Kyiv National I. K. Karpeko-Kary Theatre, Cinema and Television
Keywords: ancient syncretism, newest syncretism, “moving picture”, semiotic-communicative culture, space-time picture of the world.
Abstract. The genesis of cinema (in 1890) is immediately accompanied by the almost global resonance around the “moving picture”, a rather unusual communicative phenomenon. Unfortunately, all the root causes of the resonance have not yet been sufficiently studied.
Today, however, given the achievements of a whole range of humanities and (not only) scientific disciplines, it becomes obvious that the “moving picture” invented by engineers Edison and the Lumière brothers arises, above all, as an upgrade to completely new aesthetic, technological and other settings of human culture of the ancient phenomenon of socalled “original syncretism”. It is as if the breakdawn of the artistic and generally semiotic-communicative culture of the humanity. That syncretism combines all the receptive means of a man to create a holistic space-and-time picture of the world. The “moving picture”, which characteristically arose almost synchronously with the advent of the efforts of the science of the time (the school of Academician Alexander Veselovsky and others) around the phenomenon of original syncretism with a surprising sequence restores decisively the whole semiotic sum of it — but clearly, on a completely new so-called technological basis. Accordingly, this circumstance immediately casts a new cognitive light on the whole history of the “moving picture” — from its debut to our present.
Vadym Skurativskyi, Doctor of Art, Professor, Academician of the National Academy of Arts of Ukraine, Kyiv National I. K. Karpeko-Kary Theatre, Cinema and Television University, Kyiv.
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Published: March 10, 2020.
Section: THEORY AND HISTORY OF CULTURE.