Directing models of author cinema in the context of intercultural dialogue. Part 3. Creativity of directors-authors with the assistance of international programs, funds, conventions

The purposeof the article is to identify the problems of intercultural cooperation within the framework of supporting international programs, funds, and agreements in the process of production and global distribution of films directed by auteur models and to determine scientific guidelines that will contribute to a comprehensive analysis of the phenomenon of Ukrainian auteur cinema in an intercultural environment. Research methodology. Analytical method was used in the development of the topic, which is necessary for studying the art history and cultural aspect of the problem. In addition, the researcher has used the methods of systematisation and generalisation, which came in handy for arguing the originality of the phenomenon of auteur cinematography, its place in modern culture-creating processes, as well as the determination of objective regularities that characterise auteur cinematographic practices in modern intercultural space. A cross-cultural method has also been applied, which contributed to the identification of the peculiarities of the production and distribution of films of directorial models of auteur cinema in the system of international cooperation. The cultural approach conditioned the generalised socio-cultural orientation of the research of the author's cinematography of the culture of the postmodern and post-postmodern era. The scientific novelty of the research lies in the fact that the problem of intercultural cooperation in the production and global distribution of original cinema in Ukraine and abroad in the context of the functioning of international support programs became the subject of a special study for the first time; the work of Ukrainian filmmakers-authors, whose films were created as international projects with the support of international programs and funds, is highlighted and characterised; the expediency of using the system method in studying the peculiarities of the international film production and distribution process has been proven. Conclusions. Acquaintance with the materials presented in the article expands the arsenal of knowledge regarding the specifics of the production and distribution of films by directorial models of auteur cinema within the framework of intercultural projects and enables their use in educational courses on the theory and history of cinema and directing