Conceptual Film As A Form Of Philosophizing (Existential Perspective Of W. Wenders’S Films)[Концептуальный Фильм Как Форма Философствования (Экзистенциальная Проблематика Фильмов В. Вендерса)]

Introduction. Philosophizing has different types and forms. Along with the rational-scientific style of philosophical thinking, there is also an artistic-aesthetic style of philosophizing, originating from the philosophy of F. Nietzsche, S. Kierkegaard, existentialists and especially characteristic of post-modern philosophical discourse. Philosophical ideas can be discovered not only by professional philosophers, but also contained in works of art. Modern philosophy is increasingly a discourse to the art, when literature, cinema, art become devious ways of philosophizing. Art in general and conceptual cinema in particular turn out to be one of the artistic ways of philosophizing, requiring philosophical reflection. Studying conceptual cinematography as a form of philosophizing helps clarify the similarities and differences between philosophy and art, it also has pedagogical significance, because it allows the students to demonstrate that philosophy is a matter not only of professional thinkers, but of every thinking person. Philosophical problems presented in visual images are becoming more accessible for comprehension to a modern man. The aim of the study is to conduct a philosophical analysis of the conceptual film as a form of philosophizing as exemplified by the films of the German film director W.Wenders. Methods: General scientific methods: analysis and synthesis, induction, deduction, abstraction. In analyzing W.Wenders’s conceptual films, we used the hermeneutic and phenomenological methods, a semiotic approach. Scientific novelty of the research: A conceptual film is viewed not as a film critic or cultural phenomenon, as it is traditionally accepted, but as a form of philosophizing of the director and recipient who perceives it. A conceptual film is a means of immersing the recipient in a state of philosophizing and actualizing his existential experience. Results: In the course of the study, a philosophical and semiotic analysis of W.Wenders’s films was conducted on the following levels of meaning: event-based, cultural-historical, worldview and philosophical. Conclusion: Conceptual cinematography is an artistic form of philosophical questioning, immersing the recipient in a state of philosophical reflection. By virtue of its semantic ambiguity, a conceptual film requires reflection, and everything that requires reflection enables one to think and philosophize. Ontological uncertainty is one of the main conditions for philosophizing in conceptual cinema. W.Wenders’s conceptual films are devoted to the philosophical analysis of the problems of identity, truth, phenomenon, the problems of a person’s abandonment and loneliness, the meaninglessness and uncertainty of human existence, the problems of love and freedom, the problems of algodice, therefore one can judge the creativity of W.Wenders as a visual philosophizing, and to define him as an existentialist director.