Abstract
The aim of the research is to prove the functioning of disgust as aesthetic experience at the intersection of the expressive and manifested qualities of the cinematic image. The article revises the hedonistic, genre and historical-archival perspectives of the theory of “cult” cinema. A comparison is given of the disgusting as narrative and disgust as the experience of the physical properties of the film, beyond the division into fiction and documentary. The scientific originality of the research lies in the inclusion of the modes of locality and untimeliness into the analysis of disgust. As a result, it is substantiated that the expression or description of disgust as a goal recedes before the experience of film time in its external manifestations and the distance between different receptive contexts.
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