Painting in the visual culture of author's film

The purpose of the article is to reveal the specifics of the use of painting tools in the creation of a modern author's film by a director, painter, cameraman. The author analyzes the scientific works of domestic and foreign scientists who investigate the problems of modern visual culture. The researcher chooses Ukrainian author's films as the object of her research and tries to determine the specifics of the use of painting tools in the production of a screen work, creating its visual imagery. The article shows that in the initial period of cinema, artists were involved in the production of films, and cinematographic plots were sometimes screen adaptations of paintings. It is indicated that early cinematographers were fascinated by various directions and currents in the visual arts and transferred their achievements to the screen. The author focuses special attention on the work of the theater artist and director J. Mеliеs, who used screen graphics, combined shooting, frame design and made a significant contribution to the development of the visual culture of cinema. The article examines and analyzes the theoretical and practical works of the Ukrainian cameraman and director-author Yu. Ilyenko. It is shown that the master's films present a high level of culture of composition, perspective, color and color, light and shadow. The author's directorial work is examined in the context of the visual culture of the film and is the subject of a special scientific study for the first time. The symbolism and semantic significance of color in the author's cinematography is considered on the example of the films of O. Sanin, V. Chabanyuk, and Z. Buadze. The essence of the directors' subjective attitude to the use of color gamut in screen arts through the prism of national identity is revealed. It is shown that color in the works of these directors performs the function of a substitute for the verbal component of the narrative and is a means of author identification. A figurative and stylistic analysis is carried out and the peculiarities of the production of a screen work by means of visual arts, in particular painting, are revealed. The examples of the films “Mamay”, “Povodyr”, “Dovbush”, “Black Cossack”, “My Carpathian Grandfather” show the ability of directors-authors to convey a wide palette of colors and reveal the semantic significance of color in screen arts. A complex methodological approach was used in the study of the means of painting in the visual culture of author's films, in particular, the method of analysis and synthesis, systematization and generalization, the method of comparison, the comparative method was used. The results of the study expand the arsenal of knowledge regarding the specifics of the visual culture of the director's screen language in the author's worldview models.