Germanchuk V. Cinematographic model of intuitivism in the context of cultural processes of the XX century.

The thesis gives major heed to the analysis of intuitivism, which provided powerful incentive for artistic searching of profound European moviemakers, and highlights those aspects of classical intuitivism and its modifications, which were originally treated in the practice of European cinematograph. For the first time since the dawn of Ukrainian cinematograph the thesis complexly studies the cinematographic interpretation of classical Bergson theories, including the theory of backward time and the theory of artificial space. Along with this, the thesis gives consideration to cinematographic realization of the concept of attentism, the school of the look, and the principle of thingism. The analysis of specific features intrinsic to cinematographic comprehension of mentioned aspects of intuitivism stipulated the reference to several selected movies. The reason was to emphasize conscious and unconscious intention of moviemakers to thoroughly interpret initial and modified principles of intuitivism, whichreveals powerful theoretical-and-practical dialogue in this sphere. The thesis proved that intuitivist cinematographic searching passed over national borders of the French cultural region and showed up in Italian-made and Spanish-made movies. Besides, the thesis gave heed to peculiarities of cinematographic embodiment of Bergson categories of backward time and artificial space as well as the principle of thingism in works of S. Paradzhanov, which gave evidence to more active penetration of intuitivism in European cinematograph of the second half of the XX century.