Гиперреализм в цифровом кинематографе (на примере сериала-антологии «Любовь, смерть и роботы»)

Наука телевидения. 2021. Т. 17. № 3. С. 73–94.

Nepiypov V.

The article is devoted to the analysis of the aesthetic features of digital cinema. Traditional methods of analyzing cinema are no longer enough due to the widespread use of computer graphics in films. The fusion of graphic and photographic elements and the use of photorealistic graphics enable researchers to take a fresh look at the film theory. Digital cinema based on modern technologies no longer starts from the photographic principles of filmmaking and presents a new form of realism and representation of reality on the screen: by depicting photorealistic objects created using computer graphics, usual things can be transformed, thereby going beyond a real object, while remaining photorealistic, not being able to exist outside the frame of the screen and a particular film. Using the classic film studies and philosophical works of Jean Baudrillard, Siegfried Krakauer, André Bazin, Christine Metz and the works of modern researchers of digital cinema such as Lev Manovich, Thomas Elsaesser and Malte Hagener, author analyzes the process of transition of digital objects from photorealistic to hyperrealistic, which today can to be identified as real, without an actual justification. This phenomenon undoubtedly represents interest for an academic study of new forms of realism in cinematography. Based on the analysis of the «Snow in the Desert» series of the anthology series «Love, Death and Robots», author traces the development of hyperrealism in digital cinema. Using modern digital filmmaking technologies, combining both graphic and photographic techniques: motion capture techniques, creation digital copies of actors, methods of fluid simulation and the environment modelling in real time, we have a new kind of cinematography that is not limited by classical methods of filmmaking, and the film itself goes beyond the film, merging with animation and computer games. All these processes influence on the aesthetic of the film, making it more flexible, freer and less limited by the classical understanding of the film.

Keywords: Film theory, hyperrealism, photorealism, гиперреализм, digital film, цифровой фильм., digital realims, природа фильма, цифровое кинопроизводство, цифровой реализм