Abstract

Relevance. The relevance of this subject is related to the development of information technology and new media, which has allowed wide access to cinema as a visual activity. The information media space is increasingly connected to human existence, and the demand for intangible goods and services inherent in post-industrial society is causing increasing demands for intellectual products outside the science and production industry.

Purpose. In this context, the purpose of the study is to identify the plane of the significance of the staged reality of cinema as a dominant form of synthetic art, the attitude between artistic and nonartistic features of staged reality on the example of fiction and documentary cinema, and to outline the transformation of the structure of film reality as a constructor and medium.

Methodology. The principal approaches to the study were structural and hermeneutic approaches to structural analysis in terms of the semiotics of culture of cinema reality sign space and the use of interpretive practices on textual objects.

Results. The study describes the connection between the simulacrisation of cinema as a separate staged reality, capable of gaining independence from the original author's idea; the loss of the original author's role and the work itself as a text that is part of the global inter- and hypertext; and the role of the medium as a coherent, semantic carrier of content in the act of communication, which in its unity infinitely increases the possible perceptible meanings determined by the form.

Conclusions. The materials of this study harmonise the theories of simulacra, author's death and mediumship in the context of cinema semiotics in the interpretative vector "mediumship-discourse-sign" and orient further research towards establishing the attitude between individual authorial language and cinema discourse in the context of hyperreality.

Keywords: hyperreality; death of the author; representation; simulacra; documentary cinema

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