КИНО НЕ КАК ИСКУССТВО

The title of the article inverts the title of the well-known work of the early cinema theoretician R. Arnheim «Film as Art». The author makes an attempt to reconsider the approach basic for film-theory which puts the cinema into a context of the «art world». The beginning of this point of view was established in the early French film-theory (R. Canudo) and over time became the main method of classification for cinema. The author notes that in parallel with the idea of cinema-as-art, there was an alternative position in film-theory, which draws its attention to optical cinematic properties which belong to cinema, for its own sake and regardless of how they are used by the person who works with them. Considering cinema as art leads to the fact that cinema is disposed in a kind of blind zone between the author, who is charged with full responsibility for the creation, and the viewer perceiving the screen. The philosophy of cinema understood as art, is always interested in the act of communication between two human agents, taking cinematic autonomy, based on its own perceptual abilities to interact with the world, beyond its attention. The author gives examples of films that obviously do not fit into the framework of the philosophy of art due to the elusive filmmaker`s position or inaccessibility of the film for the viewer. The refusal to understand cinema as art, however, is proposed to be considered not as a principle for the analysis of some films, but as a preliminary methodological work for the philosophy of cinema as a whole. With regard to cinema, it is proposed to replace the philosophy of art with aesthetics, understood as a philosophy of sensibility, emphasizing its potentiality for working with cinema in its autonomous mode, based on the ability to experience sensible forms.