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panels-ajax-tab-panel-references\u0022\u003E\u003Cdiv class=\u0022one-column at-panel panel-display clearfix\u0022 \u003E\n  \u003Cdiv class=\u0022region region-one-main\u0022\u003E\n    \u003Cdiv class=\u0022region-inner clearfix\u0022\u003E\n      \u003Cdiv class=\u0022panel-pane pane-entity-field pane-node-field-featured-image no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-_custom_display view-mode-_custom_display\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/427px-Dmitri_Frolov1.jpg\u0022 title=\u0022director Dmitri Frolov\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-17296-VAT6M3_Z-4E\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;director Dmitri Frolov\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;director Dmitri Frolov\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-medium\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/medium\/public\/427px-Dmitri_Frolov1.jpg?itok=ZnTdCGWl\u0022 width=\u0022220\u0022 height=\u0022220\u0022 alt=\u0022director Dmitri Frolov\u0022 title=\u0022director Dmitri Frolov\u0022 \/\u003E\u003C\/a\u003E                                                    \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022panel-separator\u0022\u003E\u003C\/div\u003E\u003Cdiv class=\u0022panel-pane pane-entity-field pane-node-body no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-_custom_display view-mode-_custom_display\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003EDmitri Frolov\u003C\/strong\u003E is one of the leaders of russian movievanguard in postperestroika age. He makes esthetic experiments connecting with return to dumb cinema on new level of movie language.\u003C\/p\u003E\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022panel-separator\u0022\u003E\u003C\/div\u003E\u003Cdiv class=\u0022panel-pane pane-entity-field pane-node-field-references no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Cdiv class=\u0022field field-name-field-references field-type-text-long field-label-hidden view-mode-_custom_display view-mode-_custom_display\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cem\u003E\u0022Among contemporary filmmakers working in the field of experimental cinema, the figure of St. Petersburg\u0027s Dmitry Frolov deserves a special mention, and given the apparent importance of his paintings, it is all the more strange that the researchers did not give him the proper attention.\u0022 Frolov is engaged in what is called experimental cinema, Works in the field of experiments and obviously stands in opposition to the movie \u0022ordinary\u0022, commercial, mainstream cinema.His films are an example of strange, often seemingly plotless dreaming It works with archetypes, models, concepts, sometimes forgotten plots, turns to epochs that have long since passed or been superseded by other, more interesting or meaningful ones. Dmitry Frolov belongs to the stream of parallel cinema - the avant-garde trend that originated and took shape in the The dawn of perestroika of the USSR.\u003C\/em\u003E\u003Cbr \/\u003E\u003Cem\u003ERemarks on this score of the director are interesting. Frolov admits that he works in the Art Nouveau style, but attracts his silent cinema. He does not hide that he is engaged in stylization, he draws inspiration from the themes of the Silver Age, which was incredibly rich in currents, phenomena, creative methods and brilliant minds. This he seems to pay tribute to a century ago, which has long since sunk into oblivion. But those who hold such an opinion forget that the short but rich period - the Silver Age of Russian art as a whole - gave an incredible amount of material that it is interesting to work with even 100 years later.\u003C\/em\u003E\u003Cbr \/\u003E\u003Cem\u003EI will repeat that Dmitry Frolov works with potentially very rich material, the heritage of the Silver Age, reprocessing and comprehending it in his own way. It is important that his vision is missed through the present, through a hundred years of temporary disruption, and from this point of view new perspectives of the disclosure of themes and images are opened.\u003C\/em\u003E\u003Cbr \/\u003E\u003Cem\u003EFrolov stands out against the background of other directors working with the themes of the Silver Age, primarily (and at least) the chosen narrative method. It is necessary to admit that for simple styling, however broadly it is to be understood, you do not need so much director talent (although it is worth noting that for a naturalistic stylization, which the viewer believes, a fine authoring flair is needed). Frolov works on experimental grounds, each of his films - to this confirmation, in each new film one or another form is chosen that reveals the relevant content. It seems that Frolov is bored to be in the \u0022framework\u0022 of the genre, to follow the strict and unchanging canon. The boundaries of the canon in experimental cinema are basically blurred - one should take into account that these canons may not be in principle. But also the boundaries of various arts were blurred during the time Frolov recreates on the screen. One art smoothly changed into another, the image modes were mixed, the form was subject to the content tasks, and is not this often what we see on the screen now? It was sometimes difficult to breed a painting, a theater, a word, the emerging phenomenon of cinematography.\u003C\/em\u003E\u003Cbr \/\u003E\u003Cem\u003EIn connection with what was said above, it remains a mystery why the director\u0027s figure, which addresses so popular and fruitful topics in the present, which allows the author to work with various techniques and techniques, remains in the shadows. But still it is unequivocal to say that Frolov has not gained any fame for all his creative career, it is impossible. He is not known to the general public, but he is honored at domestic and European festivals. Some pay tribute to his creative method, talking about his innovation, others - often accuse Frolov of the fact that he removes \u0022decadent cinema\u0022, \u0022graphs\u0022, creates a movie that no one understands, mounts boringly, \u0022languidly,\u0022 meaningless. The funny paradox lies in the fact that in this tendency to \u0022decadence\u0022 one can see, in fact, a reflection of the original meaning of the word \u0022decadence\u0022, which plays an important role in the entire work of Frolov, which we will try to show clearly. In translation from French, \u0022decadence\u0022 means \u0022decay,\u0022 and then the accusations of \u0022craving for decadence\u0022 about the director are losing ground from under his feet. It is interesting that Frolov himself refuses to find decadent, decadent motifs in his films, saying that he is attracted by the beauty and form of the modernist era, but also noting that this subtle beauty often precedes the decline. In his works he tries to reflect that elusive beauty, after which there is an imperceptible transition to death, to the mirror side of the world.\u003C\/em\u003E\u003Cbr \/\u003E\u003Cem\u003EThe romantic feeling of decadence is a sense of loss: a century, a hierarchy, a class, a life, a feeling of a fatal, inescapable incompleteness of being, \u0022these words of the Russian researcher V.M. Tolmachev, who in his works comprehends the cultural significance of the decadence epoch and systematizes it, quite fully reveals what is reflected in Frolov\u0027s cinematography - the cinematography of the transition. \u0022\u003C\/em\u003E\u003Cbr \/\u003E\u003Cspan\u003EXenia Ilyina\u003C\/span\u003E\u003C\/p\u003E\n\u003Cp\u003E\u003Cspan\u003E\u003Ca href=\u0022http:\/\/cnftm.ru\/znamenitye-obsuzhdeniya\/19-novosti\/1789-klounada-i-drugie-filmy-dmitriya-frolova.html\u0022 target=\u0022_blank\u0022\u003ECLUB CINEFANTOM\u003C\/a\u003E\u003Cspan\u003E\u00a0\u003C\/span\u003E\u003C\/span\u003E\u003C\/p\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}