Humanities & Social Sciences 3 (2015 8) 494-506 ~ ~ ~ УДК 791.4 “The Man of Screen”: Dream Architecture and Patterns of the Future Olga A. Karlova* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Received 07.09.2014, received in revised form 12.11.2014, accepted 28.12.2014 The paper concerns problematics of the language of cinema and philosophical questions related to it: what kind of future cinema opened to the mankind, what price does it pay for video dreams, and how, from a technical toy, cinema has become a creator of the major myths of the mankind? <...> Review of the cinema history and the main cinema genres represented in the paper are of current interest in the year of the 150th anniversary of the cinema inventor Louis Jean Lumiere, the 90th and series of the world’s great directors and actors’ anniversaries. <...> Keywords: fi lm industry, the language of cinema, silent cinema, kineme, fi lm editing, shot composition, visual thinking, blip thinking, blip culture, the man of screen, creative thinking, neo-baroque. <...> Research area: culture studies. the real Only an instant moment in life is real. <...> The century of the Great Dream of humanity – the Renaissance, was the first to respond to this temptation. <...> Russian photographer Ivan Boldyrev was the fi rst who invented nonfl ammable fi lm as early as in 1878-81. <...> Americans Hannibal Goodwin (1887) and George Eastman (1889) created fl ammable fi lm almost ten years later. anniversary of “Mosfi lm” Olga A. Karlova. “The Man of Screen”: Dream Architecture and Patterns of the Future The 90th in of the 19th inventing cameras century were fruitful for fi lming. <...> Among the galaxy of the various elements of cinema discoverers there are German photographer O. Anschьtz (1891) and his Russian counterpart Vladimir Dubuc (1892), who created different in design devices for designing with a single name “tachyscope”, as well as the Frenchman Emile Reynaud, who founded his “Optical Theatre” (1892) and Russian inventors Joseph Timchenko and Michael Freudenberg (1893). <...> Despite the global inventive cinema boom, only three countries were in a pool of the recognized fi lmmakers: Russia, the USA and France. <...> Almost three years <...>