TY - JOUR

T1 - To See the Cinema: Human - Sight - Reality

AU - Temliakova, Alina

PY - 2019

Y1 - 2019

N2 - Cinema today is similar to the process of immersing yourself in another reality. You can often find comparisons with a diving, and a kind of contact with the visualized space of the imaginary. The position of human in the process of film viewing has changed today. Now the viewer is turning into a subject who has some special skills of the film literacy, media literacy, and for orientation in the digital dimension of the virtual space of modern life. A person watches a movie, it enriches his social experience, he can see and evaluate those events from the distant past, or events, which were taking place elsewhere on the globe in which the subject could not participate directly. On the other hand, today more than ever, cinematic reality is built into the schemes of thinking, perception, and memory of modern man in the form of structural mental schemes. This fact is paradoxical, but modern human receives its completion with the acquisition of external technical devices for the transmission, recording and storage of information (Iampolski 2012, 67). Now we can conclude that the nature of the human look (view, sight) changes. That is the emergence of visual tactility, when human is viewing 3D images, and our eye feels as if it "touches" the picture in front of it. Humans feel the objects with their eyes, viewers feel the texture of surfaces and substances presented to their view by the filmmaker. We can talk about cinema today as cinematic reality. The totality of the entire digital immensity of the surface of the cinema reality filmed and constructed by the film director, stored in the clouds of some breathing digital invisible matters. There is an act of connecting to this repository, access to film reality, which a person receives with special technical devices (gadgets).

AB - Cinema today is similar to the process of immersing yourself in another reality. You can often find comparisons with a diving, and a kind of contact with the visualized space of the imaginary. The position of human in the process of film viewing has changed today. Now the viewer is turning into a subject who has some special skills of the film literacy, media literacy, and for orientation in the digital dimension of the virtual space of modern life. A person watches a movie, it enriches his social experience, he can see and evaluate those events from the distant past, or events, which were taking place elsewhere on the globe in which the subject could not participate directly. On the other hand, today more than ever, cinematic reality is built into the schemes of thinking, perception, and memory of modern man in the form of structural mental schemes. This fact is paradoxical, but modern human receives its completion with the acquisition of external technical devices for the transmission, recording and storage of information (Iampolski 2012, 67). Now we can conclude that the nature of the human look (view, sight) changes. That is the emergence of visual tactility, when human is viewing 3D images, and our eye feels as if it "touches" the picture in front of it. Humans feel the objects with their eyes, viewers feel the texture of surfaces and substances presented to their view by the filmmaker. We can talk about cinema today as cinematic reality. The totality of the entire digital immensity of the surface of the cinema reality filmed and constructed by the film director, stored in the clouds of some breathing digital invisible matters. There is an act of connecting to this repository, access to film reality, which a person receives with special technical devices (gadgets).

UR - https://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcAuth=tsmetrics&SrcApp=tsm_test&DestApp=WOS_CPL&DestLinkType=FullRecord&KeyUT=000904781100004

M3 - Article

VL - 4

SP - 41

EP - 50

JO - Art Style

JF - Art Style

SN - 2596-1802

IS - 4

ER -