Abstract
<i>“What kind of narrative games does cinema play?”</i> – These questions are particularly relevant in relation to such a cinematic phenomenon as the clip, which by the end of the XX century formed into a quasi-short film, which is a synthesis of web design and cinema, and is an ontological borderline of the film text. One of the latest narrative strategies with a flourish featured in the Linkin Park video for the main soundtrack of the movie "transformers 3: Dark side of the moon. The entire movie text of the clip is a manifestation of the hyperreal in all its features: empty no space, relatable discrete time, visual simulacra, devoid of its own meaning, but simulating similarity to images of real cinema. Moreover, the clip is full of so-called Semo-simulations, i.e. signs that are similar in outline to the signs of the ancient civilizations of Egypt and Sumer, but they are not, i.e. there is no meaning behind these figures. However, if all of the above complete content of the clip-this work would not make sense. In the video, there is a "third element" (Eisenstein) because all the Grand visual simulation created within the Hyper/art, which is cinema, met with poetic text and music. The poetry and music of the song "Iridescent" come into conflict, almost in denial of what is unfolding on the screen. The very name of the song "Descended from the rainbow" refers to the old Byzantine and Orthodox icons on which Christ depicted sitting on a rainbow, the entire text of the song is an internal monologue, turning to God for help after disappointments, losses, and spiritual devastation. It is the music track and the text that are the elements of existence that finally bring the narrative of the video to the realm of intellectual phantoms, which gives the audience a sense of freedom, the presence of a higher good force and true human reality, which (for now?) simulacra and simulations of meaning will not destroy it.
Highlights
The narrative as a cultural phenomenon essentially assumes the construction of actions and events in a certain logical sequence, with the help of actors who are "inside" the narrative and the narrator, who interprets events to a greater or lesser extent in line with his mental strategy
How does the transformation of history, big and small, someone else and your own, turn into a movie narrative? What are the narrative strategies used by the cinema, designing a particular space and time? Especially interesting and relevant, in our opinion, are these questions about such a cinematic phenomenon as a clip, which by the end of the XX century was formed into a quasi-short film, which is a synthesis of web design and cinema, which is the ontological border of the film text, behind which the viewer loses the psycho-emotional and physiological ability to perceive a visual image
In their opinion, creolized texts are «texts whose texture consists of two inhomogeneous parts – verbal and non-verbal, which belong to other sign systems than natural language» [9] It is obvious that among the creolized texts that have triumphed in the culture, the leading place belongs to the movie text, and in the movie text the highest degree of creolization is achieved in the clip
Summary
The narrative as a cultural phenomenon essentially assumes the construction of actions and events (historical or particular) in a certain logical sequence, with the help of actors who are "inside" the narrative and the narrator, who interprets events to a greater or lesser extent in line with his mental strategy. Interesting and relevant, in our opinion, are these questions about such a cinematic phenomenon as a clip, which by the end of the XX century was formed into a quasi-short film, which is a synthesis of web design and cinema, which is the ontological border of the film text, behind which the viewer loses the psycho-emotional and physiological ability to perceive a visual image. In one of his works, Vitaly Kurennoy [1] developed a Francisca Foortai: Simulating the Meaning and Meaning of the Simulation: New Narrative Strategies in the. Such different assessments of the clip as a mass media phenomenon are due to its technical and technological complexity and figurative and artistic synthetization, and to the fact that the visual text of the clip is the most complex form of film text
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