Technology and cinematography: the problem of philosophical and anthropological justification

The article makes an attempt to explicate the philosophical and anthropological foundations of the synthesis of art and visual technology, using cinema as an example. Turning to the history of art, the author shows that a number of elements of cinematic aesthetics (frame, linear perspective, spatial depth of the frame) were already formed in the bosom of modern European painting. However, before these elements appeared and were borrowed, a certain “anthropological revolution” took place: the human established themselves in the role of a subject, and everything that existed took on the role of an object, a picture. Based on the history of philosophical thought, the author comes to the conclusion that the Cartesian model of the human subject, as well as the image of Bergsonian “duration” served as the basis for the synthesis of painting and cinema as the art and technology of the moving image.