Film authenticity. Archival art criticism in the actual practice of the cinema process
Zorin, Artem Nikolaeviсh D.Sc. in Philology, Professor, Department of Literary Studies and Journalism, Saratov State University, Editor-in-chief of the Journal "Theatre. Fine Arts. Cinema. Music", GITIS, Moscow, Russia email@example.com
Abstract In the last decade is known for the rapid development of screen technologies, the improvement of digital technology in the process of filming, editing and demonstrating cinematographic works. It all produced a new direction in the art of the screen. It can be called cinematic authenticity as one in music, which requires the most accurate (authentic) reproduction of the sound of creations of the past. Musical authenticity has raised the standards in textological work with musical material, in the technology of restoring historical instruments of past centuries, in the methodology of vocal and instrumental historical performance, as well as in recreating the acoustic atmosphere of halls corresponding to a specific era and stages. In the modern film process, digitalization has awakened an interest in recreating the production and screening standards of various periods in the history of screen art. Directors of the past filmed in different standards and in different filmmaking technologies, taking into account the technical parameters and nuances in the creative process. Technical parameters influenced the final result, and all in all - the perception of the film by the viewer. The modern screen situation, with all the openness and saturation of information channels, brings the films of the past to universal and convenient standards for distributors and viewers - in cinemas and at home. Film authenticity seeks to overcome the consequences of this common standards by showing the masterpieces of the past in their original form (color, screen size, frame rate, sound recording and broadcasting system, etc.). A number of modern directors take this aspect into account when working on their new projects. Thus, the following report for the first time explains the use of the term "film authenticity" for the modern film process and outlines the prospects for its research.
Keywords: cinema, film process, authenticity, art history, film standards, S. Bondarchuk, K. Tarantino