bluuebunny/crossref_metadata_2025 huggingface dataset:
Influência de fatores ambientais nas propriedades mecânicas de biocompósitos de pla reforçado com fibra de coco e borra de café
Authors: Dos Santos Erika Bomfim , Passador Fábio Roberto , Montagna Larissa Stieven
Published: February 2020

O desenvolvimento de biocompósitos poliméricos tem despertado tanto o interesse científico quanto industrial em desenvolver produtos ecologicamente corretos para diversas aplicações. Desta forma, este trabalho de pesquisa teve o intuito de desenvolver e caracterizar compósitos biodegradáveis de poli (ácido lático) (PLA), reforçado com diferentes porcentagens (5% e 15% m/m) de fibra de coco (FC) e borra de café (BC), sem tratamento superficial. Tanto a FC quanto a BC são popularmente tratadas como resíduos sólidos e apresentam grande potencial para serem utilizados como cargas naturais agindo como reforço e também como aceleradores da biodegradação em matrizes poliméricas para a obtenção de um material biodegradável. Os compósitos foram processados em um homogeneizador DRAIS seguido de prensagem a quente. As amostras foram caracterizadas pela análise visual (imagens macroscópicas) e medidas de ângulo de contato (goniômetro), bem como foram submetidas aos testes de absorção de água e envelhecimento em estufa, seguido do ensaio de resistência ao impacto Izod. Após, verificou-se absorção de água, perda de massa, análise visual, resistência mecânica ao impacto Izod e a caracterização morfológica por microscopia eletrônica de varredura (MEV) da superfície de fratura das amostras após ensaio mecânico. A partir dos resultados obtidos verificou-se a boa adesão entre as cargas naturais e a matriz de PLA, resultando em valores de resistência ao impacto próximo ao do PLA puro, porém os fatores ambientais influenciaram diretamente nessas propriedades mecânicas, tendo a umidade interferida na redução e no envelhecimento do leve acréscimo dos valores de resistência ao impacto.
Identificação de requisitos de clientes em pesquisa de patentes Para avaliar tecnologias de equipamentos agrícolas
Authors: Dos Santos Bruna Karine , Romano Leonardo Nabaes , Marini Vinícius Kaster , Buenos Alexandre Aparecido , Dos Santos César Gabriel , Dos Santos Diego Michael Cornelius
Published: February 2020

Este artigo tem como objetivo demonstrar um método de identificação e análise de anterioridade de patentes para avaliação comparativa de tecnologias baseadas em requisitos de clientes, exemplificando o caso de pulverizadores costais utilizados na aplicação de agrotóxicos para a cultura do tabaco. A primeira fase do método compreendeu a identificação das patentes por meio de um processo de seis etapas executadas na Plataforma Orbit Intelligence. A segunda fase do método abrangeu a análise dos registros das patentes por meio de um processo de quatro etapas. Os resultados obtidos na primeira fase foram classificados em três grupos de pulverizadores, totalizando 59 registros de patentes: tipo costal, 27 registros; tipo carro de mão, 13 registros; e tipo montados em um trator e/ou autopropelido, 19 registros. Na segunda fase da análise da revisão bibliográfica e dos registros de patentes foram definidos e valorados, por meio Diagrama de Mudge, cinco requisitos de clientes principais: ser de fácil operação; permitir operação em plano inclinado; permitir operação ergonômica; permitir operação segura; possuir baixo número de componentes. Esses requisitos foram utilizados na avaliação das tecnologias patenteadas sob a abordagem SMART da matriz multicritério, resultando na indicação da tecnologia que melhor atende ao conjunto dos requisitos considerados para o pulverizador costal. Conclui-se que o método de identificação e análise de anterioridade de patentes apresentado, exemplificado por meio de um estudo de caso de pulverizadores costais, evidenciou as tecnologias que melhor atendem aos requisitos de clientes, permitindo revelar o estado da arte dos registros de patentes nas bases mundiais, principal objetivo da busca de anterioridade de patentes.
Considerações a riscos geotécnicos em barragens de rejeito
Authors: Cardozo Fernando Alves Cantini , Ruver Cesar Alberto , Gehling Wai Ying Yuk
Published: February 2020

Este trabalho visa abordar os riscos associados a barragens de rejeito da mineração quanto à influência de variações de parâmetros de projeto frente a estabilidade da estrutura e possíveis alternativas de projeto que visem a minimização de Riscos. Para tanto foi realizada por meio da estruturação de modelos computacionais de barragens hipotéticas, com parâmetros de projeto baseados em dados reais de caracterização de materiais disponíveis em bibliografia, a verificação do comportamento das estruturas frente a variações de parâmetros geotécnicos e de projeto, onde se verificou a sensibilidade do método construtivo frente a tais variações. Verificou-se que o método de alteamento a montante possui sensibilidade a variações, principalmente a critérios relacionados com a drenagem (interna e externa). Avaliou-se também o uso de análise probabilística como ferramenta para melhor entendimento dos riscos associados a um barramento e quais os parâmetros de entrada tem maior relevância. Viu-se que tal ferramenta possui grande potencial de aplicação. Quanto a minimização de riscos são apresentadas metodologias e premissas de projetos e de monitoramento que visam a gerência sobre os riscos associados a estrutura.
Конструирование смыслов поисковой работы в России: лейтмотивы властей и участников экспедиций
Authors: Гончарова Наталья Владимировна , Ясавеев Искэндэр Габдрахманович
Published: February 2020

Цитирование: Гончарова Н.В., Ясавеев И.Г. (2020) Конструирование смыслов поисковой работы в России: лейтмотивы властей и участников экспедиций // Мир России. Т. 29. № 1. С. 153–173. DOI: 10.17323/1811-038X-2020-29-1-153-173

статье исследуются смыслы поисковой работы в России по обнаружению останков и установлению имен незахороненных солдат Второй мировой войны. Эти смыслы формируются не только участниками экспедиций, но и российскими властями, поддерживающими поисковиков. В работе анализируются высказывания президентов России, материалы включенного наблюдения в поисковых экспедициях, интервью с их участниками и тексты, написанные поисковиками в виде книг, рассказов, песен и постов в социальных сетях. Власть дискурсивно встраивает поисковое движение в патриотическое воспитание граждан, формулируя смыслы поисковой работы в контексте милитаризованного патриотизма. Лейтмотивами властной риторики о поиске солдат являются патриотизм, героизм, воспитание, гордость за Отечество и укрепление страны. Поисковая работа представляется президентом России как демонстрирующая «настоящий патриотизм», который заключается в защите страны с оружием в руках и самопожертвовании. Между тем лейтмотивом высказываний поисковиков о своей работе является несправедливость по отношению к незахороненным солдатам. В связи с этим часть поисковиков критически высказывается о воспитательном эффекте поисковой работы. Со стремлением восстановить справедливость связана главная для участников экспедиций идея поисковой работы – оповещение родственников о судьбе пропавшего без вести солдата. Завершенный поиск способствует пониманию трагедии семей, потерявших на войне своих близких. Государственной милитаристской риторике дискурсивно противопоставляется проблематизация войны, основанная на опыте поисковой работы.
«Либералы» versus «демократы»: идейные траектории постсоветской трансформации в России
Authors: Гельман Владимир Яковлевич
Published: February 2020

Цитирование: Гельман В.Я. (2020) «Либералы» versus «демократы»: идейные траектории постсоветской трансформации в России // Мир России. Т. 29. № 1. С. 53–79. DOI: 10.17323/1811-038X-2020-29-1-53-79

В статье рассматривается борьба идей модернизации в процессе трансформации России в 1980–1990-х годах. Анализируются генезис и эволюция двух основных идейных течений этого периода: «либералов», приоритетом которых стало строительство эффективной рыночной экономики, и «демократов», выступавших за становление демократических свобод и институтов. Основное внимание уделено истокам и противоречиям данных идейных течений, причинам и следствиям разногласий между ними, а также воздействию идей модернизации на ход и результаты общественных преобразований в России. Показано, что важнейшей причиной идейных размежеваний и политического конфликта российских «либералов» и «демократов» в 1990-е годы стали межпоколенческие противоречия шестидесятников и семидесятников, чьи политические установки, жизненный опыт и  восприятие проблем страны существенно различались. Если «демократы» – представители поколения шестидесятников – имели смутные представления о переходе к рыночной экономике и уделяли мало внимания этим аспектам преобразований, то многие «либералы» – семидесятники – весьма скептически воспринимали демократизацию и видели в ней угрозы рыночным реформам. Эти расхождения, помноженные на политические конфликты 1990-х годов, послужили причиной «развода» между этими реформаторскими идейными течениями. В результате обе стороны конфликта – «либералы» и «демократы»  – потерпели тяжелое политическое поражение, что оказало существенное влияние на российский идейный и политический ландшафт начала XXI века.
JUSTINO DA LIVORNO’S LETTER DATED BACK TO 1687 YEAR AS THE SOURCE FOR THE HISTORY OF GEORGIA
Authors: MAMISTVALISHVILI Eldar
Published: February 2020

The paper deals with the letter sent to Rome in 1687 by Justino Da Livornos - a missionary of the Capuchin Order (Rtsihivio, vol.31).
Justino arrived in Georgia in the second half of the 60s of the 17th century (1666-1667). He gained a great authority among the locals because of his good knowledge of the Georgian language. The Capuchins’Mission was founded in 1667 in Gori and was led for 7 years. He became Vice-prefect in 1675 after death of Tbilisi Mission Prefect Seraphino da Melikoka and he led it till October 29 ,1687. A new Prefect of the Mission, brother Bartolomeo da Milano arrived in Tbilisi that day. Although Justino was aware of the Roman chiefs’ desire about his returning back to Rome, he decided to obey neither their desire nor the order and remain under the new Prefect’s leadership. His decision might have been supported by a close relationship with King of Kartli, Giorgi XI who is characterized in his letter.
After reading the letter, it appears that Justino was a heavy-handed, ambitious person,he had difficulty in finding common language with colleagues. When dealing with them he felt his superiority not only in matters of religion, he didn’t hide it. This must have been the reason why a group of missionaries sent letters of complain to Rome (Justino particularly picked out Father Dionizio da Piachentsa) and this letter also shows that he was not liked in Rome as well.
According to its theme the article is divided into the following parts:1.`Your Excellence and Dear Patrons’’(The translation of Justino’s letter);2. Inevitability of the knowledge of the Georgian language for the missionaries activity in Georgia; 3. On the Ethnicity of Catholics; 4. About King Giorgi XI Catholicism.
Epistemological dimension of design culture within Kjetil Fallan historical studies
Authors:   Taras Shevchenko National University of Kyiv, Kyiv, Ukraine, Butsykina Y. O.
Published: February 2020

Article discusses basic epistemological questions related to historical studies of design provided by the well-known design historian Kjetil Fallan. It is devoted to the analyses of the researcher’s investigation of ‘isms’ notion as a categorizing concept that can be described within cultural modes (first of all, Modern, modernity and modernism). This leads to another dimension of the "design culture" notion that provides dialectic relation between ideology and practice, constructed with ‘isms’. The latter are presented as dynamic discourses, reflected in the ‘episteme’ concept by Michel Foucault. Article analyzes Thomas Kuhn’s and Paul Feyerabend’s notion of paradigms as a structuring device in the history of science used by Fallan to contemplate the dynamics of changes in the history of design. The main idea of the theory is to outline a differential paradigmatic system in design history. That has to provide deeper investigation of design history terminology and its conceptualization principles reflection.
Evolution of healthcare provider payment mechanisms
Authors: Omelyanovskiy V. V. , Sisigina N. N. , Fedyaeva V. K. , Musina N. Z.
Published: February 2020

Methods of payment to care providers constitute an essential part of the healthcare financing system; these mechanisms determine the motivation of service providers. Throughout the history of public health care, the payment methods have been gradually improved so to stimulate the providers to best match the societal demands (greater access to health services, cost reduction, and better quality) and prevent “moral hazards”. As a result, the most advanced healthcare systems have stopped paying simply for service volume and rigorously restraining the costs. Instead, the updated system is based on the integrated payments combining the elements of cost control with the stimuli that promote a high quality and better access to healthcare service. At present, the new payment mechanisms aiming at improving the long-term treatment outcomes (life expectancy and quality of life) are available. The care provider payment system existing in Russia, by large, corresponds to the best international practices as far as the hospital care is concerned. However, the payment arrangements in the primary care network still lag behind the international standards. To improve the situation, quality indicators should be included in payments for primary care services.
The health technology assessment system in Australia
Authors: Omelyanovskiy V. V. , Saybel E. S. , Bezdenezhnykh T. P. , Khachatryan G. R.
Published: February 2020

In Australia, the federal government is in charge of providing the health care to patients. The government agencies determine the list of reimbursable pharmaceuticals and medical services and also define the preferential categories of the population. The states and territories may have their own health care programs in addition to the federal ones. The Pharmaceutical Benefits Advisory Committee (PBAC) is responsible for the health technology assessment (HTA) and decides which technology is eligible for reimbursement by the federal budget. The drug evaluation process includes five stages: a review of general information about the product, assessment of its clinical efficacy, cost-effectiveness analysis, assessment of financial implications of including the drug in the reimbursement list, and consideration of any other factors that may influence the committee decision. In addition to the full reimbursement of pharmaceuticals, the committee may decide to provide funding based on a managed entry agreement.
The Media Image as a Motivator for the Humanization of Society
Authors: Vazhenina Olga A
Published: February 2020

The author studies the modern media environment, which reflects the problem of people with personality disorders of the autistic spectrum. The relevance of the article is determined by the severity of the social problems of the categories of deviant people in society and the insufficient degree of study of this context in contemporary media space. The novelty of the research consists in the author's attempt to investigate the role and importance of the media environment in the positioning of the phenomenon of social autism and humanization of society basing on cinema . Among the most socially important issues which are being reflected in contemporary media space the problems of disabled and deviant people take a major place. Contemporary cinema promotes the penetration and dissemination of socially significant ideas in society: responsibility, differentiation, humanism. Films about people with autism spectrum disorders are included in many films about the problem of sick people, people with disabilities and people with developmental features. The key idea of this large thematic group is to overcome the existing life circumstances and attempts to live a full life. The ideological features of films about autistics, as the author assumes, differ from the conceptual field of films of the general thematic group. These features are: projection into society of the image of the savant - a highly functional autist and the fact that such people are better (more honest, naive, more moral) than ordinary people. Proceeding from the increase in the total number of films devoted to this problem and their ideological homogeneity and uniqueness, the conclusion follows that a trend is being formed in society to humanize the social attitude to people with autism spectrum disorders.
On «Pretty Young Lady», Dos Passos and the Textology of «Art»
Authors: Zabrodin Vladimir V
Published: February 2020

The presented text is a publication of archival materials from the Eisensteins Fund in the Russian State Archive of Literature and Art (RGALI). The author of the publication reconstructed and commented some episodes from creative and personal biography of S.M. Eisenstein in the beginning of the 1930's. In particular, some fragments from private correspondence of Eisenstein and Esther Shub сut when published in the 1970s have been restored; the reasons for the reaction of the director to the of Shubs suggestion to make a film based on the novel Manhattan by John Dos Passos have been elucidated. The details and features of the artistic life of Russia in the 1930s are reflected in the epistolary genre of Eisenstein's work. The text presented also dwells on some cases of selective approach towards publishing books in the Soviet era. The author, using comparative historical and textual analysis, restores the true picture of Eisenstein's relationship to the work of a number of representatives of Russian and foreign cinema and literature, and also explains the reasons for some important events in the creative life of the director.
Trends of the Song Genre Development in the Soviet/Russian Cinema in 1930-1960s years
Authors: Parfentyeva Elizaveta N
Published: February 2020

The song is the most democratic and popular musical genre widely used in cinema art, beginning with the silent period. Due to its rhythmic-melodic and compositional characteristics, the song provides great opportunities for its various usage as a structural element of a film and in the creation of the unique sound-visual imagery. In Russian cinema the song reflected not only the artistic but also socio-historical features of its time, some of which have only recently been clarified, with the discovery and publication of previously inaccessible archival sources. A lot of documentary and archival materials, often labeled "top secret" which have been available only by the end of 1980s, reveals the dramatic and sometimes tragic confrontation between the ideologists of Socialist Realism and the supporters of the so-called Formalism, and those simply evading the "general line of the Party". The discovery of the inner world of an individual (as distinguished from the collectivist), shown in chamber wartime pictures, finds its continuation in the cinema of the late 1950s-1960s. Of particular importance are the text and even the single word of the song, and also the personality of the performer, expressed in a unique manner of singing, in a special intonation and timbre, which do not always presuppose presence of a professional strong voice. The song is an indicator of many processes taking place in Russian society, which is also relevant for the newest Russian cinema. The song in the modern film becomes, on the one hand, a sign of the hero's belonging to a certain subculture, and on the other hand - the expression of ones otherness and inner loneliness. The article defines the important trends in the development of the song genre in Soviet-Russian cinema for several decades, which makes it possible to create a basis for analyzing new audiovisual phenomena in the newest Russian cinema.
Grief as a Cognitive Metaphore in “Manchester by the Sea”
Authors: Tsyrkun Nina А
Published: February 2020

The article is devoted to analysis of Kenneth Lonergans Manchester by the Sea (1916) through the category of so-called cinema of grief dealing with the problems of enduring trauma of loss of the dear ones. The gist of the topic is institutionalization of the concealed ego of the protagonist through the death of the Other. Thus the treatment concerns sorrows of the trauma which undergoes either positive dinamic of its overcoming, or a negative form of embedding into the loss. The author assumes, that in Lonergans film the second case is visually articulated, anyhow logically drawing to the positive vector disclosing the concealed identity of the protagonist. The arc of the hero is traced on three levels, that is the film composition, psychological discordance of the protagonist and the soundtrack as a certain subtext of the picture. The study is based on the sources discussing the problem in question: Ziegmund Freuds Mourning and Melancholia, in which Freud argued that mourning comes to a decisive end when the subject severs its emotional attachment to the lost one, and on the works by Nicolas Abraham and Maria Trk about mourning disorder (introjection versus incorporation). The composition of the film is structured around flashbacks explaining the reasons for a pervasive cloud of shame, sadness, and guilt that follows the protagonist in the mourning process. In his architecture of grieving the filmmaker actually describes the protagonists melancholia in Freudian terms as a painful depression without any concern towards the outside world. He is characterized by a loss of the ability to love, reticence in any activity and decreased self-criticism and craving for punishment. Anyhow the musical accompaniment not only illustrates the depressed protagonist state of mind but also - with Handels Messiah at the climax point predetermines the finale with his crucial changing.
Aesthetics of Interactivity: Between Game and Film. To Watch or to Play?
Authors: Novikov Vasily N
Published: February 2020

Abstract: According to recent research, video games are recognized as a new kind of art in 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 "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 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 the cinema, using professional directing, scriptwriting and cast. On the other hand, mainstream fiction of gaming technologies attracts many filmmakers looking for new artistic forms, concepts and visual mechanics that are interesting and relevant for the contemporary mass audience.
The Influence of Cultural Traditions on Sound Design Techniques in Japanese Cinema. Sound Effects and Music
Authors: Rusinova Elena A , Habchuk Elizaveta M
Published: February 2020

For a long time, Japanese cinema has been developing separately, mastering the specifics of the new art, which came from the West, and at the same time trying to solve within its framework the problem of "national identity". However, since the 1950s, Japanese cinema has become widely known abroad and is gaining recognition in the West. The present day no one doubts the huge contribution of Japanese filmmakers to the history of world cinema. Nevertheless, the study of Japanese cinema in Russian cinema theory still remains the prerogative of a few professionals who know the Japanese language and are closely acquainted with the Japanese mentality, culture and art, which exert a great influence on the artistic features of Japanese screen art. But in order to even more imbued with the originality of the approach to creating an artistic image in Japanese cinema, it is necessary to draw attention to one of the most important components of its structure, namely, the sound aspect, insufficiently studied in film theory. The novelty of the article is that it analyzes and classifies the sound features of some Japanese movies created in the second half of the 20th - beginning of the 21st centuries, in which the influence of traditional culture manifests itself quite clearly, but at the same time the presence of elements of the Western musical tradition is also noticeable, which reflects to a certain extent the process of transculturalism in cinema that is actual nowadays.
Financing Cinema Production as a High-Risk Activity
Authors: Molchanova Natalya P
Published: February 2020

The role of cinema in Russian culture has traditionally been high. The federal and regional budgets, organizations and citizens take an active part in the financial provision of culture and art. However, despite the fact that the costs of supporting the cinema are assessed as very limited, this creative sector of culture is focused on high profitability, which can be achieved in the process of project management. The specifics of the financing of cinema necessitate the search for innovative approaches involving financial market institutions in order to raise funds for financing venture investment projects. Approved by the world practice ways of attracting financial resources are: sale of a share in the project; transfer of distribution rights; organization of private funds; attraction of state funds; bank loans; tax benefits; preferential use of scenery; charity. Analysis of the economic situation of the cinema organizations leads to the conclusion that it is necessary to make practical use of the methods and institutions of state and public support recommended by science and popular in foreign practice. To activate the work in the film business, it is necessary to search for new tools aimed at increasing profitability and reducing the risks of venture projects. Importance of quality and coordinated establishment of the final variant of the price of a film product by all participants in the process of film production, consisting of a film company, a distributor, a retailer, and taking into account the opinions of the end users of the population (in terms of age and age structure and level of education, place of residence, professional qualifications and employment). Priority in the digitalization environment should be given to the preparatory work: the development of marketing strategies and advertising budgets as necessary elements to stimulate innovation and investment in film production.
RECOMMENDATIONS AUTHORS
Authors: - Editors
Published: February 2020

The academic peer-reviewed journal "Vestnik VGIK" (Journal of Film Arts and Film Studies) is the leading scientific periodical of the All-Russian State Institute of cinematography named after S. A. Gerasimov. The decision of the Presidium of the Higher Attestation Commission of Russian Ministry of education "Vestnik VGIK" is included in the List of leading reviewed scientific journals and publications to publish basic scientific results of dissertations on competition of scientific degrees of doctor and candidate of Sciences to meet the requirements of WAC on the scientific field of "Art history","Philosophy of science".Recommendations for authors.
The Product of Film Industry - a Cultural Good in Commodity Form
Authors: Zhabsky Mikhail I
Published: February 2020

In consideration are the essence characteristics of a theatrical feature as a product of film industry. The focus of attention is a contradiction between the psychic-cultural use value of film-industry products and the commodity form of their production and consumption. As the object of spectatorship needs, the product of film industry distinguishes itself in the capacity of a story narrated in the language of cinema, interestingly to the targeted movie-goer. Spectatorship needs are emotional, intellectual and other psychic impetuses of the individual, requiring satisfaction through ones immersion in the image world of cinema. A difference is drawn between the spectators needs toward cinema and those of society as a whole. The film production aimed at a profitable satisfaction of individual needs is incapable of explicating and meeting certain societal needs. Psychological mechanisms of immersing spectators in a film world are the processes of empathy and identification, regression and projection, imparting cinema with some sort of magic. The modern film industry has grown on the soil of commodity film production to which some essential demerits are endemic. Picture of the world created by it is a function of the films commodity form, thus rendering the picture mongrel in many respects. The magnitude of the box office, functioning as a code for establishing and maintaining interaction between the societys cultural highs and lows, entails certain dysfunctional consequences. In the modern conditions of globalization the national commodity-film production is forced to adapt to the demands of Americanized mass audience. With the irreversibility of an objective law, there crops up a certain loss of the national productions own face. In this regard, consideration is given to the issues of authentically expressing and reproducing the nations identity by the means of cinema.
Screen Metamorphoses of Ivan Pyryev
Authors: Kirillova Natalia B
Published: February 2020

Ivan Aleksandrovich Pyryev passed away fifty years ago. However, for all these years he did not become a purely historical figure, his films have not gone into nothingness, disputes about his personality and creation have not ceased. The director, screenwriter, organizer of film production, he left a rich creative heritage. Having not received a special education and actually a dilettante in art, Pyryev, nevertheless, for half a century of work in the cinema has reached the highest professionalism, having traveled from the actor and the assistant to the screenwriter, helmer, director of Mosfilm, initiator and the first head of the Union of Filmmakers of the USSR. Ivan Pyryev's creation is known to many millions of viewers of different generations for those lyrical, musical comedies with which the heyday of Soviet cinema of the socialist realism period is identified: The Country Bride, Tractor Drivers, They Met in Moscow, Symphony of Life, Cossacks of the Kuban. Analyzing the era of the Stalin Renaissance, it should be noted that Pyryev filmed, in fact, always in demand, a movie about the struggle between good and evil, about the desire of heroes to go through any obstacles to reach happiness. And this means that I.A. Pyryev created genuinely national films in the 1930s and 1940s. These same tendencies became the basis of the pictures set by him during the Great Patriotic War, the heroic drama Secretary of the Communist Party District Committee and the lyrical comedy Six O'Clock in the Evening After the War, each of which inspired the audience with faith in victory and gave hope for happiness. The appeal of Pyryev in the late 1950s to the adaptation of F.M. Dostoevsky was unexpected and paradoxical. The explanation here is one: the turbulent, reeking talent of the artist pushed him to new creative searches in order to escape from stereotypes of the Soviet theme. His best screen interpretations of Dostoevsky's novels are the films Idiot and The Brothers Karamazov. Not all succeeded Pyryevs screen reading of the most complicated works of Russian literature was not absolutely efficient. However, he did a lot to passionately, persuasively and passionately told about the tragic fate not only of Dostoevsky's heroes, but of Russia itself. He created films about love, its immense power, condemning nihilism, cynicism and lack of spirituality. That is why the phenomenon of Pyryev, as a unique phenomenon of domestic cinema, remains an object of close attention and research of modern film studies.
Film Art Against Avant-Garde? On the Onthology of Artistic Means
Authors: Yakimovich Alexander K
Published: February 2020

The first decade of the 20th century witnessed two revolutions in the world of arts: firstly, the upcoming of Avant-Garde art, and secondly - the birth of cinematic art. In painting, architecture and literature new revolutionary languages actually finalized the process of onthologisation which has begun much earlier. ttis process signaled its appearance with Modernity itself and reached its climax in the late 19 th century. We can observe since then a new species of artists whose artworks actually defy ideological meanings. Meanings and messages of artworks clearly distance themselves from convictions shared by authors. Visual and verbal arts as well as important strata of musical and theatrical productions embrace the discourse of Nature and Universe (i. e. primary components of Being). Avant-garde art makes the final accent in this development of Modernity. tte newly born film art seems to compensate functions ignored or denied by other artistic activities. Cinematic productions start realizing the human and cultural tasks (ideological propaganda, sentimental comfort, entertainment and other social functions). Elite-bound taste and high cultural pretentions seemingly fall out in early cinema. tte break-through in film art reaches its peak around 1910 parallel to the upheaval of Early Avant-Garde in painting. Handling of camera, constructing of visual field, as well as experimental boundlessness in space-and-time transformations bring the socially acceptable film narrative to the kind of onthological explosion on screen. In fact, film language itself (independently from any ideology or sociability) develops new methods of seeing. A decade before film art would enter its stormy marriage with Surrealism, masters of the screen already detected ways of hypnotic charm and irrational hurricane passing before our eyes. As examples of such inherent onthologization of means in film art we can see the structure itself of the picture and deliriumlike narration in several early films, i. e. Cabiria directed by Italian Giovanni Pastrone in 1914 as well as American masterpiece of 1915 - The Birth of a Nation by D.W. Griffith.
Choreographic Art on the Cinema Screen: Film-Ballet or Ballet-Film?
Authors: Khokhlova Daria E
Published: February 2020

The article investigates a stage production organically combining choreography and screen art based on Chopins Die Kameliendame choreographed by John Neumeier whose oeuvre has become a hallmark in modern ballet. tte author compares the stage version of Die Kameliendame with its screen adaptation.
Editors article
Authors: Editors Jornal
Published: February 2020

Brief introduction of the authors and the content of the articles of the issue
Sound as a Sign and Artistic Symbol in Film
Authors: Rusinova Elena A
Published: February 2020

The article searches into the significant and symbolic aspects of sound in creating the films audiovisual image. A system of sound meanings and the ways of their embodiment in film direction in view of the historic and esthetical stages of mastering sound in cinema is presented. The author argues that the necessity to turn to sound symbolism arises not so much from the story as from the directors inner desire and is based on his esthetics, cultural experience and worldview.
Way of Genre in Cinema Documentary
Authors: Prozhiko Galina S
Published: February 2020

The article attempts to survey the genres of documentary cinema, its vocabulary, the factors forming the key genre trends, their historic flexibility and modern issues as well as to analyze the basic problems of the screen documents artistic structure, the dialectics of requirements for authenticity and expressiveness, the specific character of documentary imagery resulting in the polymorphy of its genre system.
Mythologeme of Asceticism in the National Cinema the 1930s
Authors: Zubkina Yuliya V
Published: February 2020

The article is devoted to the mythologeme of asceticism, widespread in the domestic cinema of the 1930s and closely connected with the mythmaking of the Soviet system, the ideology of which was largely based on the moral principles of Christianity. Acting as the apparatus of agitation, the cinema of the big style created a new mythology, its cultural hero was an ascetic who orders chaos and ready for self-sacrifice for the sake of the common good. A distinctive feature of the big style was the so-called mythological triad: the party (invisibly present behind the scenes) - the mentor and the pupil (the teacher Sergeyev - the homeless Mustafa in the Road to Life, the secretary of the district committee - Sasha Sokolova in the Member of the Government, etc.) The pupil - in the past standing at the lowest level of the social hierarchy finds its light way by successfully realizing the main socialist message who was nothing will become everything. Ascetic is an innovator and an envoy of Soviet power, a mediator between her and the people, dictating to society a new moral code (Teacher, Member of the Government). Mass promotion of women as one of the most oppressed members of society to key positions occurred in the 1930s. At this time, the Cinderella archetype literally blossoms: the fate of a woman from the people becomes a living embodiment of the idea of a society of equal opportunities (Member of the Government, The Light Road, Volga-Volga, Jolly Fellows). While the official equality of citizens is declared at the state level, true equality and spiritual kinship of souls are achieved only through personal achievements for the benefit of the country. For a happy family life and successful self-fulfillment in the work collective, asceticism was an indispensable condition and a natural form of existence, prescribed from above by the norm of life. Thus, the idea of asceticism as the main principle of Christianity will become the basis of a new mythology, proposed by the Soviet power instead of the forbidden religion.
The Doppelgänger Motif in the “New Sincerity” Cinema
Authors: Kuznetsova Mariya О
Published: February 2020

The article substantiates the doppelgnger motif of in the new sincerity cinema and searches into the conceptual diversi fication of this motif in a number of films as well as the ways of representation on the conceptual and narrative levels of using artistic expressive means.
Editorial
Authors: Edition Journal
Published: February 2020

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Contemporary Russian Cinema and Its World Contexts
Authors: Reisen Olga K
Published: February 2020

The article attempts to insert the parameters of the cinema of the last decades into the worlds film history, to compare the dominant principles and artistic methods often leading to similar patterns and the ways of their implementation. The authors aim is not just to educe and describe these comparative patterns but to find the logics of their emergence and manifestation determined by historical reasons. Key words: Soviet and world cinema, Perestroika, Aesopian language, magical realism, New Drama
Transformation of the Archaic Myth and the Discourse of Power in Alexander Sokurov’s “Moloch”
Authors: Vinogradov Vladimir V
Published: February 2020

The article deals with the transformation of myth in A. Sokurovs Moloch. The author investigates the mountain mythology in German culture and connects it with the neo-mythology created by A. Sokurov. He also analyses the three incarnations of Moloch: Adolf Hitler, the Nazi ideology and entropy.
Composition as a Method of Communication in the Teaching of Fine Arts
Authors: Sveshnikov Alexander V
Published: February 2020

In the context of diversification of artistic trends and schools, it is not always easy for students to choose one direction which is detrimental to the teaching process and leads to weakening their contact with the teacher. The article investigates the problem of establishing the contact with the student, specifying that the in-depth teaching of composition as the basis of art makes it possible to reveal the foundation that should be mastered by future artists irrespective of the direction they choose in their work.
Riddle as a Structural Element of the Quest Genre
Authors: Yankovskiy Alexander N
Published: February 2020

One of the most sought after forms of contemporary mass culture is the quest, represented in various formats from video games, to cinema, to city tours, to especially equipped game spaces. What is the secret the popularity of this format whose roots can be found in archaic myths and rituals? The article establishes the interconnection between the quest with literature, cinema, video games and reality shows. The phenomenon of the riddle in the context of real virtuality has never been explored in terms of cultural studies, modern artistic game forms are just beginning to be interpreted in the age of digitalization.
Modern Art History As a Human Science in a Situation of Cultural Turn
Authors: Khrenov Nikolay
Published: February 2020

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts selfprotection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requiresa deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
Digital Technologies in Cinema
Authors: Artemov Vladislav Vladimirovich , Artemov Vladislav
Published: February 2020

The article is devoted to certain tendencies of digital cinema development. It contains the comparison of tape and modern devices based on Panasonic cameras digital technology. Features of different digital recording formats and AVC-Intra codec application are being described.
Aki Kaurismaki: Two Films in Close-up(to the history of "New Finnish Cinema")
Authors: Turitsyn Valeriy Nikolaevich , Turitsyn Valery Nikolayevich
Published: February 2020

Since the French "nouvelle vague" of the late 1950s the world cinema has experienced a succession of "waves" which first rolled around some European countries and by blowing up cinematic traditions to this or that extent, led to the birth of the so-called "new cinema" (e.g. in Czechoslovakia or in Germany in the 1960s - 1970s). In Finland the similar process in its local variant occurred in the 1980s. For the most part it was connected with the Kaurismaki brothers' films, primarily with the works of the younger brother, Aki. By the early 1990s he became one of the renowned masters of not only Finnish but the "new European cinema".
This article doesn't aspire to give a full detailed analysis of Aki Kaurismaki's film career. Instead, by concentrating on two "polar" films made by this original director, it presents an attempt to line out the range of his creative work and some characteristics of his poetics
Screen in the new time
Authors: Krivosheev Mark Iosifovich , Krivocheev Mark I
Published: February 2020

The rapidly developing interactive digital technologies in the field of sharper TV pictures and modern displays are actively invading the socio-cultural space, opening a new era of information visualization, as well as affecting the model of the society functioning. They also increase the economic effect. The article is devoted to the development of «outside» television and «outside» day cinema, digital technologies that form a special kind of screen culture due to video information system screens that are fixed both in open space of cities and settlements and in the interiors of the crowded buildings
Color and Sound in Balzac's Novels
Authors: Anosova Nina Aleksandrovna , Anosovа Nina Alexandrovna
Published: February 2020

This paper analyzes the dramatic color of Honore de Balzac's novels "Shagreen" (1831) and "Father Goriot" (1834). Using symbolic colors, different color details and motives, color and light accents, decoloration Balzac creates dramatic contrasts, transforms the time, reveals the inner state of the characters. The writer's works are the result of the brilliant application of the reflex theory to literature suggested by Eugene Delacroix, a painter and Balzac's contemporary.
Artistic intensity and the diversity of color elements in Balzac's novels are one of the vivid steps on the way to the chromatic and not just color cinema as Eisenstein wrote. The correlation of prose and film was one of the main subjects of Nina Anosova's research. A talented literary and film scholar and teacher, a Moscow Institute of Philosophy, Literature and Histroy Institute (IFLI) graduate, she spent over 55 years teaching at VGIK. Such prominent filmmakers as Marlene Khutsiev, Andrei Tarkovsky, Vasily Shukshin, Gennady Shpalikov, Yuri Arabov, Karen Shakhnazarov, Vadim Abdrashitov, Sergey Loznitsa, etc. were among her pupils. The students and graduates of the Institute of Cinematography constantly turn to her works, learning real (deep) analysis and understanding of literature and art.
Films about filmmaking. Reality and game
Authors: Perel'shteyn Roman Maksovich , Perelshtein Roman Maksovich
Published: February 2020

«For acting trade talking of reality and game as living strategies is essential. While the former implies the idea of "face", the latter gives us the notion of "mask". In various films about filmmaking, such as F. Fellini's "8 1/2", "Everything For Sale" by A. Wajda, "American Night" by F. Truffaud, "The Voice" by I. Averbach, the collision between reality and game becomes crucial. When an actor put on his mask, he needs a mirror that isn't false, which means indifferent, but is true, revealing the face behind the mask affectionately. And a spectator becomes such a mirror».
Dada on Screen. "The Bride Stripped Bare By Her Bachelors, Even" by M. Duchamp in R. Clair's "Entr'acte"
Authors: Vinogradov Vladimir Vyacheslavovich , Vinogradov Vladimir Vyacheslavovich
Published: February 2020

The article is devoted to the earliest works of French Avant-guard second wave. The main attention is focused on R. Clair's «Entr'acte», the famous Dada film which is analysed in the context of Dada artistic practice. The key inspiration of the film's whole image systen was «The Bride Stripped Bare By Her Bachelors, Even», a famous installation by M. Duchamp