Видеоарт: знаковое отсутствие монтажа как художественный прием
The phenomenon of a one-shot video art is viewed in this article as a specific narrative structure, persuading a spectator not to concentrate on the actual meaning of a video but to plunge into variety of interpretations. Author analyses the specific features of design in a one-shot videos and the means of expression such a structure can provide. Author argues that omitting the basic cinematographic sign figure of editing may give artist an opportunity to depreciate the story-line and install a particular communication with a viewer who becomes not a passive recipient guided by a director but an active interpreter of the visual text, a co-author of a video.
In the first part of the article author defines the term “significant absence of editing” and determines the range of videos analyzed. She outlines three types of one-shot videos concerning its content and qualities.
The second part of the article is devoted to analysis of representative videos of all three types and makes conclusion about the way each affects a spectator. Author uses the methodology of film studies together with semiotics and psychology of perception.
Author argues that significant absence of editing should be regarded as an artistic technique which allows an artist to ensure the liaison with his audience, to gain attention and reinforce empathy, to make meditation more profound and open the way to a dialogue. From this point of view, author suggests, the experience of one-shot videos can be appropriated by contemporary cinema.