Art Techniques and Means of Expression of “Black Cinema”: From Neo-Noir to Post-Noir

The purpose of the article is to study art techniques and means expression neo-noir post-noir in cinematography late XX — early XXI centuries. subject analysis are noir phenomena latest postmodern processes cinema, based on aesthetic, genre style canon noir. Noir language could not remain within narrow limits aesthetics “black” cinema. That why they became a space transformations: stylistic, genre, narrative, semantic, etc.
 methodology theoretical this both whole complex ideas related research, specific scientific tools. part more general research case, which focuses phenomenology “black cinema” (or noir) cinema In separate publication, authors investigated issue “genre memory” Also, case problem expressive artistic This was also considered by series publications devoted “collage” Ukrainian director S. Paradzhanov. methodological basis relies Western scientists: Gavin Smith, Charles Scruggs, Jean-Pierre Chartier, Simon P. Otieno, David Copenhafer, Mary Wood, Lisa Colpaert, Thomas Leitch, James McRoy, Emily R. Anderson.
 results. Our definition set basic “noir” second half beginning centuries allows us distinguish three spatial-compositional systems that characterize specifics noir, post-noir.
 first we observe linear unfolding action, scenes framing direct cause-and-effect relationship.
 context neo-noir, compositionality question action topos film; despite existence rules characteristics working with planes space, impression “panoramity” different scales dominant.
 Post-noir formed plane greater variety techniques, connected practical absence “canonical” boundaries property post-aesthetics combine various effects, (and some cases resort “citation” “redefinition”).
 novelty lies fact formation symbolism imagery neo- post-classical as system for time. analyze post-noir, unite into one whole.
 significance conducted makes it possible reveal forms representation modern