MOCKUMENTARY AND TRANFORMATION OF THE FILM AVANT-GARDE: CULTURAL-HISTORICAL ASPECT
DOI:
https://doi.org/10.31392/cult.alm.2024.1.53Keywords:
film avant-garde; mockumentary; documentary film; experiment; post-modern aesthetics; film culture; media realityAbstract
The article is dedicated to the research of peculiarities of the formation of mockumentary as a genre of cinematography in the historical-cultural projection of the paradigmatic development of the film avant-garde. Analyzing the main aspects and dynamics of the film’s avant-garde transformation, the peculiar attention, the author pays to the demarcation of Hollywood cinematography and an “independent” cinema, film avant-garde that is characterized by the experimentation, non-standard methods of shooting, editing, and image processing with discoveries that often go beyond traditional genre conceptions. Its essence is a revolutionary, attempt to extend the limits of the possibility in the film industry. It was shown, that later this revolutionary subsides and the film avant-garde, through a moderate stage, comes to the late reflections and searches, if we talk about the 20th century, and it is at this time, the 1960s, not only Homo Medialis but also the “mockumentary” genre appears. The most characteristic features in cinema are the discrepancy between form and content, bluffing, mixing facts and fiction, uniting the incompatible and dividing the monolithic, fictional imitation and parody of documentary cinema, which leads to the conclusion that mockumentary, meets the requirements and norms of postmodern aesthetics. Filmmakers working in the mockumentary genre use parodies, satire, and often humor to comment on current events and ideas. It is emphasized that mockumentary helps the viewer to develop new visions and pushes to discover unexpected semantic contexts of life reality, when the desire to broadcast and promote a discourse of power is replaced by the internal artistic intention of cinema to self-development, determined by the specifics of artistic consciousness. Thus, mockumentary carries out “film socialization” and socialization in general through the demonstration of certain patterns of behavior, teaches the viewer to assimilate the norms and values of film culture, developing aesthetic culture, and turns him or her into an accomplice in social reality through the affirmation of fictitiousness.
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