bluuebunny/crossref_metadata_2025 huggingface dataset:
Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?
Authors: Novikov Vasily N
Published: February 2020

According to recent research, video games are recognized as a new kind of art of the 21st century. Is it possible to distinguish the concepts of entertainment and art when dealing with this phenomenon? The purpose of this article is to analyze the significance of the game in contemporary society, to characterize the dominant features of personal management of a work of art, and to consider the influence of game aesthetics on the language of up-to-date cinema. The digital age, new technologies, computer modeling and virtual aesthetics modernized the classical thesis of the life as a game into a new philosophical concept. There are more and more attempts in succession to create a full-fledged virtual reality where a person could feel oneself to be an individualized god, commanding over all the processes taking place with the one and ones life. The ultimate goal is the creation of such a global game world in which every person would be able to try oneself in any social role or avatar, building relationships with anyone, playing and enjoying it. So this desire for an interactive fusion of game forms with the objective reality that we are accustomed to is forming a rich and multilayered cultural platform nourishing diverse areas of contemporary art. The game industry has gone a long way of its development as a form of art. Nowadays video games and movies imitate each other and combine mixed aesthetic trends - the boundary between the Game and the Film is being increasingly blurred. On the one hand, games tend to cinema, using professional directing, scriptwriting and cast. On the other hand, mainstreamification of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for contemporary mass audience.
BOOKSHELF
Authors: - Editorial
Published: February 2020

Presentation of new books
Screen Self-Reflection: Classification of Species
Authors: Solovyova Maria V
Published: February 2020

This article is devoted to the phenomenon of filmic self-reflection and its variations basing on I. Bergmans Wild Strawberries / Smultronstllet, Hour Of The Wolf / Vargtimmen, The Seventh Seal / Det sjunde inseglet. The differentiation between the notions of the authors filmic self-reflection and the characters self-reflection is marked. The author of the article draws out the notion of the helmers self-reflection and the characters one through the examples from other disciplines (philosophy, psychology, literary criticism). The analysis of the authors filmic self-reflection and the characters reflection is carried out basing on the films by I. Bergman and in the context of his subsequent statements. Since Bergman is both director and scriptwriter of majority of his films, he grounds them on his personal experience and emotional baggage. Notwithstanding this fact the scenes of these films are not precise reproduction of the reality. Based on sensual experience they are meticulously developed in its dramatic aspect. The characters self-reflection in the plots of Wild Strawberries, Hour Of The Wolf and The Seventh Seal is considered as a screenwriting tool that could help to expose the versatility of their interior worlds. Three kinds of characters selfreflection are pointed out: retrospective, introspective and prospective. Retrospective self-reflection is described on the example of Wild Strawberries. Permanent reference of the protagonist Isak Borg to the different milestones of his life becomes the principal tool of the plotting. Such kind of film narration gives an opportunity to highlight the emotional state of the hero and to unfold his way of thinking. As an example of introspective self-reflection Hour of The Wolf is analyzed. Here self-reflection of the protagonist also serves as the basis of the story. However Uhan Borg (unlike his namesake Isak Borg) does not do a journey through all his life lived but wanders in the labyrinths of his creative consciousness. Prospective filmic self-reflection is clarified on the example of The Seventh Seal. Fear of upcoming death of Knight Block is personified in the image of Angel of Death. Such the tool allows to reveal the thoughts of the characters about their future, to express their fears and dreams.
REKOMENDATsII AVTORAM
Authors: Edition -
Published: February 2020

The academic journal Vestnik VGIK is the leading periodical publication of the All-Russian State Institute of Cinematography named after S. A. Gerasimov, who is the founder of the publication.
Recommendations to authors interested in publishing articles.
The Influence of Far Eastern Culture on the Creative Work of S.M. Eisenstein
Authors: Song Joon Il
Published: February 2020

The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisensteins theory of artistic thinking, his activity as a film director. The author explores the origin of Eisensteins interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.
The Image of Femme Fatale in German Films of the 1920s as Evidence of the Process of Society Renewal
Authors: Smagina Svetlana A
Published: February 2020

The article deals with representation of female characters in the German cinema of the 1920s focusing on the femme fatale as the exponent of the spirit of the age and its numerous inner problems. Then and there, the femme fatale appears as a revolutionary image challenging the traditional life style. tte author analyses the most exemplary films with such a heroine: Genuine, die Tragdie eines seltsamen Hauses, Dirnentragdie and Asphalt.
The Image of the Provinces in the Russian Cinema of the 2000s As a Focus of Civil Identity
Authors: Mikheeva Yulia V
Published: February 2020

The articles originality and relevance reside in the fact that it considers Russian films about the provinces in the context of strengthening national identity, one of the main tasks of the governments cultural policy. The author surveys the films of the 2000s which not only touch upon quite acute issues of Russian societys self-identity but stimulate the process of their solution.
Aesthetic Features of the Modern TV-documentary
Authors: Shergova Kseniya Aleksandrovna , Shergova Ksenia
Published: February 2020

The author of the article investigates the aesthetic lines of the generalized image of modern TV documentaries, such as commercialized "kitsch" and "trash", and finds the preconditions for them in the mode of production adopted in modern Russia's television.
Forecasting the Project's Commercial Efficiency at the Early Stages of Film Production
Authors: Sarymsakov Soltobek Karypbaevich , Sarymsakov Soltobek Karypbayevich
Published: February 2020

The article investigates the unprofitability of Russian feature films and the ways of improving their consumer attractiveness by implementing effective instruments of managing the business process at the early stages of film production. The author offers the methods of predictive estimate of the project's commercial efficiency and the procedure of making a rational management decision on the expediency of its realization within the set-up parameters of resources provisions.
Digital Technologies and Virtual Worlds: Is Mankind on the Threshold of New Art?
Authors: Yaremenko Elena Georgievna , Yaremenko Yelena Georgievna
Published: February 2020

The digital special effects industry is constantly in development and in search of new expressive means. The more and more popular 3D computer graphics can mold characters and objects similar to puppet animation but more detailed and convincing. Computer software makes it possible to fix human movements and create virtual characters. By means of the motion capture technology reflecting the subtlest shades of human plastique the computer catches the movements of the sensors fixed to the actor's face and body, analyzes the data and applies it the 3D model. As a result, screen characters behave like live people. As far as the audience is concerned, there is practically no difference between the reality recorded on film, video or photo, and that created by the artist's imagination with the help of the computer on the modern screen
"I-Film" or "Insight-Film" as a Specific Type of Postmodern Journey. Language Strategy
Authors: Klyueva Lyudmila Borisovna , Kluyeva Lyudmila Borisovna
Published: February 2020

The article investigates the specific film structure characteristic of postmodern stylistics: the structure of «I-film» or «insight-film» in terms of using meditative techniques as structure-making and meaning-making factors.
Digital Technologies and Virtual Worlds: Is Mankind on the Threshold of New Art?
Authors: Yaremenko Yelena Georgievna
Published: February 2020

The digital special effects industry is constantly developing and searching new expressive means. The article explores the ambiguous relationship between virtual reality and cinema. The new milieu is an instrument of film creators, on the one hand, and the film's protagonist, on the other. Virtual space, artificial environment and digital technologies have become part of the "living" reality without our noticing it, and we are its virtual element. (Conclusion, for beginning see Issue # 3-4).
Early Antique Imagery
Authors: Burov Andrey Mikhailovich
Published: February 2020

The article deals with the early antique period of image functioning (Geometric art, Archaic Greece, Physis Philosophy, Pythagoras). The author reviews the main image strategies of the time, the key one being overcoming the featureless imagery and creating model image constructions, i.e. the initial stage in the history of image development (from Geometrics to the invention of photography in the early 1900s). The softening of linear configurations and shaping of large mental images parallel to ixed style forms make it possible to see the emergence of the exemplary image.
On the importance of strategy changes of the discourse by the example of two Alexey Herman's films
Authors: Kljueva Ljudmila Borisovna
Published: February 2020

The given article appeals to the work of M. Yampolskiy "Discourse and Narration" based on a detailed analysis of A. Herman's film "My Friend Ivan Lapshin" Starting from the conclusions made by M.Yampolskiy and invoking Herman's next film "Krustalyov, Mashinu!" the author investigates how the change in the discourse strategy can inluence the inal aesthetic result
The Development of Female Characters in Central Asian Cinema
Authors: Abikeeva Gul'nara Oyratovna , Abikeeva Gulnara Oiratovna
Published: February 2020

The article explores the transformation of female images from the Soviet time till the Independence in Central Asian cinemas. The main images of woman of the Soviet East were determined by ideology: first to give her freedom from feudalism, then to educate. Later appeared other images - of heroic daughters of labor and war. There was no space for being just a woman. Only the image of respectable mother was the stable for the national cinemas and still represents the national cultural identity.
The Phenomenon of the French NewWave. Technology or Ideology?
Authors: Vinogradov Vladimir Vyacheslavovich , Vinogradov Vladimir Vyacheslavovich
Published: February 2020

The article is devoted to the history of the French New Wave. The author tries to find out its sources and comes to the conclusion that it is impossible explain this phenomenon of French film art of the late 1950s-early 1960s by either technological or ideological revolution alone.
The Pattern of Box-Office Receits
Authors: Pigorev Dmitriy Pavlovich , Pigorev Dmitriy Pavlovich
Published: February 2020

: The article analyzes the week's box-office receipts of 650 most top-grossing films for the period of 2006-2010 and builds the pattern of film distribution which helps forecast the profits. The pattern incorporates such parameters as film's quality and informational asymmetry.
"The Karamazov Brothers" as intellectualgames
Authors: Il'chenko Sergey Nikolaevich , Ilchenko Sergei Nikolayevich
Published: February 2020

The article analizes the television version of EM. ПойоуелгекуЪ "The Karamazov Brothers". The author treats the TV series in question as a typical screen production possessing all the techniques characteristic of Russian television, as an adaptation of me classic text's philosophic and artistic richness in accordance with the laws of mass perseption. The artical gives a consise history of the novel's adaptations in the world cinema.
To the Problem of Research Methods
Authors: Gerashenko Larisa Leonidovna
Published: February 2020

The requirements of thesis preparing and formatting change every year in accordance with the internal reorganization of the Russian Federation Attestation Committee. It is the intellect, the structure and logic of the thesis and some psychological skills of the degree-seeker that remains unchanged. The article covers the difficult stages of degree-seeking which helps to better understand this "thorny path".
Space in Art and Cinema
Authors: Sedlovskiy Anatoliy Anatolievich
Published: February 2020

Cinema is a synthetic art form which has accumulated the experience of theatre, literature, music and fine arts. The article investigates the influence of painting on cinema in terms of filling the screen space and artistic assimilation of the linear, spatial and tonal perspective, light and color treatment.
Russian Television: the Conflict of Matrices
Authors: Dzyaloshinskiy Iosif Mikhailovich
Published: February 2020

The article (Continued from #8) deals with the issues connected with the impact of the interior institutional, cultural and communicative matrices on the functioning of Russian media and television in particular, as the most popular and influential resource of public communication. The author reveals the link between institutional matrices, defining the life of the society in general, communicative matrices, regulating social communication, and media matrices setting the limits of professional activity in the sphere of television.
Synthesis of Cultures and Mythological Patterns in the film Holidays of the Childhood
Authors: Pishita Yevgeniy Mikhailovich
Published: February 2020

The article is devoted to the synthesis of cultures and mythological patterns in creating an artistic image. The author analyses the unique polycultural layer of the film Holidays of the Childhood , which comprises mythology as well as everyday, Orthodox Christian and social cultures, and analyses the Grigoryevs' screen adaptations of V. Shukshin's prose.
The Search of New Distribution Patterns in Digital Media Environment
Authors: Bakulev Gennady Petrovich
Published: February 2020

Digital technologies and the Internet in particular are causing deep changes in film industry. The development of the VoD service is enhancing the tendency for digitalization and disintermediation. Consequently, there is a considerable cost reduction in the value chain. In the long term future there can be a radical revision of the existing system of distribution “windows”. To understand the principles of the on-line distribution the author tries to estimate the impact of new media technologies on film distribution and the strategy of its main participants
To the problem of correlation between a screen adaptation and its literary source
Authors: Simonova Svetlana Aleksandrovna
Published: February 2020

Screen adaptations hold a very important place within the paradigm of cinema. Yet, film theorists and literary critics are unanimous neither about the criteria of comparison of screen versions to their literary sources, nor about appropriateness of such a comparison. Thus, some researches tend to analyze the fidelity to the original, while others disregard this notion altogether. The article shows and analyzes different points of view on the issue, and describes the criteria of the choice of a literary source for adaptation
The Significance of Myth in the Work of Andrey Zvyagintsev
Authors: Kljueva Ljudmila Borisovna
Published: February 2020

The subject-matter of the article is the mythological layers in A. Zvyagintsev’s films “The Return” and “The Banishment” and their effect on the artistic structure and processes of the audience’s perception
The factors of competitive ability of national film industries
Authors: Zhabskiy Mikhail Ivanovich
Published: February 2020

Why does one country dominate in European film space while many others are on the edge of total loss of cinematic independence, but some, being strongly dependant, nevertheless try to stand up for themselves and sometimes succeed? Using statistical material, the article (beginning in № 10,2011) highlights the deep objective and subjective factors of the rivalry between national film industries.
Problems of Animation Film Visual Anthropology
Authors: Krivulya Natalya Gennadyevna
Published: February 2020

The article studies animation as a sociocultural practice, a screen art and a research method within the trends of the contemporary visual anthropology. The author surveys the fundamental anthropology animation methods while working with ethnographical, folklore and culture material and the usage of reconstructive animation within the practice of social and visual anthropology.
The Origins of Surrealism. Absolutizing the Unconscious
Authors: Adashevskaya Zlatoslava Alexandrovna
Published: February 2020

The article analyses three films that marked cinema’s mastering of the leading artistic trend at the turn of the 20-ies-30-ies ,that of Surrealism. Comparing films «Un Chien andalou»(1929) and «L'Age d’Or»(1930) by Salvador Dali and Luis Bunuel with the film «Le sang dun poète» by Jean Cocteau (1931) the author follows the transformations the main postulates of Andre Breton, the founder of Surrealism, underwent.
The Great Kamchatka Expedition
Authors: Golovnyov Ivan Andreyevich
Published: February 2020

Russian ethnographic cinema has over a hundred-year history of bright names and classical films. The peak of the ethnographic cinema was in the late 1920s-early 1930s, which was connected with the government order for ‘uniting’ the USSR peoples on the screen. Professional scientists took an active part in the production of the first ethnographic films. The most significant example of such cooperation is the mutual work of the explorer V.K. Arsenyev and the filmmaker A.A. Litvinov in creating films about the nations of the Far East.
«Drowning by Numbers» by Peter Greenaway in light of surrealism
Authors: Perelshtein Roman Maksovich
Published: February 2020

The surrealism, while creating superreality for a superman, has overlooked reality and an personality, considering them used materials. But when the superman started conquering the world, wiping off the map cities and peoples, the enthusiasts of surrealism were appalled. The auteur can hardly cope with this madness game, when it is played by politicians. If Peter Greenaway in his Drowning by Numbers (1988), had betaken himself to countdown, he could have made much better use of decomposing reality idea. However, real art, and Drowning by Numbers is a work of art indeed, no matter what manifestoes it is hiding behind, always amasses the reality.
Screen image. Aftereffect
Authors: Poznin Vitaliy Fyodorovich
Published: February 2020

The article analyses the aftereffect, one of the aspects of screen image perception. Unlike the ordinary perception of the object’s kinetic positions the aftereffect is not based on the analogy but on the contrast. It could be accounted for by the existence of two opposing visual perception systems in the human brain. This effect appears in the perception of both reality and screen image.
Musical Minimalism in the Movies: the Metamorphoses of Time and the Emergence of Sound
Authors: Mikheeva Yulia Vsevolodovna
Published: February 2020

The article analyses the role of musical minimalism in the aesthetic perception and theoretical interpretation of a film. This analysis is based on two phenomena: the transcendizing of the artistic space via the inherent value of an isolated sound and the change in the meaning of time through the repetitiveness of musical techniques.
Camp Aesthetics and Movie Mix
Authors: Tsyrkun Nina Alexandrovna
Published: February 2020

The article is devoted to the “camp nature” of American movie mix and the process of acquiring its authentic stylistic form determined by its genesis on the one hand, and by the “sensibility of an era” (according to Susan Sontag who coined the term “Camp”), on the other. Using the example of “Batman” (1966) the author shows how the nar rative elements of a comic strip get arranged into a new pattern perceived as a fresh articulation of the “living myth”.
Hellenistic Period and Its Cultural Significance
Authors: Pondopulo Gleb Konstantinovich
Published: February 2020

The article is devoted to the role of Hellenism in the forming of the cultural tradition which preserved the classic heritage and passed it over to European culture. It is a new installment to the series of articles “On the Crossroads of European Culture”.
Fractal graphic as digital objectless art
Authors: Nekrasov Dmitry Yurievich
Published: February 2020

This article analyses the phenomenon of digital computer graphics, based on mathematical calculations, and possibilities of using it in different modern art techniques. Digital fractal patterns are irregular, self-similar structures, which are based on natural objects' group of similar characteristics, such as: corals, starfishes, sea urchins, snowflakes, crowns of the trees. The principle of such image shaping is natural, so its worthwhile to trace down it's digital mathematic simulation. Contrary to digital graphic and painting, fractal graphic does not base on classic art traditions. The closest to the fractal graphics are objectless ornamental traditions, inheriting principles of infinite spatial creation of similar groups. The article includes the comparison of general ornamental rules and features of fractal images. Due to the fact that modern computer software allows to create the digital fractal graphics without special mathematical skills, an artist can combine traditional and digital painting and abstract fractal graphic to reach that level of balance and fortuity of an image, that abstract artist has tried to get, using traditional techniques. The fractal graphic is examined as a digital counterpart of traditional painting technique of monotyping in complex art work. Author underlines the likeness of many digital and material ways of creating images. Finally, the visual language of a piece of art still remains more important, than technological details of its production.
The Silent Era in Australian Cinema
Authors: Zvegintseva Irina Anatolyevna
Published: February 2020

The article focuses on the first period in the history of Australian cinema. It is well-known that the present is always rooted in the past. This is true of any national cinema, and the Australian one is no exception. This subject is relevant in the light of the fact that, in the first place, the reasons for the contemporary boom in Australian cinema are impossible to understand and analyze unless they are derived from the awareness of the first steps of Australian cinema. It was in the very first years of the existence of Australian cinema that there emerged a special worldview, inherent in the cinematographic messages of this nation, that would later become iconic of Australian cinema: addressing the reality of Australia, love for its wild and beautiful nature and for the people who civilize this severe land. In their works the filmmakers of the Green Continent have almost always unflaggingly introduced two protagonists, an animate one, a manly, daring human being, and an inanimate one, the nature, magnificent, powerful, unexplored... At the same time, there was formed an image of a Hero: a fair, proud man, for whom honor and dignity are closely linked to striving for freedom. A conflict between the Individual and a soulless system is manifested in the early bushranger films and in the contemporary ones alike, now that the films by the Australian filmmakers come out again and again featuring the Individuals attempts at breaking his bondage. The novelty of this research lies in the fact that while the contemporary period of Australian cinema is well-covered in the global film criticism, the past of this national cinema is almost unknown. Considering the interest in the phenomenon of the contemporary cinema of the Green Continent, the author concludes that the global success of the Australian films today is largely linked to the accomplishments of the cinema pioneers, who against tough competition from American and English films, have laid a foundation for the future victories of this special national cinema.
TV - always and everywhere, for all and for everyone
Authors: Urazova S L
Published: February 2020

В этом труде освещается проблема перевода аналоговой платформы ТВ-вещания на цифровую, а также перспектива функционирования цифрового телевидения на десятилетия вперед. Авторы сборника М.И. Кривошеев, Ю.Д. Шавдия, В.Г. Федунин, известные специалисты в области ТВ-вещания.
Free Will and Existentialism of Death
Authors: Barabash Natalia Aleksandrovna
Published: February 2020

The article examines death as the art phenomenon. Author identifies category of DEATH, considering it through the prism of modern interpretation in works of art. It is noted that death has lost its original axiological meaning, turning into some optional and negligible phenomenon.
Cinema Policy of Simple Solutions
Authors: Zhabsky Mikhail Ivanovich
Published: February 2020

The complexity of the tasks, facing Russian cinematography, is incomparable with the possibilities of their overcoming in the paradigm of simple solutions, adherence to which the state cinema policy demonstrates. The article, prepared at the State Institute of Art Studies, suggests that effective cinema policy is impossible without a careful consideration of specificity, regularity and trends of the cinema process, hiding under its surface and therefore out of reach of traditional statistical accounting, applied research, general educational level of its authors and their everyday awareness (common sense, intuition, practical experience). Conclusion: the worthy future of Russian cinematography is impossible without combination of the three structures - state governance, science and cinema practice.
Problems of Presentation and Typology of Demonic and Monstrous Characters in Animation (for the beginning see Issue #19)
Authors: Krivulya Natalya Gennadyevna
Published: February 2020

The paper (for the beginning see Issue # 19) treats problems of demonic and monstrous as exemplified by animation works. The forms of their demonstration in animation are defined and the reasons, contributing to change of attitude towards demonic and monstrous characters, are emphasized. The classification of animated demonic and monstrous characters, based on their functions, origin, localization and type of hybridity, is provided.
Crime Teenpic as a Subgenre of American Cinema
Authors: Zharikova Vera Vasilyevna
Published: February 2020

The article reviews film genres and the factors determining genre formation as exemplified by the subgenre of youth criminal drama. Like most genres, it appeared in the USA as an offshoot of the gangster film of the 1930s, on the one hand, and as a result of the emergence of youth subculture. The image of an adolescent criminal is still popular in both mass culture and auteur cinema.
James Mangold is “a jewel of a man” in American Cinema
Authors: Zvegintseva Irina Anatolyevna
Published: February 2020

James Mangold is an American director, screenwriter, actor and producer. He graduated from California Institute of the Arts and Columbia University.
Time - Backwards: Mayakovsky Quotes Vertov
Authors: Pronin Alexander Alexeevich
Published: February 2020

The article is devoted to the problem of creative interaction of such significant figures of Russian revolutionary avant-garde of the 1920's, as Vladimir Mayakovsky and Dziga Vertov. The relevance of the study is determined by everlasting public interest in one of the most significant pages in the history of Russian cinema, and its novelty stems from the fact that the author has discovered and analyzed previously unnoticed evidence of citing of Vertov's Kino-eye (1924) in the screenplays by Mayakovsky How are you? (1927). In his article the mechanism of Vertovs cinema texts incorporation into their own literary text script is thoroughly investigated, and a convincing proof for the reason why Mayakovsky resorted to this technique is provided. In addition, the article convincingly shows how the lyrical theme of the script changes the meaning of the quotation, which allows to arrive at the conclusion that quotatione, demonstrated in the original that is the power of cinema over time (negative of time), in the script by Mayakovsky becomes a metaphor for the lack of it as such. In the third script, the author shows breads way back from the shop counter to the peasants fields (frames 16-39), which fully corresponds to the action of the fourth part of the D. Vertov's documentary Kino-eye (32-40 minutes). The article advances the hypothesis that Mayakovsky was counting on recognition of the twist, and a possible D. Vertovs response on this creative game, proposed by Mayakovsky, might be Man with a Movie Camera (1929), since according to the plan and the composition it resonates with the script by Mayakovsky being a likewise lyrical diary of the artist as How are you?. The author concludes that Man with a Movie Camera is probably a sort of intravitam screen adaptation of Mayakovskys script.
Film Studies As a Normative Academic Discipline
Authors: Nikitina Irina Petrovna , Ivin Alexander Arkhipovich
Published: February 2020

In the article for the first time both in Russian and foreign investigation the concept of cinematology as film and arts studies in general as a normative academic discipline is introduced. The authors assert that the key feature of the normative science is the formulation of the mostly non-evident, though sometimes evident evaluations and norms. The authors argue against the assertion that cinema and arts studies are mainly a descriptive discipline that doesnt contain any even obscure evaluations or recommendations. Cinema and arts studies take off actual experience of artistic perception, in particular the perception of the works of art, and attempt at description and generalization of this experience. The latter always contains both estimation of particular acts of artistic perception, art styles and trends, and recommendations concerning what may be evaluated ad genuine tragedy, genuine beauty, film-masterpiece. Assertions functioning as imperatives, where the predicate is implies ought to be, play the focus role in film studies. This two-dimensional mode of thinking composes inner form of all normative sciences constantly switching from passive contemplative speech usage to active pragmatist one. Approaching empirically, the authors argue, that there always evaluation and ambiguous, descriptive statements become apparent in film studies. This fact gives reason to refer film studies to normative disciplines.
Movie Distribution Categories in Russia: Sample of Statistical Analysis
Authors: Ivanov Oleg Valentinovich , Astakhova Nadezhda Viktorovna , Ivanov Danila Olegovich
Published: February 2020

The article analyzes the statistical distribution dynamics of domestic film attendance within the territory of the Russian Federation covering a five-year period (from 2009 to 2013). The authors point out four distribution categories and six subcategories for films in accordance with their attendance at cinemas. Comprehensive analysis of the films grouped into each category allows to make conclusions concerning a progression of absolute measure of domestic film attendance and increase its relative share in the total amount of distribution.
Reflection as an Audiovisual Form of Thinking in Alexander Sokurov's Work
Authors: Mikheyeva Yulia Vsevolodovna
Published: February 2020

The article is devoted to the sound in a film for the purposes of understanding a director's aesthetics in auteur cinema. The questions - What does a sound create in a film? How does it do it? - become the problem of understanding why the sound is used in a film in a certain way. The issue is discussed through the example of Alexander Sokurov's film The Lonely Voice of Man. The author attempts to appraise the significance of sound effects, voice and music as an essential component of screen embodiment of director's existential reflection.
Propaganda: Unity of Polemic Forms and Documentary Images in Russian TV
Authors: Malkova Liliana Yurievna
Published: February 2020

In 2014 the term propaganda came back into turn of speech of political talk-shows losing its negative connotations which had been supported by journalistic discourse in the second half of the 20th century. Talk-shows were filled up with sharp contents, live discussion transgressing the course prescribed by the script, foreign challenges forced to bring up some questions of domestic policy which had been avoided on TV till yesterday. The rigid binding of polemic programs to the news agenda allows to create on TV an intertext based on indwelling mental forms. Their visual filling and daily updating is assigned to news program. Discussion makes them abstract and verbally rationalized, allowing thought to develop, but the binding to news forces it to return to a topical event and serves as the polemic limiter in the hands of the anchor. The news transformed as well. Not only Sunday, but also weekday programs Vremya and Vesti in 2014 turned into analytical programs presenting news penetrated by figurativeness. Their broadcasters and reporters tend to metaphoric speech, the editing together of film shots and thematic blocks aims to provide a highly organized sensual image, expressive montage pervades the entire structure including composition. The news form exploded from within by the power of its content which dictated it to continue against the archaic half hourly time limit. The issues are often taken from the global screen context. Not only an extract from press but foreign TV news may be quoted in long original sequences combining shots with speech and then debated verbally and negated by the whole montage system of the program. Talk shows revealed the difference of ideologies and the ability of their protagonists to come to some sort of ideological consensus, dictated by political notions. Tied with the news agenda, they come as a component of propaganda. The basis of propaganda is repetition. The ideas expressed by the leadership of the country in live transmission get repeated again in record, reduced to a variable extent in newscasts the same day, next day, in Sunday news and analytical programs. Talk show hides the growing frequency of occurrence of these ideas in polemic disguise.
Stylistic Features Of Russian Arthouse
Authors: Poznin Vitaly Fyodorovich
Published: February 2020

The article analyzes stylistic features of Russian arthouse films of the last decade. Contrary to mainstream these movies are designed for narrow, aesthetically advanced audience. It is commonly known, that the style of any film is primarily determined by interpretation of screen space, formed first of all through visual images. Every fresh artistic cinema current differs from others by the method of interpretation of artistic space. Proven practices show that most of the art films of the last decade have one thing in common. This is the mode of interpretation of the art space, characterized by realistic, but in the same time conventional environment, in which the characters act. Interpretation of spatial and temporal space in Russian arthouse is close to conventional theatrical style. This phenomenon is explained by the dominance of parabolic plots with abundance of symbols and allegories. Russian art films are also marked with negative perception of reality. Their action mostly takes place in the middle of nowhere with the minimum civilizational and cultural properties. The choice of location, conventional environment, slow-paced action, unambiguous characters are the dominant features defining the style of majority of art films.
Video Art: Significant Absence of Editing as an Artistic Tool
Authors: Staruseva-Persheyeva Alexandra D
Published: February 2020

The article examines the phenomenon of one-sequence video art. The author argues that the omission of such a significant element as editing helps the artist diminish the plot-line and build a specific communication with the viewer when instead of being a passive recipient he/she becomes an active interpreter of the visual text and the artists collaborator. The rejection of editing allows the artist cement the link with the audience, enhance their empathy, stimulate their cognitive activity.
Creative Process as an Aesthetic Entity
Authors: Sveshnikov Alexander Vyacheslavovich
Published: February 2020

The author attempts to prove the idea that a work of art can be based on negative concepts damaging the general artistic content. The negative trend in this case is overcome by the form characterized by the projection of the creative act into the fabric of the work which allows to perceive it as a full-scale artistic phenomenon.
Love in the Soviet Qnema as the Stereotype of Gender Relations
Authors: Fanina Maria A
Published: February 2020

The article investigates the transformation of the representation of romantic relationships in Russian cinema of the 1950-90s in relation to the social and cultural changes in the country.
Emotional Influence on the Viewer in Contemporary American Cinema
Authors: Vital Feofania Yu
Published: February 2020

The article studies the methods and means used in modern American film drama to control the audiences emotional state, sorting out the major techniques of such control as exemplified by specific films. The main focus is on the catharsis as the key moment of watching a film.
Modernist Cinema of Andrey Tarkovsky
Authors: Fedotkin Stepan V
Published: February 2020

The article examines the work of Andrey Tarkovsky in the context of the 20 th century Modernist art. Dividing the world into the profane and sacral, the time and eternity, using the motifs characteristic of the literature of the early 1900s can also be found in Tarkovskys films. The development of the world film modernism is inconceivable without this Russian filmmaker.
Development of the Animated Poster in the First Half of the XX century
Authors: Krivulya Natalia G
Published: February 2020

The genre of animated posters emerged at the dawn of animation. In 1899, A. Cooper an English director created one of the first movie-posters in the history of world animation. The need for movie-posters with propaganda characteristics arose during the period of the WW1. During that time, the genre of the animated poster had been developed and had even become a stimulus to the development of the animation and film industry. It had achieved its greatest success in the UK due to the advanced level of printed graphics, as well as the fact that the British pioneered the development of systematic promotion approaches. German animators also worked in the genre of animated posters, but they filmed mostly instructional movies which presented technical or military information in a clear and simple form. By the end of the WW1 the structure of movie posters had evolved from transparent to narrative. During the war the genre of the animated poster was not developed in Russia. After the war, propaganda film-posters disappeared from the screens. Their place was taken by mostly political, educational and promotional posters. The time of experimentation with figurative language, technology, and structure of the animated poster was in 1920-1930s. Themes, targets and the form of presentation had changed, but the function remained the same - informational and visual propaganda. As the commercial poster had developed predominantly in European and American animation, the release of political posters initiated the development of Soviet animation. Sentiment changes in global politics and the situation in Europe during the late 1930s which evolved into the WW2, once again stimulated the entertainers interest for the genres of political-propaganda, patriotic, and instructive posters. During the war the production of animated posters formed a considerable portion of all the animation filmed in Soviet as well as American studios. With the cessation of hostilities films in the poster animation genre almost disappeared from the screens.
«Pulsating Organizations» in Culture
Authors: Gordin Valeriy E , Elkanova Elena M
Published: February 2020

The authors examine managerial practices of pulsating cultural institutions arranging film festivals and awards procedures. The machinery of any repeatable film festival implies cycling pattern, that is passing through certain sequential stages with the purpose of their own. Event operational activity is characterized by peaks before and during the event and falls after the festival execution. Pulsating organizations concept is used to highlight film festivals specific nature with the scope of activities that expands and shrinks. Despite the fact that organizational and economic mechanism of the event activities is characterized by unique features associated with the discrete service delivery (including cash flows intermittency, the need in new sources of funding, demand in staff during concrete stages of the festival cycle), there are no special publications analyzing a festival as an organization or within the management framework. tte pulsating effect which emphasizes primarily changes in the number of employees, has an impact on the inner organizational processes, as well as on its external environment, e.g. customer relationship management. Analysis of pulsating effect overcoming models will help to identify the algorithm of more efficient policies for film festival structures management.
Historical Potential of Newsreel and Its Interpretation
Authors: Belyakov Victor K
Published: February 2020

What is a newsreel and how it relates to historical events? When watching the newsreel film footage, it is important to understand it and evaluate. It is necessary to have a specific pre-knowledge and pre-understanding of the subject. We have the right mind to correlate on-screen images with historical events. But newsreels never plays them fully, since they do not give a comprehensive picture of what have happened. Actually, newsreels are largely symbolic, and they also facilitate formation of historical memory. At the same time, to fully understand the historical newsreels one has to use the knowledge about the same events from other sources. When viewing pictures of the past, its vital to take into consideration the author's initial message predestinated for the according audience. This raises the question of the interpretation of the seen today, affected by certain mental filters of the actual audience. It especially tells on secondary use of historical newsreels today in a new documentary. Symbolism in newsreel arises through the symbolism of the ritual demonstrated on the screen. Does the ritualistic imagery bear any esthetical quality? There is a kind of duality: either we see a certain beauty of the ritual, or we look at what is happening only in the informational way. The novelty of the article is determined by its theoretical approach to understanding of the artistic and historical qualities of the newsreel, helpful for researchers and practitioners working in film archives.
The Problem of Artistic Form and the Objectives of Fine Arts Pedagogy
Authors: Sveshnikov Alexander V
Published: February 2020

The widespread tendencies in art to focus on the expression of subjective attitude to an event rather than on accurate depiction of an object have led to an increasingly strong opinion that basic academic literacy has lost its former practicality. Art pedagogic theory often treats the classical and modern education methods as opposites. Traditional education is claimed to be incompatible with the resolution of modern creative questions, and the instruction methods of the past are considered as outdated and unnecessary. Such contradistinction of the old and the new fails to consider the existence of a common pillar, of the main illustrative and interpretative objective, which is instrumental in providing the artistic meaningfulness equally to object-based or object-less art forms. The need to establish a necessary common ground, to resolve that universal fundamental problem at the very beginning of any educational journey, becomes therefore overlooked. This authors argument in favour of the importance of treating such a common objective as a pedagogic cornerstone is based on selected conceptual themes from the works by A. Hildebrand and G. Wlfflin, two classics of art criticism. It is hereby attempted to demonstrate the existence of certain fundamental principles, indispensable for any of the pedagogic schools. In particular, A. Hildebrand pinpointed the importance of the distance seeing, which reveals the necessary general identifying impression given by an event or an object, leading to considering them as a whole, uniting all the separate parts of their image. In relation to this global ability classical academic and contemporary schools differ only in their means of expression, and the argument between them appears to have no ground. Such conclusions are in agreement with the stand of G. Wlfflin, a distinguished art historian and critic. In his studies of the historic development of art form from objective clarity to subjective relative clarity of the objective sphere, he showed that we are dealing here with methodological variations rather than with different views on the core pedagogical values. Different schools of art, and both contemporary and traditional approaches to art education have therefore a common ground: forming of a holistic vision of the student. It is important to keep in mind that, depending on their type of artistic thinking, some students would be able to better reach this goal within the framework of the academic school, and others, on the contrary, while mastering modern forms of art.
Music as a Part of the Theatrical Game of the Movie
Authors: Mikheeva Yuliya V
Published: February 2020

In many contemporary films the theatricalization of separate elements or the film as a whole is used as a means to renovate and individualize the film language. In some cases this process attains an extraordinary freedom (both technical and aesthetic) while using audiovisual means not yet adequately analyzed theoretically but influencing the artistic language and style of the film. The article deals with the role of music and more widely with the audiovisual film solutions in the process.
Cinema of Arabic East: the Problem of Radical Islam
Authors: Shakhov Anatoly S
Published: February 2020

The article searches into the processes of reflecting Islamic fundamentalism in Arab cinema, its efforts to assert itself in the Arab world which puts common people on the brink of extinction and jeopardizes the peace on the planet.
Music in the Metadigetic Space of the Motion Picture
Authors: Rusinova Elena A
Published: February 2020

This extension of the authors previous article udiovisual Means of Creating Metadiegetic Space in Cinema (see Vestnik VGIK #1 (31), 2017) is a historic survey of the sound design techniques which make it possible to use musical expressive means for designating the films subjective space (metadiegesis) and separating the metadiegesis from diegesis by means of music.
Voice in the Metadiegetic Space of the Motion Picture
Authors: Rusinova E A
Published: February 2020

This extension of the authors publication cycle Audiovisual Means of Creating Metadiegetic Space in Cinema (Vestnik VGIK #1(31), 2017; #2 (32), 2017) is a historical, artistical and technological survey of special sound-design techniques that make it possible to use the expressive potential of a human voice in a subjective (metadiegetic) space of the motion picture and through the voice to separate the metadiegetis from the sound realism of the diegesis of an audio-visual production.