Methods of using the type expressiveness of the actor in the cinema of “new sincerity”

Abstract

One of the characteristics of films related to the new sincerity trend is the priority use of the type expressiveness of the actor. The essay compares between the methods of using the type expressiveness of an actor in the artistic concepts of Lev Kuleshov and Sergei Eisenstein and in the films of new sincerity.
 Lev Kuleshov's concept of the model is characterized by emotionality produced by posing instead of experiencing emotions corresponding to a specific pose. In the films of new sincerity this emotionality is characteristic of the protagonists and is interpreted as their inability to experience and reflect. This complex mental state is typical of protagonists in the new sincerity films.
 Such characteristic features of Sergei Eisenstein's masks as their static character, negativity and actions and appearances conditioned by social status are interpreted by new sincerity filmmakers as protagonists' problems, their inability to be sincere with themselves and with others. Identification of protagonists with their social masks threatens them with death.
 On the visual level, the type expressiveness of actors is emphasized by long plans, using a panoramic lens when shooting close-ups of faces; symbolism in a costume. Often masks, dolls and mummers appear in the frame as signs indicating a human individuality dying under a social mask.
 The use of type expressiveness of the actor in the films of new sincerity is explored in the essay as an example of the artists' striving for the authenticity of screen reality, which results from the authenticity of the actors existence within the frame and the reflection of the heros unconscious sphere characteristic of type..