Abstract
Human and his relationship with nature have interested scientists and artists at all times. «Nature» has become one of the most important concepts in modern science and it is difficult to separate it from concepts such as society, culture, spirit, human being. As a consequence of the continuous development of science and technology in the twentieth century, there was a process of mastering nature by human. To date, you can find various works of art, where nature is considered as the main component of art. However, given the worldview, geographical features of each nation, it is impossible to give a single definition of the concept of nature. Therefore, in order to understand the meaning, the way of applying the image of nature in cinematography, it is necessary to analyze the advantage, omissions and give a scientific definition. Obviously, in order to understand how the image of nature in world cinema influenced the language of cinema, it is necessary first of all to focus on the prerequisites for the emergence of the image of nature. First of all, it can be noted that the concept of nature in the popular worldview and philosophy depend on the environment. In this article, based on materials written about the image of nature in the history of cinema, we will focus in detail on the features of nature management in Eastern and Western cinema. In cinema, nature has come to the fore as a mirror of the human soul, feelings, as well as a great heritage that needs to be protected. The image of nature originally appeared in Swedish films, and then in French avant-garde paintings. Then he developed in the directions of poetic realism, Italian neorealism. In order to identify differences in the connection between the manifestations of nature and the image of the hero in the cinematography of Western Europe and East Asia, the author analyzes the films by cinematographers of the world.