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The article, based on the general outline of the problem of creativity, defines the specificity of the cinematographic process attributed as an example of a more complex type of collective creativity compared to the theater. It shows how the harmonious cooperation of the director with the screenwriter, cameraman, artist, actor made it possible to identify the potential of the script and “find” those aesthetic and artistic means that influenced the quality of the film. The article reproduces theoretical position of Ukrainian scientists, which in recent decades has significantly expanded the space for the study of collective creativity due to the emphasis on moral and psychological aspects. On the example of the Marcel Carne film crew, it illustrates how creative teams were formed in the practice of European cinema, the joint work of which was transformed into the creation of a number of bright cinema works. It emphasizes that the collective type of creativity is a structural element of the problem of “creativity”. On the one hand, it is multidimensional; on the other, it is the inter-scientific one, where philosophical, psychological, cultural, aesthetic, art history and ethical approaches naturally coexist. The process of realizing the idea of the film allows filmmakers to fruitfully use the potential of such fundamental principles of cultural analysis as “dialogism” and “communication”, stimulating “self-expression” of the personality.

Cinematographic Process as an Example of Collective Creativity: From Dialogism and Communication to Self-expression