Philosophical understanding of screen reality: Meaningful measurements and interpretations

The aim of the study was to determine the structural and semantic parameters of screen reality and their influence on the formation of the cinematic image. The methodology was based on a combination of structural-semiotic analysis, compositional analysis of the frame, comparative study of spatial, temporal and visual-stylistic solutions, as well as contextual analysis of the artistic and technical components of films. Eleven films were selected for the study, reflecting different stages in the development of cinema and demonstrating different approaches to the organisation of screen reality: “The Seventh Seal”, “Citizen Kane”, “Run Lola Run”, “Blade Runner 2049”, “In the Mood for Love”, “Earth”, “Shadows of Forgotten Ancestors”, “A Spring for the Thirsty”, “Babylon XX”, “Dune”, and “The Power of the Dog”. It was established that screen reality functioned as a conditionally autonomous reality, created with the help of a system of artistic and technical solutions that transformed the reproduction of the objective world into a conceptually structured model. The spatial dimension was revealed through the coordinated decisions of the director and cinematographer, where the organisation of the frame, the arrangement of objects and characters, as well as the proportional relationship between shots served as semantic markers. The temporal dimension was formed by editing techniques, the rhythm and duration of the frame, as well as dramaturgical models, including non-linear narratives that influenced the perception of events and the construction of plot dynamics. The visual-stylistic and emotional-psychological dimensions were determined by the interaction of colour, light and texture with spatial and temporal parameters, creating an atmosphere as a carrier of conceptual content. It was found that the combination of these dimensions ensured the integrity of the artistic environment, in which visual and sound elements were in orderly interrelationships. Such integrated use of spatial, temporal, and stylistic resources made it possible to create a cinematic image capable not only of reproducing, but also interpreting reality. The practical significance of the study lay in the possibility of using its conclusions to develop methods for analysing film works in film studies, as well as in training programmes for specialists in the field of directing, cinematography and film art design