Маски театру Но в японському ігровому кіно: типи, принципи та прийоми використання, сенси

The Japanese school of cinema is recognized as one of the most distinctive and influential movements in global audiovisual art. Its expressive visual language and diverse artistic techniques continue to attract the attention of scholars and cinema enthusiasts alike. Among the many cultural influences shaping Japanese cinema, traditional theatrical forms — particularly the Noh theatre have played a significant role. This article explores how the various types of Noh masks and the methods of their use as artistic devices have been integrated into the works of leading Japanese filmmakers. Studying the use of the Noh masks in cinema is relevant both for enhancing Western viewers’ understanding of Japanese film content and for contributing to broader discussions on the visual language of Japanese cinema and comparative film studies. The purpose of this article is to examine the principles and techniques of using the Noh theatre mask in Japanese cinema. The work is based on materials from the Noh theatre training sessions held at the Kyoto Art Center in 2017, 2019, and 2024, as well as interviews and film materials representing the work of key representatives of the XX century Japanese cinema. The research employs empirical and theoretical methods such as observation, comparison, typology, classification, formal and semiotic analysis. The results of the study are presented in the article, which examines the use of masks by Japanese cinematographers across different time periods and genres (horror, family drama, melodrama, historical film, and detective). The study identifies the types of masks used in the figurative and thematic structure of films, analyzing their semantics and the subtexts they convey. Particular attention is given to the meaning and techniques of using masks. The analysis reveals that masks serve various functions within the visual language of cinema. These functions range from providing a national or social context for the characters to creating complex subtexts that reference specific Noh performances, reveal hidden emotions, or symbolize the transformation of human nature. The scientific novelty of the research lies in the definition, systematization, and conceptual generalization of the typology of the Noh masks in Japanese cinema, as well as the clarification of the principles of their use. Drawing on a wide range of materials, the study identifies the techniques of using the Noh masks as a tool for creating a visual text, rooted in the long cultural tradition and theatrical practices of both the viewer and the performance.