bluuebunny/crossref_metadata_2025 huggingface dataset:
Alexander Sokurov’s “Faust”: Projection of Political Disasters in the History of the XX Century on Goethe's Tragedy
Authors: Khrenov Nikolai Andreyevich
Published: February 2020

The Sokurov’s film, based on Goethe's tragedy, is not a usual screen version. The use of a classical piece in order to make a statement about the present could turn into a vulgar and superficial interpretation. But the director’s idea to include new film into the tetralogy, i.e. the group of films dedicated to the dictators of the XX century, implies close reading of the original. Trying to understand the initial Goethe's intensions, the author (series of articles, the beginning see Issue # 17) discovers a source of complex of de monism in the Western culture, which includes explanation of the masses’ perception of the political leaders.
Alternative Forms of Film Distribution and Exhibition in the USSR in the 1920's
Authors: Kosinova Marina Ivanovna
Published: February 2020

The article deals with process of the reconstruction of Russian film industry after the Revolution. Special attention is paid to the problems of the repertoire policy under the near absence of domestic film production. The author also examines alternative forms of film distribution and exhibition (propaganda trains, steamboats, etc.), the principles of promotion the nascent Soviet cinema throughout the country.
C.G. Jung on the Nature of Artistic Image
Authors: Sveshnikov Alexander Vyacheslavovich
Published: February 2020

The article analyses C. Jung’s approaches to the problem of the symbol and the archetype, reviews the relationship between the compositional integrity of an artwork and an archetypal image as the two phenomena firmly rooted in the depths of the unconscious mental processes.
“Moscow text” in Russian cinema in the 1920s-1940s
Authors: Boyarshinova Nina Alexandrovna
Published: February 2020

In the article the Russian films of the period 1920-1940 are considered, the image of Moscow is analyzed in the context of the concept of city text. The concept city text sprang into being as a certain sample of the supra text concept, a complex set of semantically bound texts. This issue is underexplored in the Russian film studies. The urgency of the investigation is stipulated by the fact, that under cultural dissimilation reflection of the separate text integrity, the capitals cityscape expressed in cinema terms in particular, will contribute to the perception of ways of urbanization on socio-cultural level as well as peculiarities of city culture shaping Three concepts of Moscow are specified: Moscow as a Third Rome, with prevaing symbols of power, Moscow as a new Kitezh with bi-worldness images, and Moscow as a new Babylon paralleling the Russian capital with the Bible city. Also such concepts as Moscow as a female protagonist and festive Moscow, rendering the mood of warm hospitality, friendship and cordiality are considered. Different manifestations of all three concepts are displayed in the 1920-s cinema: novelized images of Moscow as a reborn symbol of power, as a two-layered city and as a new Babylon. In the 1930-s the capital in the cinema is represented by comedies, showing Moscow as a dream-city, where all wishes come true, as a conflict-free space with the female protagonist delivering the key semantics of festive Moscow. In the 1940-s the continuation of the previous years tendency is traced - the war themes dont emerge, but the idea of dream city is still popular, elaborated by the ideas of power and domination, materialized in the images of the parades. Next decades the idea of the Moscow as a dream city will be changed, but the power of its influence will reveal itself, whereas the idea of bi-worldness starts to develop in completely different facets.
From an Exploration of Demonism in Early Modern Era to an Awareness of the Political Catastrophes of the 20 th Century: Notes on “Faust” by Alexander Sokurov
Authors: Khrenov Nikolai Andreyevich
Published: February 2020

The article focuses on Alexander Sokurovs Faust, one of the most outstanding pieces of Russian and world cinema (a Venice Film Festival Award). It comments on the directors artistic intentions and the affinities with other parts of Sokurovs film tetralogy about the 20 th century dictators Lenin, Hitler and Hirohito. Contemporary postmodern art practices demonstrate an unprecedented freedom in treating the classical masterpieces; at the same time, this approach cannot be applied to Sokurovs film. The author comes to the conclusion that Goethes intention itself could be analyzed only in comparison with the following historical processes. The 20 th century events allow deeper understanding of Goethes prophetic talent. The article raises a question about the origin of such a mental complex as demonism which was significantly growing during the times of religious crisis, and widely expanded nihilism. At the same time, demonism that was discovered during the era of Enlightenment had clashed with an optimistic attitude of Modern as a discourse. Its consequent exploration took place a century later and was associated with Friedrich Nietzsche who had managed to forebode the historical calamities related to the 20 th century revolutions and world wars from his position of a 19 th century philosopher. Nietsche didnt prognosticate arrival of the dictators, but he defined the barbarian spirit in its new civilized forms. The images of the 20 th century dictators became the embodiment of this spirit, so the phenomenon has attracted Sokurovs directorial attention. In his Faust the director put a spotlight on the early Modern era when the Man began to claim Gods heavenly position. Goethean times with a strong intention to build utopia, as well as an immortal tragedy by Goethe, had attracted Alexander Sokurov who saw it as a harbinger of the 20 th century realities. Goethes tragedy is one of the first attempts to understand the inner workings of the constructive, creative and destructive elements that have been invading the world during the early Modern era. Sokurovs films tell the story of how utopia turned into its opposite, an anti-utopia, i.e. the destructive forms of demonism.
«The White Guard» on TV: fascinated by masscult mythology
Authors: Ilchenko Sergey Nikolayevich
Published: February 2020

The article analyzes the television adaptation of the famous novel by Mikhail Bulgakov, shown on Russian television in 2012. The author juxtaposes the TV-series with the renowned Soviet film Days of the Turbins, premiered in 1976. The analysis is carried out in the context of the history of a theatre version of the novel The White guard, staged in the Moscow Academic Art Theatre in the 1920s, that is Days of the Turbins, highly appreciated by Stalin. Traditionally, both theatre and cinema directors were drawn to the play adapted by Mikhail Bulgakov after his novel. Anyhow, there is a certain subject and semantic difference between these two works. The author analyzes the structure of the TV version, its style, elaboration of on-screen characters, based on the literary source and previous interpretation of the play Days of the Turbins. However, the author argues, that ideological and figurative interference into the original, adaptation to the stereotypes of mass culture significantly distort the perception of Bulgakovs works, largely obliged to the writerss mood and emotions experienced in the years of Revolution and Civil war. Concluding, the author pinpoints both - complexity unit of Bulgakovs text adaptation towards contemporary TV, and misjudgements of the TV-series makers in the way of conception and realization.
Both Screenwriter and Director
Authors: Zvegintseva Irina Anatolyevna
Published: February 2020

American screenwriter, producer, director and actor Paul Haggis has substantially gone down in world cinema's history. Currently he is an author of more than thirty-five feature length films' scripts among which are such significant films as "Million Dollar Baby" (2004), "Flags of Our Fathers"(2006), "Letters from Iwo Jima", "Casino Royale"(2006), "Quantum of Solace" (2008), "Terminator Salvation" (2009). His directorial works are of interest as well. The article is devoted to brief analysis of this "second" and less known Haggis' profession.
Lighting a new generation form the lightscript
Authors: Artemov V A
Published: February 2020

В статье рассказывается о многофункциональных новых источниках освещения нового поколения, предназначенных для кино- и телесъемки, которые основаны на светоидах и плазменных лампах, имеют сниженное энергопотребление и длительный срок работы.
Graphic Trends in New Russian Cinema
Authors: Eliseeva Elena Alekseevna
Published: February 2020

The article analyzes new Russian films, shot during last years and defines graphic trends in modern films.
Collage Methods in Russian Animation Under Market Conditions
Authors: Trapeznikova Yelena Vladimirovna
Published: February 2020

The subject matter of the article is the collage methods in the Russian animation of the last three decades. These methods allow the animator to manipulate not only the standard inventory of space-forming elements, but also various languages and cultural codes which leads to creating a varied complex spatial structure to be interpreted.
Creative Thinking as a Prelude to Creativity in Producing a Screen Product
Authors: Urazova Svetlana Leonidovna
Published: February 2020

The dynamics of media space restructuring raises the issue of creative thinking in multimedia practices. The article establishes the difference between the notions of creativity and craftsmanship in creating audiovisual content.
BIBLIOTEKA VGIK
Authors: - -
Published: February 2020

BIBLIOTEKA VGIK
Theatre and Document: Opposition or Integration?
Authors: Prozhiko Galina Semyonovna
Published: February 2020

It is hard to find more seemingly distant phenomena as the theatre with its obvious affectation and the document always referred to as a neutral indication of the reality. However, a closer comparison of the theatre and film document reveals unexpected similarities.
Dynamics of Opera Screen Forms: Theoretical Aspects
Authors: Masyandjinova Alexandra Vadimovna
Published: February 2020

The article investigates the development of screen opera, touching upon the incompleteness of the evolution of opera screen forms, the convergence of screen culture and classical opera as well as the growing influence of screen art-forms on the opera which cannot exist without video technologies today.
Cinematic Nature of English Pre-Raphaelites’ Painting
Authors: Bernatonite Ada Vilisovna
Published: February 2020

The article analyses the peculiarities of the Pre-Raphaelite style from the viewpoint of its cinematic imagery. The work of Millais, Rossetti and Hunt is described in terms of film language (close-ups, the subdivision of the pictures composition into individual narratives, the creation of a particular mood by using details, the background as a long shot, etc.) explaining the hyper-realism of the Pre-Raphaelites.
Silence of the Author: Semantics of Muting in Cinema
Authors: Mikheyeva Yulia Vsevolodovna
Published: February 2020

The article analyses various forms and meanings of the directors deliberate abandonment of sound and/or music both on screen and off screen. The absence of the soundtrack is defined in such terms as reverberant silence, generating silence, intimate silence, inex-pressible stillness, after-sound silence, silence as absence, which characterize the directors aesthetic attitude towards the image.
Video Art: “A White Cube” or “A Black Box”?
Authors: Staruseva-Persheeva Alexandra Dmitrievna
Published: February 2020

Video art is a hybrid, combining features of both contemporary art as well as screen arts. It brings together different ways of perception working both in a manner of a movie which transfers the viewer into virtual daydreaming (Matthew Barney, Steeve McQueen), and in a manner of a painting or sculpture which gives a viewer some intense corporal experience (Tony Oursler). Accordingly, there are two ways of presenting video art: in a white cube and a black box. In 1970-s video art used to be presented in white cubes of contemporary art galleries where they nailed the screens right to the wall. In a white cube video comes into the viewers sight together with other items in display, therefore a show-piece comes into contact with other ones in a spectators minds eye. Moreover, a white cube gives visitors an opportunity to be in charge of their time of viewing, which implies, that the white cube perception appears rather chaotic and the final cut of a video in the spectators mind becomes unpredictable, what is characteristic of video. In 2000-s when both video and film technologies got replaced by the digital one, all the moving pictures started to resemble one another. A well-lit room of a white cube was not appropriate for high definition videos, whereas a black box is usually associated with a cinema hall and consequently a video presented in such a cinematic manner makes a viewer unconsciously expect to see a cinematic piece of art. Video today is an indispensable figurant of any significant exhibition of contemporary art and it is defined as an artistic (not cinematic) media. Traditionally video is being exhibited in a white cube of a gallery; however, there is now a distinct tendency to present video art in a black box, that is in a cinematic way. As a result its getting harder and harder to distinguish video art from experimental cinema. Nowadays the very strategy of presentation of video may help this media to retain identity or to lose it.
Reconstruction As a Show In Contemporary Historical TV-research
Authors: Ekimova Anastasia Victorovna
Published: February 2020

The article investigates numerous methods of representation of the past in contemporary TV-mocumentary exemplified by the series about British farming (British Farm). Despite the apparent authenticity of the television image, the attraction of the authors to usage of the on-screen real historical objects and documents reinforcing the narrative by opinions of noted experts, one cannot admit authenticity of the realm represented. The information in such historical series is often presented as a phenomenon, the task of which is rather to hide the true reality, than to represent it. Instead of reconstructing history through artistic means of docudrama, the TV-series mostly create it. For this purpose, effective techniques of artificial dramatization as a synthesis of live sound, vivid images, voiceover and an unusual angle are employed. The author considers the level of relations in contemporary screen document of historical data and pseudo household facts, interesting for the average viewer; knowledge of professional historians, based on authentic sources and documents, and the attraction of mass audience to myth and speculation, taking up science as entertainment. The relevance of this work is sustained by the growing influence of mass culture on contemporary TV, including documentary projects, which leads to the standardization of the screen document. The novelty of the article consists in the analysis of juxtaposition of the techniques of journalism and feature cinema in TV-series, and the impact of these combinations on the balance between the educational and entertaining components in the TV historic series.
Time and Essence. Study of Cinema Product Temporal Analysis
Authors: Marievskaya Natalia Yevgenyevna
Published: February 2020

Is the ingenuous inquiry What is the film about? so simple, for the response to that thing which sometimes causes confusion not only for a common audience, but for an experienced critic. The issue for unveiling film essence through its artistic time analysis has been declared. Lars von Triers Nymphomaniac has been considered as an example for temporal analysis, algorithm of motion towards cinema products essence core being given. Through analysis of time forms constituting film parts, genuine essence has been brought to light what the author has really had in mind - probably even contrary to his aims and against his statements. The conclusion reads that causal relationship has been found as temporal relationship. Hence, film story and artistic time within cinema product is declared to be substantially valid. Looking into horizontal time of Nymphomaniac made the author's idea of logics deployment and its general outline clear. For this purpose temporal forms that include plot-making essence, first of all cyclic and non-linear time, have been taken into consideration. Film temporal construction reveals itself at once through the heroines realized procedure of remembrance of her own life circumstances that led to a catastrophe occured at that very evening when Seligman found her covered with sewage and in an extremely bad state. The above mentioned procedure supposes convergence towards the truth that a hero confirms in relation to himself. So that does happen in Lars von Triers film. The inner film cycle ends with that. The question still remains why Joe for whom a persons life is the highest value that nobody can make an attempt on, pulls the trigger and kills the man who provides her with a lodge and became her speaker during that long tormented night. What does these two heroes conflict content consist of? For the purpose of answering the question it has been studied how time for both heroes is constructed. It has been shown that characters conflict is an unsolvable conflict of two different value systems connected with different types of culture.
1992-2012. Attempts at Privatization of Film Studios
Authors: Ziborova Olga Petrovna
Published: February 2020

The article deals with the changes taking place in the property sphere of Russian film industry under the influence of economical and political factors, namely the transformations that the major Soviet film studios had gone through in the post-Soviet period.
From Theory to Methodology of Cinema
Authors: Schtein Sergey Yuryevich
Published: February 2020

The article is an attempt to justify and describe the way of transition from the object-oriented and conceptual-oriented theoretizing about cinema resulting in the existing fragmentary film theory to special methodological work comprising the problematization of the existing knowledge-modified representations, their deobjectivation, arrangment and reorganisation according to the program of the cinema onthology, understood as the fundamental element of the cinema-as-system - of- activities.
The First Men on Venus: Space Travels in Russian Cinema of the 1930-1960s
Authors: Sputnitskaya Nina Yuryevna
Published: February 2020

The purpose of the article is to introduce unknown archive documents and footage into scientific use, to give historians new factual material on sci-fi cinema. Based on the experience of those film directors whose work did not find adequate representation in Russian cinema-tology, the author argues that the first film about conquering Venus was conceived and partially shot in Russia in the late 1930s. The vast archive material cited in the article is aimed at changing the existing conception of the development of sci-fi genre in the worlds cinema.
Evolution of Mythological Narrative in Sergey Bodrov's Work
Authors: Kurdiayev Grigory Igorevich
Published: February 2020

The article explores the work of Sergey Bodrov Sr. in the context of the release of the epic fantasy film Seventh Son and substantiates the reason of the organic adaptation of a Russian directors artistic stance in foreign cinema.
S.M. Eisenstein’s Aesthetics in Semiotic Perspective
Authors: Khrenov Nikolai Andreyevich
Published: February 2020

The article is devoted to the semiotic interpretation of the theoretical heritage of S.M. Eisenstein, the film maker who anticipated the structuralist approach which has been so popular from the 1960s. Back in the 1960s, Eisensteins heritage attracted the attention of Academician Vyacheslav Ivanov because he found there he found a trend for understanding cinema as a language or, to be more precise, as a semiotic system. Vyacheslav Ivanov could not but notice it, as the formation of semiotics methodology in Russia is associated with his name. No wonder that he would reflect on the background of art semiotics which in the sphere of motion pictures is associating with the name of S.M. Eisenstein. While trying to appreciate the significance of Vyacheslav Ivanovs research of Eisensteins aesthetics, the author is contemplates on the application of semiotics methodology to the cinema as a semiotic system. In this regard the article is reproducing the aura of devotion to semiotics of domestic film scholars. When explaining the meaning of the title of Ivanovs book on S. Eisenstein, the author argues that the concept of semiotics was initially developed on the stage of the formation of aesthetics as a philosophical science.
From Theory to Methodology of Cinema
Authors: Schtein Sergey Yuryevich
Published: February 2020

The article aims at justification and description of transcendence from the object-oriented and conceptual-oriented theorizing in cinema studies resulting in the existing fragmentary theory of the cinema to the special methodological development as a framework of problematization of the existing knowledge-modified representations, for their de-objectivation, rationing and arranging according to the program of the cinema onthology, understood as a main constructive element of the cinema considered as system-of-activities. The author analyzes "turn" from classic to specific methodological work connected with transition from an activity problematization to problematization of object representations concerning cinema, replacement of a reflexive stage - process of a de-objectivation of problematization, and a stage of promotion of methodical provisions - rationing the de-objectivation knowledge. As one of initial conditions of the special methodological activity developed in article the notion of norm is defined in work of the methodologist of cinema ,connected with the fact, that the objectified parts of knowledge of a cinema received by it, have to be in relation to ontology of cinema to the scalable derivative expressed in the logical, structural and conceptual key set by theoretical model of ontology cinema. This condition does the received constructions within the described methodological work functionally jointed with each other without carrying out additional methodological work. Thus, methodology of cinema described in article as a specific form of activity, first, is the effective tool for work with any sort as object representations of a cinema, and, secondly, the subjert independent mechanism forming the objectified film theory. That ushers in essentially new stage in development of cinema studies. Summing up, personality of the new specific subject of cinema studies, that is the methodologist of cinema, intended to carry out this methodological work, is described. The functions of the methodologist in its framework are limited not only by its own strict norms, but also by a number of the ethical principles allowing it, being in an activity cinema system, to abstract from the situation and prevent from becoming a part of the system.
The Meat Grinder by K. Mintz and A. Razumovsky. Reconstruction and Analysis of the Oberiu's Film
Authors: Kiselev Alexey Olegovich
Published: February 2020

On the 24th of Janurary 1928 the Oberiu art-community (Daniil Kharms, Alexander Vvedensky, Nicholay Zabolotsky, Igor Bakhterev et al) performed its famous theatrical soiree, the last public act of the Russian avant- garde, Three left hours in the Leningrad Publishing House. After a series of poetic performances and an avant-garde performance Elizaveta Bam there was demonstrated the first and only Oberiu's film - The Meat Grinder. This result of Klimentiy Mintz and Alexandr Razumovskys screen debut was shown just once and wasn't preserved. But judging by the memoirs left after this theatrical evening, one is able to restore a conditional explication of the film, as well as determine its position in the context of avant-garde experimental era of the montage cinema. The author concludes that the audience watched a rare example of a feature compilation of a war movie with an absent story and rhythm as major means of expression. The article correlates the phenomenon of The Meat Grinder to the compilation works by Esfir Shub, while the formal method of Oberiu's cinema looks like inspired by famous films by Sergey Eisenstein and Vsevolod Pudovkin. The special attention is drawn to a fragment of Oberiu's Declaration, which refers to the ways of the new cinema and new tasks for film directors of modern, radically changing times. Here could be found some straight rhymes with the manifestations of the French film avant-guard - Fernand Leger, Jean Cocteau and Paul Valery. However, the author finds the identifying category of shaping ideology and of film language of Oberiu's filmmakers not just in the space of theory with abundance of manifestos, but also in a particular place and particular social-group, that is the leftist center of radical art, paintings of Filonovs adherents, and community of young poets, who call for recognition of the intrinsic value of any object in the artwork.
Sound Editing in Screen Works
Authors: Efimova Natalia Nikolaevna
Published: February 2020

The article pinpoints peculiarities of sound editing in movies basing on analysis of partitions of popular films of40-90s; the most frequent principles of sound track arrangement are examined for the first time. The stuff selection is conditioned by measure of popularity of screen works in question. Due to talent of such famous composers as I. Dunaevsky, S. Prokofiev, A. Khachaturian, A. Pakhmutova, A. Petrov et al and their ability to hear plastic imagery, to comprehend filmic atmosphere music plays an extremely important part in these films. Many songs from these films are still in circulation even now. Thorough sound design and editing are of great significance in film production. The author comes to conclusion, that rondo as a musical form and leit-motif as a principle of musical stuff development form a dominant principle of sound stuff arrangement. The two fundamentally tighten the structure of the film. Since original music affords to accentuate sound effects in the most adequate way, it seems perfect to call to a composer for creating original music. The author assumes, that the choice of sound arrangement principle in cinema depends on deliberate conception of the film, wrought out by the helmer, composer, and supervising sound editor. The screen works property is closely bound with attentive partition editing.
Video Aesthetics in Cinema and Video Art
Authors: Smolev Daniil D
Published: February 2020

The article is devoted to the genesis and unique semantic characteristics of video aesthetics pertinent to both auteur cinema and modern art (video art, in particular). Being a kind of common denominator for these art forms, video aesthetics manifests itself differently in the art gallery and film theatre, in the duration of a video work and a feature film, in the mentality of a film director and an artist. The author makes an attempt to reveal the methods of reciprocal influence of the two art forms, their specific languages connected through video aesthetics illustrated by the work of Harmony Korine, Vincent Gallo, Philippe Grandrieux and Philippe Parreno.
Branding as a Factor of Competitiveness of the “Lenfilm” Studio
Authors: Pankratova Marina I
Published: February 2020

The article examines the present situation of the Lenfilm, Russias oldest film studio, estimates its competitive advantages and defines its progress trends. The analysis makes it possible to formulate the primary administrative measures aimed at the studios development and recovering the position of one of the leading Russian production companies.
Visualization Techniques on Business TV
Authors: Dolgova Yulia I
Published: February 2020

The article surveys the visualization techniques on business TV The author investigates traditional plastic expressive means including latest digital technologies as well as creating works in visual genres and formats of television art. It also looks into the specific character of personification on business TV
Media Evolution Emulation
Authors: Bakulev Gennady P
Published: February 2020

The article researches the methods of media evolution emulation. The author believes that communication media undergo the same stages as any other technology which can be roughly described as emergence, development and disappearance and gives a thorough insight into the evolution of media (as exemplified by the Internet) as a natural life cycle. Here, two approaches - technological determinism and social constructivism - are merged into a sub-theory called media-constructivism stating that constant interplay of new and old media is the main factor determining the result and direction of a new mediums evolution. This linear interpretation is opposed by a multilevel pattern taking into account economic, political, social, cultural and other factors. It is also pointed out that each medium does not evolve separately but in constant intercommunication.
Representation of Youth in Soviet Cinema of the 1950s
Authors: Zharikova Vera V
Published: February 2020

The 1950s in the history of our cinema became a transitory stage from the grand style aesthetics to humanistic realism of the Thaw period. One of the most significant traits of this transition was the appearance of young characters on screen (school pupils, students) who were striving to fulfill themselves and find their own way in life. The article analyzes the images of the young people as they were represented in films of that period.
Conversation Direction in Russian Contemporary Documentaries
Authors: Trukhina Alexandra V
Published: February 2020

The article analyzes two types of conversation as a method in making documentaries: that of portrait and problematic one. Various roles of the author of the film are disclosed: author as the only director taking the protagonist along, author as a co- director giving freedom to the character, the co-author of his own screen image; as a participator of the events, provoking the protagonist to manifest himself. It is well grounded that all the three variants are quite productive if they give a docufilm director a chance to implement creative tasks.
European Avant-guard: Dialectics of “Feature” and “Non-feature” Films
Authors: Lyubovich Maxim V
Published: February 2020

The article concludes the early stages of methodology of phenomenological interpretation of reality in its forming in the context of the European avant-garde cinema. The subject to analysis is the dichotomy of fiction and non-fiction aesthetics in the documentary stylistics and poetic consciousness, based on the films of Dmitry Kirsanov, Joris Ivens, and Luchino Visconti.
The Theme of Apocalypse in Australian Cinema
Authors: Zvegintseva Irina A
Published: February 2020

The article analyses the Australian apocalypse films. Apocalypse is often used as a synonym to the worlds end or a world scale catastrophe. The world knows hundreds of motion pictures of different talent and artistry, where the set takes place either before, during or after a global catastrophe. Reasons for the apocalypse vary: nuclear war, alien invasion, riot of the machines, a gigantic meteor, a disease unknown to science, etc. Nevertheless, the result always remains the same: humanity ceases to exist. Australian filmmakers, too, have not stood out of their foreign colleagues and made a large amount of films, that tell about the worlds end, out of which many are impressive and significant, indeed.
Naomi Kawase: the Eternal and the Transitory
Authors: Terakopyan Maria L
Published: February 2020

Naomi Kawase is one of the most renown female Japanese director, awarded by the Cannes Film Festival more than once. She works alternately in fiction and documentary film, not drawing a distinct line between the two. Her favored themes are birth and death, the union of man and nature; the most distinctive feature of her style is technical minimalism. The region of Nara, Kawases home - is almost always the location for her films.
The 60s. Half a Century Later. Nostalgia
Authors: Prozhiko Galina S
Published: February 2020

Overlooking the misery of artistic search in modern practice of the national documentary cinema prompts to turn to the experiences obtained half a century ago: the rise of artistic search in the documentaries of the 60-s. The article examines the socio-psychological atmosphere, which formed the moral solidarity" of the generation that devoted itself to the renovation of documentary cinema; as well as looking into the makeover of the aesthetics of screen documentary of that time.
Countercommunicative Mechanisms in the Artistic Practice of Cinema
Authors: Klyueva Lyudmila B
Published: February 2020

The article examines the role and significance of counter-communicative mechanisms in modern cinema. A detailed analysis of the strategy of de-automatization of artistic structure in Andrei Tarkovskys The Mirror is presented to support the article.
Interpretation of the Soviet Thaw (Ottepel’) Period in Contemporary Cinema
Authors: Ziborova Olga P
Published: February 2020

The article analyses modern films and TV series about the generation of the 60-s, as well as looking into the causes that made directors appeal to that historical period, and the relevancy of the issues of the past in the modern days.
Faith as One of the Universal Existential Categories
Authors: Barabash Natalia A
Published: February 2020

The article attempts to study the idea of FAITH in the context of philosophy, its interpretation in the work of art in perspective of time. The changes in interpretation are associated to social shifts, a paradigm change, when the take being begins to prevail over the spiritual; and the increased significance of science. So the need for God as a mean to explain the Universe becomes more and more negligible as the materialist concept of world takes hold.
Economic Regulation in the Sphere of Culture and Art: the Current State and Essential Problems
Authors: Molchanov Igor N
Published: February 2020

The article studies functioning of the Art and Culture sector. The author looks into the specifics of economic regulation in culture, dwells on the idea of socially oriented cultural policy and its role in structural upgrading of Russian economy, offers possible ways to increase the efficiency of economic activity in the field of art and culture.
TV Project as a Specimen of Social Engineering
Authors: Dmitrenko Yevgeniya L
Published: February 2020

The article views a socially significant television project as a form of social engineering and determines the innovative approach in visual media based on social functions. A highly relevant TV-product ensures both interaction with the audience and attainment of the goals vital for social development.
Lost in Translation: Songs in Foreign Films
Authors: Parfentyeva Yelizaveta N
Published: February 2020

The article discusses the necessity to translate songs when adapting the film for international release. While dubbing or subtitling, film supervisors and translators seldom pay attention to the translation of the songs thus depriving the audience of perceiving the directors concept and dramatic structure to the full.
Directing “Mixed” Forms. Dialogue of Classical Traditions and Modern Creative Practice
Authors: Yekimova Anastasiya V
Published: February 2020

The article compares the expressive means used in Soviet and modern docu-fiction films. The influence of digital technologies as well as the determination of multimedia aesthetics have led to a quantum leap (not always positive) in making of hybrid forms.
The 60s. Half a Century Later. Nostalgia
Authors: Prozhiko Galina S
Published: February 2020

The author of such books on film history and theory as Masterpieces of the Documentary Screen (2015), The World Documentary Screen (2011),The Concept of Reality in Pre-Television Era (2004), The Concept of Master Shot in the Screen Document (2002), The Issues of Modern Soviet Documentary Filmmaking (1988), and a number of articles published in various academic journals. Summary: Overlooking the misery of artistic search in modern practice of the national documentary cinema prompts to turn to the experiences obtained half a century ago: the rise of artistic search in the documentaries of the 60-s. The article (conclusion, for the beginning see issue № 4 (26) 2015) examines the socio-psychological atmosphere, which formed the moral solidarity" of the generation that devoted itself to the renovation of documentary cinema; as well as looking into the makeover of the aesthetics of screen documentary of that time.
Animated Poster: Its Origins, Specificity and Peculiarity
Authors: Krivulya Natalia G
Published: February 2020

The present article opens the series of articles Animated poster: Periodization and Modification of the Genre devoted to the animated poster which has not been investigated by Russian film scholars until recently. The author gives the definition of the animated poster, reveals its main types, offers the principles of its classification, determines its origins and specific features.
Isao Takahata’s Nostalgia
Authors: Karchava Lamara L
Published: February 2020

The article is devoted to the work of Isao Takahata, a Japanese animation director. A co-founder of Studio Ghibli, a representative of realistic anime, he is famous for his films Grave of the Fireflies, Only Yesterday, The Tale of Princess Kaguya.
Indian Cinema: Past and Present
Authors: Nefedova Darya N
Published: February 2020

Indian cinema is a unique, original phenomenon of world culture with a rich history and deep roots. The dawn of the era of cinema in India is referred up to 1913, when the film 'Raja Harishchandra' by J.G. Phalke was shot. Further development of cinema going in different directions in several chronologically successive stages, and the most famous center of the film industry has gradually led Bollywood in Northern India. The early cinema works are not enough accessible to study, and the first stage is clearly traced in the span of 1940-1960s, when the plot has become the basis of the social problems of the society, directly connected with striving for independence. 1970-1980s were characterized by relative imperturbation in the country and the lives of the Indians, so the results of this time became widely known in the USSR and influenced on Russian melodrama. The first Indian TV-series wore melodramatic and mythoephic nature. In 1990s the process of globalization touched upon film industry in India. As a result the films underwent substantial Europeanization, but on the other hand appealed to domestic traditions and values, performing a kind of popularization and propaganda. There is a fully manifested characteristic of the Indian film industry mixture of genres called "masala". In 2000s the line of reasonable combination of modern trends with traditional culture and national originality of cinema went on. Currently, the Indian film industry continues to develop. Conservative technology combined with modern technical equipment are actively used in the shooting process and in the cinematic action. However despite this the cinema of India is a vivid example of conservation of the unique national art in a world cultural unification process.
A Criminal as the Main Movie Character, or Old Themes and New Solutions
Authors: Zvegintseva Irina A
Published: February 2020

The former British colony, emerged as a place of exile for the most dangerous criminals and unreliable people from the metropolis, Australia began its existence very unenviable, appearing on the world map called "The Earths hell", which was used to frighten children in Europe. The fact is: the gene fund of the nation - the convicts, their guards, and adventurers came from all over Europe in hope of a better life. The first half of the 19th century Australia, in fact, remained a giant reforming home, a jail. And whatever paradoxical it might explain the significant number of films shot in the 20th and in 21st centuries with criminals as protagonists. When touching upon permanent plots and problems in Australian cinema, it should be noted that the "eternal" love of the inhabitants of the Green continent to the favorite national hero Ned Kelly, a former convict and burglar has not disappeared. In the minds of the Australians the burglar has become a symbol of the fighter against injustice, a sort of "Australian Robin Hood". The main characters of the movies were bushrangers in Australia called escaped convicts, pariahs of the society, hunting armed robberies and burglaries, hiding from justice in the vast valleys of the Australian Bush. Here, incidentally, there is a parallel with the American film industry that also has surpasses the rank of the most beloved and popular criminals in the country from Al Capone, Bonnie Parker and Clyde Barrow up to Bugsy Siegel and John Dillinger. But soon such films were banned because of the monopolies of the USA and the UK movies on the Australian market. However, life itself has started to supply filmmakers with the stories that hardly could come to the minds of writers with the wildest imagination. The real horrible crimes and not less real maniacs, sadists, pedophiles, whose actions have forced to shudder the whole society, both in the past and the present, formed the basis of a number of films shot in Australia. The analysis of these movies, the authors' position, the artistic value of works have become the target of this article.
On The Matter of Market in Cinema
Authors: Zhabskiy Mikhail I
Published: February 2020

At cinemas inception the market played the role of the midwife. Further on, market relations had been one of the fundamental framing conditions for the formation and the development of cinema as a social institution, with all its merits and demerits. It was along the pathways of the market that cinema crossed over from France to Russia. The state more suffered it rather than accepted it. Nicholas II deemed cinema a vacuous, no-good-for-anyone, and even harmful entertainment. Of the same opinion initially was V. Lenin. But, having positioned himself at the helm of the state, he put forth the task of turning cinema into artistic propaganda and the most important of the arts. Commerce in cinema was subjected to an ideological and aesthetical anathema. However, market relations did not cease to exist altogether. They rather took on a rudimentary and truncated form. But even in that state, market relations came to be one of the decisive conditions for the cost-effectiveness of Soviet cinema. Since many deny it, in the article this viewpoint is overturned by an analysis of statistical materials from 1976 and 1986. It is shown that the cost-effectiveness was concealed by draconian taxation and the economically groundless expenditure on operating the exhibition network which had been built with a view of film service to the entire population, including the rural. In the late 1980s, on the initiative of the Soviet state, a turn was executed toward a legitimate socialist market. But in reality, only the first steps were made in that direction. Intervene did the demise of the state regime in the USSR. In the post-Soviet period a proper development of the market mechanism did not come to pass. Functioning primarily thanks to the state financial support, the national cinema of contemporary Russia is of a mixed sort: a public-mercantile one.
A. Sokurov’s “The Lonely Voice of Man” in the Context of Russian Cosmism
Authors: Vinogradov Vladimir V
Published: February 2020

The article is devoted to the first collaborative work of the director Alexander Sokurov and the scripwriter Yury Arabov The Lonely Voice of Man, based on A. Platonovs works. The everlasting value of the picture is expressed through a number of concepts and images, identified by the author, which will later become his central ideas and further develop in Sokurov's films. The author analyses the imagery system of the film, its major concepts in the context of artistic-philosophical system of Platonov and N. Fyodorov's philosophy of the common task, addresses the main and essential biblical allusions implicated in the film. First and foremost, the main character Nikita Firsov is associated with the images of the prodigal son and Jesus Christ: love without any body contact, break with the father (earthly), Nikita's departure which reminds of Christ's withdrawal to the desert, return of Nikita associated with the arrival of Christ in Galilee, unique resurrection from the dead, etc. The research is based upon the concept of substance of existence - the central idea of philosophy of Russian cosmism and Platonov's artistic-philosophical system (greatly influenced by the ideas of N.Fyodorov). In the context of A. Sokurov's creative work the author pinpoints the issue of the filial love, as a necessary condition to achieve unity and harmony that became the basis for philosophical explorations of N. Fyodorov and philosophical-imagery system of A. Platonov. The author also juxtaposes A.Sokurov and A.Tarkovsky in their ways of depicting historical (narrative) time. A.Tarkovsky defines this category via motive of unity of a person with the world resulting in disappearance of the notion of the past (in accordance with the Fyodorov's vector of mankinds movement). A. Sokurov like A. Platonov expresses this historicism through entropy. For A. Tarkovsky it is a cutoff, eternity and homogeneity (an absolute substance of life), for A. Sokurov (as well as for A. Platonov) it is a movement and versatility.
The Problem of Artistic Form and the Objectives of Fine Arts Pedagogy
Authors: Sveshnikov Alexandr 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 pedagogy theory often treats the classical and modern education methods as the opposites. Traditional education is claimed to be incompatible with the resolution of modern creative questions, and the instruction methods of the past are seen as outdated and unnecessary. Such contrasting 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 for the importance of treating such a common objective as a pedagogic cornerstone is based on selected conceptual themes from the works of 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 pointed out the importance of the distance seeing, which reveals the necessary general identifying impression given by an event or an object, leading to seeing them as a whole, uniting all the separate parts of their image. Classical academic and contemporary schools, in relation to this global ability, 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 modern and traditional approaches to art education have therefore a common ground: forming of holistic vision in 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.