«Ekranocentrism» of contemporary art: Theory of research and art practice

The article is devoted to the actual problem of studying in diachronic measure of the mutual influ­ence of the theory of cinema and creative practice of filming. In the socio-historical retrospection, a dynamic search for the art of the screen of its authenticity, the stages of formation of the corresponding theoretical basis, and its own scientific discourse are considered. The article emphasizes the intensification of the mutual influence of the theory and practice of filming at the points of transformation of the cultural code, marked by the emergence of «bifurcation» cinema avant-garde, with a radical change in the film model in the 1920s and 1930s, its partial transformation in the 1950s–1960s and 1980s–1990s. The potential of the influence of theoretical thought on the development of the film process in the coordinates of the industrial, and subse­ quently by the post-industrial society, where the artistic work becomes a product, is determined.