Музыкальная форма как форма кинофильма: вопрос онтологического единства

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Abstract: Ever since the earlist period of the development of cinematography as an art, music and motion picture have been very close both in expressive means and structure. However, as the numerious aesthetic techniques have been developing in cinema art, film continues to drift apart from its usual forms in the search for cinematographic particularities of the artistic language. When the auteur cinema appeared, it became even more evident for theorists that there was the need to take a closer look at the director's personal creative vision. The present article is devoted to the research of more profound levels of the relationship between a musical form and a film. In her research Mikheeva analyzes a drama film 'Autumn Sonata' of a Swedish director Ingmar Bergman in order to demonstrate the unity between sonata and film at the ontological level. In her article Mikheeva has used the method of the comparative analysis of the elements of a musical form and film text as well as has applied the hermeneutical approach to understanding and interpreting an artwork. For the first time in the academic literature Ingmar Bergman's 'Autumn Sonata' is being analyzed for the purpose of not only defining common features of a film and sonata as a musical structure but also to get a better insight into the director's creative plan. By comparing and analysing the structure and semantic musical and cinematographic components of an art text, the researcher shows their ontological similarity. The approach applied to the analysis of Bergman's drama film may be used to analyse a number of other films. 

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