Abstract
A comprehensive study of the phenomenon of microcinema is presented. The tasks of semantic analysis of the concept of “microcinema” are set and solved, its characteristic features are discovered and, on the basis of the results obtained, an actual definition of the term is proposed for the first time; it is revealed on which screens the ultra-short meter exists today. The hypothesis that ultrashort films as a phenomenon cannot be fully considered as a product of the digital era is substantiated, this form inherits classical cinema, although it’s presented to the audience at other, modern venues. This problem is considered in view of the widespread interpretation of the term “microcinema” as a format that arose in the 21st century in the network space. As the main difference from various kinds of ultra-short audio-visual content posted online, the focus of micro movie on the coverage of philosophical, life problems, the search for new meanings, the demonstration of the author's views on existential issues is indicated. As a result of studying the filmography of reputable international film festivals, this assumption is confirmed. The boundaries of the timing of ultrashort films are revealed, for which the requirements put forward by specialized microcinema festivals to authors are investigated.
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