Elena Skorik

The authors examine the impact of visual arts on the compositional expressiveness of film language and imagery. They determine common roots underlying the cinematic and visual art craftsmanship. Particular attention is drawn to the analogy of artistic techniques in painting with the techniques in the field of cin-ema such as the color solution works, comparison of spatial plans, the transformation of visual fore-shortening and perspectives in the variability of the screen visuality. The material is intended for people, interested in arts, culture and cinema, artists, professionals.

This article discusses and compares the montage schemes in the construction of creations of art and screen. The purpose of the study to identify common roots underlying the cinematic and art montage formu-las and modifications established long before the birth of the cinema, and then sought it. The obtained re-sults extend our knowledge about the formation of the cinema, the formation of his language and style. The developed material is intended for art experts, culturologists, artists, film experts and all the readers who are interested in art history and its interrelationship with the cinema.

This article is devoted to a topical and problematic direction in art – graffiti, which is interesting for the youth of the whole world, for art and film communities. The authors discuss the prerequisites for the rise and development of the dynamic nature of graffiti culture and the influence of cinema on it. As the result of the analysis, the authors conclude that the cinematic features in the art of modern graffiti appear on the dramatic level, compositional techniques and schemes, shaped and technical solutions, and that the evolution of graffiti with the development of digital technologies have generated the emergence of new audiovisual creative directions. This study will be interesting for art critics and film experts and students of humanitarian universities.

This article analyzes the creative activity of artists from different eras, caused the birth and development of the cinema sphere. This study significantly expands our knowledge about the world history of cinematic art, its origins. It will also be of interest to the international cinema and art community for further multilateral study of the interaction of art and cinematic cultures.

The author deduces the correlation between the mirror reflection in fine art and the mirror reflection in cine-matography as multiform way of expressing the scenario idea. The image of the mirror is the appointed mean of expression, which helps to enrich the language, to perceive and to interpret the world view. The fol-lowing research can be interesting to arts critics, culturologists, film critics, artists and people, who are fond of the history of fine art.