{'fraction_non_alphanumeric': 0.02914572864321608, 'fraction_numerical': 0.0, 'mean_word_length': 5.509803921568627, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
PHENOMENOLOGY OF CINEMA IN PHILOSOPHY OF POSTMODERNISM

The article focuses on the issue of phenomenon of cinema in works of Jean-Francois Lyotard, Henri Bergson, Roland Barth, Michel Foucault and Jean Baudrillard.
Postmodern methodology allows one to view cinema as a “deconstruction” of both cultural and socio-political discourse. Based on the analysis of the works of philosophers, the author generalizes the phenomenological characteristics of the cinema of postmodernism, such as the hypnotic ritualism of cinema; devaluation of meta-narratives; and appeal to the absolute “banal” and “hyper-realities”. It is noted that the spread of postmodern tendencies in modern cinema is manifested in drama, imagery, stylistics, montage and other components of the creative process.
The author concludes that Jean-Francois Lyotard, Henri Bergson, Roland Barthes, Michel Foucault and Jean Baudrillard have laid the foundations for understanding the unity of philosophy and cinema in the modern world.