Cinematograph had not gone through foundation stage and had not domesticated all the means of artistic expressiveness yet when the vanguard art was in blossom. Till today the heritage of suprematism was not grasped on the field of cinema. And now when cinematograph is formed and studied it becomes possible to transfer the principles of suprematism to this kind of art. So this theoretical work is intended to fill this gap. The very father of suprematism K. Malevich dreamed to shoot a suprematic film but unfortunately his plans were not realized and did not reach us. With the help of theory we can make this vanguard experiment, taking into account the suprematism concept and specific features of cinematograph.

The birth of suprematism is one of the most significant occasions in history of vanguard art. “The black square” captured minds of its contemporaries and continues to charm us till this moment by its unrepeatable categorical reticence, but one can hardly find anything more eloquent. It is studied by numerous arts critics and historians of art that the importance of this masterpiece can not be overestimated. That, at the first look, simplest performance was prepared by hard work of the painter. Malevich went through the phases of vanguard movement from impressionism to cubism and finally came to the absolutized principles of pure art, he came to abstruse realism.

Suprematism becomes the agonic point of dispersion of the canon that was started by cubists. It becomes neither more nor less than the highest and the fullest summarizing of all the fine art.

Benoît noticed to the point that futurists put up “The black square” in what is called the red/beautiful corner in Russian Orthodox tradition, the place of the main icon in a house (the famous exposition “0.10”, 1915),– apparently this painting was an icon of new art for them.

Malevich used to name his work “living majestic baby” that came to the world for finishing off with visual painting. To the opinion of the painter, mimesis of art deprived it of liberty.

“I’ve destroyed the ring of horizon, and exited the ring of things…This cursed ring by opening new and new takes the painter away from the aim to the death” – Malevich wrote in his significant book “From cubism to suprematism”.

Malevich rejected traditional art because of its utility. The intention of painting to depiction was estimated by him as decoration of replete life. There is no sedition bigger then naming the pictures of somebody’s “grandma and beloved corners of lilac grove” by the word “art”, because this is just thoughtless and lifeless aesthetics.

New pure and independent art was intended to get rid of depiction, of the shackles of ideology and of any kind of subjection. The new art was declared to be “creation of intuitive mind”. The accent of it was moved from the outward depiction to the conceptual sides of art – the very idea. The painter chose the method of reduction of complex forms to simpler one. He relied on principle of economy of thinking. A combination of geometric figures of different sizes and colors makes balanced asymmetric suprematic compositions that contain their own inner movement. These compositions are the simplest foundation of art, its philosophy.  So the suprematism and “The black square” were born - the highest pointlessness and kingly “zero of shape”.

Let us turn to symbolism of this visualized concept of suprematism – to “The black square”. Reduction to elementary rested us only few clues:

- white color

- black color

- geometric figure

Undoubtedly, the choice of the painter was not accidental. “The black square” is almost mathematical calculation.

In this painting white color is not just a background it has strong semantic fullness. This color is one of the most eloquent metaphors of zero. White is visual absence of any color: emptiness, non-existence, gaping. For painting white color is potency that gives preconditions for origin. It is a color of not painted canvas, untouched paper: painting prime mover.

The black is antipode of white and the metaphor of dying. Funeral color is intended to condemn traditional painting once and for all. Furthermore black color in contrast to white is symbolic fullness. That is the reason why the black figure is the first and only monad in the space of suprematism.

Finally, square is one of the simplest geometric figures. It was adopted from the Masonic symbolism by Malevich and it means the highest extent of harmony and perfection.  May be the circle is the only competitor of square for the status of perfection (the triangle was thought to be too dynamic by the painter). But it is known that circle is allegory of the natural creation, while square is symbol of human creation. “The black square”, emblematic icon of extent of all the pictorial searching of vanguard, is intended to symbolize new art (cultural, non natural creation). Square is believed to be by Malevich the initial shape that gave birth to other figures.

So the unit in the emptiness, the icon of new art was born. Triumph of pure sensation without any participation of mind was reached by the absolutization of pointlessness. It is impossible to overestimate the role of suprematism in artistic culture.  This harmonic theory influenced the further development of painting and even other kinds of art: architecture, design, sculpture, applied art.

Now let us offer to transfer postulates of suprematism to the “most important of the arts” - cinema. It is not out of place to raise an objection: how can cinematograph material reject reality? This remark is right but cinema knows reality along with fiction, surrealistic world of dream, expressionistic landscapes. Vanguard experiments of 20^th-30^th years proved us that the connection of film and corporeality is not necessary. Besides painting is intentional art as well.

Excluding decorative elements, ornament (that has a print of phenomenal world however) and the vanguard canon breaking painting strives after representation of something but not representation as an end in itself. Andre Bazin affirms that the basis of visual arts is so-called “complex of mummy”, the intention of people to save “being by saving visibility”, to save their bodies by rendering it in perennial form with a help of mimesis. Hence we conclude that painting and cinema are in about the same condition that allows us to transfer suprematic formula to the art of the tenth muse. Perhaps, the most indicative example will be the translation of “The black square” to the cinematographic language.

Well, we should first remember those three points that we have found out while the analysis of the picture and then try to find the cinematographic analogs of them, beginning with the white pictorial background. The answer should be found in the specific of cinematographic art. For that it is worth to remember the genealogy of cinema. The harbinger of cinema was photography that granted technical conditions for the birth of cinema.  Etymology of the word “photography” that has Greek roots is: φως / φωτος — «light» and γραφω — «I write». Follows that photograph is a copy of reality that is made by the very light. Taking in account that photograph then becomes a film-image we conclude that cinema is made by light as well. What is made by light has its zero in a point of absence of light.

Light for the film-image is similar to paint for canvas – it is an instrument for making a visual image. Thus cinematographic zero is the same emptiness, the same nonexistence but the perfect antipode of pictorial zero: instead of white color we see nothing, we see black. The maximum nonexistence in cinema is absence of any visibility – darkness untouched by light, ideal black space.

May be you will be indignant: in such case the black square will not be seen on the black background. But we do the translation from the language of one art to the language of another: so we will reject the black paint and will arm with another instrument – light. So the kingly baby of film will appear before us in a shape of corpuscle of light or like a ray cutting the darkness similar to film projector in a cinema theater. Remembering the brightest feature of film – moving, let us award it with speed. Saving monochrome solution of Malevich we will tincture the newly cinematographic pointillé in white like it is required by the suprematic theory. It is a color of birth, initial and the simplest color, and what’s important it consists of the whole spectrum of colors.

It seems that the translation is done but we should not forget one more talent of cinema – sound. Here we have more freedom for creativity. For example the   square can sound like cosmic initial “om”. Just brought to light black baby may cry or give us its childish laughing. It goes so well first “mama” or truly vanguard “dada”. One more variant is right: to leave it kingly silent remembering that cinematograph could not talk in 1915 yet.

Now it is evident that suprematism can extend covering more and more artistic spaces. We can conclude that the work that we have done is possible because the suprematic theory is truly harmonious and because artistic possibilities of cinema are unlimited. So cinematograph is a great opportunity of artistic expression of vaeas and theories.rious id