the first films released by major film studios in 1952-1954. Most of them were adventure and shocked the audience by creating the illusion that flaming arrows, jumping animals, runaway trains and thrown stones were moving from the screen directly into auditorium. Unfortunately, the special glasses required to view stereo films caused a lot of inconvenience to viewers, and over time, attendance at such screenings fell sharply. An attempt to revive interest in stereo cinema was made again in 1995, when the action-adventure film “Wings of Courage” was shown in 120 cinemas around the world.

The original text is on the website "Cinema.rin.ru "

In 2009, D. Cameron’s film “Avatar” was released, made using 3D computer technologies, and marked the beginning wide application them when creating and watching film and television programs.

Chronological table of cinema history

Original text chronological table is on the website"Film collection - world classics and rare spectacular cinema"

They write to us

KUDELINA Elena Albertovna - candidate historical sciences, Institute Latin America RAS (115035, Russia, Moscow, B. Ordynka St., 21; [email protected])

NEW TRENDS IN MODERN CINEMATOGRAPHY

Annotation. The article examines the topic of social significance and responsibility of cinema as a powerful channel of communication and influence on viewers. Based on the example of the work of the 39th Moscow International Film Festival in 2017 and the screening of the film program within the framework of this festival virtual reality new trends in modern cinema are analyzed. Keywords: cinema, media mass communication, cinematography, social responsibility, Moscow International Film Festival, virtual reality cinema

Late XIX V. was marked by the emergence of such great scientific and technical discoveries in the world as the telephone, radio and cinema. This caused the creation of new national and international mass media, which radically changed the entire system of social communication and interaction in society [Milov et al. 2006: 226].

Cinema has proven to be a more effective and attractive means of disseminating information compared to radio, because added to the messages perceived by ear, visual images, helping to perceive the transmitted information visually and emotionally.

The exceptional nature of cinema lies in the fact that in essence it is absolutely self-sufficient. It is both a product of creativity and a means of its presentation and transmission. The art of cinema is a synthesis of literature, visual arts, theater, music and technology. It includes linguistic, directing, acting, musical, artistic, plastic elements and technical means audiovisual communication.

The advent of television in the 50s. XX century did not weaken, but on the contrary, strengthened the position of cinema as a powerful instrument of cultural influence on the audience and became another technical channel and means of its popularization.

Today social significance cinema as a powerful channel of communication is undeniable. Cinematography has become the most important means of social and political influence. Possessing a complex structure, cinema makes it possible to realize all the functions of mass media - information, education, organization of behavior, entertainment, communication, and at the same time it is a synthetic form of modern art.

Talentedly made films comprehensively influence the deep layers of the viewer’s consciousness, form aesthetic preferences, and also demonstrate the most pressing problems of our time. Similar benefits Cinema, compared to other media, requires closer attention to the content of information that millions of viewers receive through movie screens. The larger the audience, the more significant for society is the social effect of their perception of the ideological and moral content of films. This effect can only be positive if these films carry humanistic values ​​and undeniable social ideals.

However, film producers are not always interested in their propaganda. In the public sector of film production, its products are often used for specific political purposes. And in commercial

sector, where the main goal is to maximize profits, the prevailing desire is to avoid displaying complex social problems and focus solely on entertainment content. Therefore, it is very important to ensure a reasonable combination and balance of the entertainment function with the objectives of education and moral education spectators.

In close interaction with complex and contradictory social processes screen art played a decisive role in the democratization of culture, in the formation of its new forms, which have a significant impact on the broadest layers of the population. During for long years The Moscow International Film Festival (MIFF), one of the oldest in the world of cinema, serves these noble goals. And today it remains the most important socio-cultural phenomenon of Russian cinematic life, which provides an opportunity for everyone to a short time get acquainted with the latest in domestic and international fiction and documentary filmmaking, as well as the latest trends in this field of art.

The MIFF was first held in 1935; its jury was then headed by Sergei Eisenstein himself. Then there was a long break. In 1959, the MIFF was resumed and since then has been regularly held in Moscow. This year he celebrated his 39th anniversary. Main principle MIFF is a commitment to humanistic ideals and socially significant moral values. Therefore, it is no coincidence that this year the main prize of the festival “Golden St. George” for best movie received the film “The Crested Ibis” by Chinese director Liang Qiao, dedicated to environmental issues and social responsibility for conservation environment and national traditions.

In addition to the official competitive program, as part of the MIFF-39, as usual, an extensive non-competition program was shown, which always arouses the greatest interest among viewers. Such cycles as “Spectrum”, “Eight and a half films”, “Euphoria of the outskirts”, “Films that were not here”, “Russian trace”, etc. were presented. The documentary program “Free Thought” enjoyed constant success. where the most relevant and significant works world documentary cinema. Usually these are laureates, nominees or winners of major international festivals. The audience's interest in this particular program is due to the fact that its films reflect universal social, political and economic issues that concern each of us.

XXI century - this is the age of new technologies and computer graphics, which marked the beginning new page in the history of cinema. Traditional cinema is giving way to computer cinema. The possibilities of cinema today are greater than ever. New technologies opened up new perspectives for him. We are talking about fundamentally new trends such as 5D and interactive cinema, 3D-MTO, which can be watched right at home, virtual reality glasses and others modern inventions technological progress that the creators of new films now use. Even more fantastic is interactive cinema. This is not even a movie in the usual sense, but rather a game. The viewer can now independently change the plot of the film. Filmmakers are trying to remove barriers between what is happening on the screen and the viewer himself. This means not only immersion in virtual reality, but also the introduction of gaming interactivity. The viewer goes inside the movie, participates in its creation, feeling like an actor, a director, and a screenwriter.

For the first time, within the framework of MIFF-39 2017, the virtual reality (VR) cinema program Russian VR Seasons was shown. More than 40 short

length spherical documentary, fiction and animated films in 360° format for viewing in virtual reality helmets.

There is a growing number of supporters of virtual reality cinema around the world. New technologies have made a real revolution in the world of cinema. At the same time, a number of researchers both in Russia and abroad express concern that virtual reality technologies do not receive proper ethical and legal regulation and carry the danger of escaping the reality of representatives younger generation who failed to realize themselves in real life.

The incredible realism of scenes in virtual reality has a strong emotional impact on the viewer, encouraging him to repeat certain actions, assimilate values ​​and behavior patterns. The problem is not how to prevent works containing scenes of cruelty and violence from being shown on the “virtual screen” (distribution certificates are simply not issued for such film works in accordance with the norms in force in the Russian Federation), but how to predict the effect of the viewer’s short stay in a virtual environment.

Speaking about virtual reality at the current level of development of this cinematic technology, we de facto mean real virtuality. What's happening in virtual world film with spectator participation

Really, because has consequences in physical everyday reality. The presentation of the virtual space of cinema as a change in physical reality in time and space forces the application of the same ethical norms and rules as in real life.

Ethical requirements for the degree of responsibility of the director for what happens to the viewer during and after the film screening should be even stricter than when creating ordinary feature films. This is due to the fact that the viewer’s immersion in the space of a film has a very strong emotional impact. In fact, the viewer continues to “live” in the space of the movie even after it ends, which can lead to a loss of self-control and deep deformation of the users’ personality. This poses a real danger to users of the new type of cinema and those around them.

Nevertheless, I would like to hope that this will not lead to mass autism and virtual addiction. And traditional feature films, documentaries and animation will continue to exist.

These are the new trends and realities of modern cinema.

Bibliography

Milov L.V., Voronkova S.V., Vdovin, Barsenkov A.S. 2006. History of Russia XX

The beginning of the 21st century. M.: Eksmo. 960 pp.

KUDELINA Elena Al"bertovna, Cand.Sci. (Hist.), Institute of Latin America, Russian Academy of Sciences (21 Bolshaya Ordynka St, Moscow, Russia, 115035; [email protected])

NEW TRENDENCIES IN MODERN CINEMA

Abstract. The article considers the social importance and responsibility of cinematograph as a powerful means of mass communication and influence on the audience. The author analyzes new tendencies in modern cinema in the frames of the 39th Moscow International Film Festival work and its program of virtual reality film.

Keywords: cinematograph, mass media, cinema art, social responsibility, Moscow International Film Festival, VR cinema