Contemporary Russian theater and cinema are approving a new aesthetic paradigm that implements such principles of postmodernism as deconstruction, relativism, a mixture of various types, genres, and stylistic devices. The purpose of this article is to identify the most characteristic stylistic features of Russian arthouse films of the 21st century. The author’s task was to show that this style is not something radically new, as some art critics and cultural experts try to present. Using the methods of hermeneutic, art history and comparative analysis, the author identifies the methods and techniques of creating a special art space that are characteristic of modern Russian arthouse. These are combining real and conditional, concrete and symbolic, psychology and parable, recognition of everyday realities and explicit functionality of the characters. Based on the idea expressed by a number of scientists that there is much in common between the state of the modern world (that is, what is now called postmodernism) and the public consciousness of the Middle Ages, the author of the article puts forward a hypothesis about the similarity of the stylistic techniques of the Russian arthouse with the aesthetics of the Middle Ages. First of all, arthouse films bring closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, in particular, combining a realistic image with a parable form and symbols and an artistic interpretation of space as a background that weakly interacts with characters. First of all, Russian arthouse films brings closer to the literature and art of the Middle Ages such a characteristic as hybridism, i.e. combining different styles in one work, using, along with a realistic depiction of the parable form and symbols and artistic interpretation of space as a background that weakly interacts with characters. One of the reasons for the emergence of a new aesthetic interpretation of art space in modern Russian literature and cinema was the radical changes that took place in Russia in the 1990s. The disappearance from the world map of a huge country called the USSR and the loss of familiar landmarks and stereotypes could not but affect the worldview of artists, writers and filmmakers trying to artistically comprehend what is happening. The conclusion that follows from the analysis is that many principles of the aesthetics of postmodernism were reflected in the style of the arthouse films of 21st century, with the exception of such traits inherent in the best postmodern examples as humor, irony, game element and non-linearity of narration. The coexistence of real and clearly conditional art space in such films contributes to the fact that the cinematic texture contradicts conditional situations and characters, causing the viewer to feel art inorganic. Analyzing the perception of art films by experts and the audience, the author concludes that the assessments of art critics and viewers are largely diverging for the same reason: viewers mostly perceive author films as works of a realistic style but can not find in them psychological characteristics of the heroes and the motivation of their actions, i.e. the traits inherent in realism; experts evaluate these films based on the presence of the elements of symbolism and metaphorism and metaphysical and universal image of reality.
Estudi de l´Obra de Miquel Mont i Xavier Escribà en Relació a la Novel-la de Ficció d´Edwin Abbott, Planilàndia