bluuebunny/crossref_metadata_2025 huggingface dataset:
Espionaje y competitividad: la industria automotriz alemana en el juego comercial moderno de China
Authors: Crespo Pazmiño Daniel F.
Published: February 2020

La innovación y el desarrollo tecnológico son una fuente crucial de competitividad dentro del entorno comercial global. En el siglo XXI, firmas automotrices alemanas como Audi, Volkswagen y Mercedes-Benz se han posicionado en el top de empresas con reconocimiento internacional por su calidad y prestigio innovador. No es ninguna novedad destacar que cada vez existen más compañías productoras de automóviles que se establecen a partir de la reproducción a bajo costo de los modelos de las principales marcas. Sin embargo, cabe destacar el hecho de que la industria automotriz alemana ha extendido su vinculación con las empresas ensambladoras de automóviles en China, que se han vuelto conocidas por duplicar el producto alemán. Mediante un análisis bajo los lentes de la seguridad económica, la dinámica del espionaje industrial moderno y la cultura del capitalismo chino, este trabajo se enfoca en evidenciar cómo el espionaje corporativo constituye una parte más del juego comercial moderno, particularmente en el contexto de la industria automotriz alemana en China. Así, se analizan los principales casos de espionaje chino de la industria alemana, las acciones defensivas emprendidas por Alemania y las estrategias que su industria automotriz prioriza para mantener la competitividad en un entorno de espionaje e incertidumbre.

Abstract

Innovation and technological development are a crucial source of competitiveness within the global trading environment. So far in the 21st century, some German automotive firms, such as Audi, Volkswagen, and Mercedes-Benz, have positioned at the top of internationally recognized car companies for their quality and innovative prestige. It is no novelty to mention that there are more and more car-producing companies, which reproduce the models of the main brands at a lower cost, and in doing so, they have positioned themselves internationally. However, it is especially noteworthy the fact that the German automobile industry has been spreading its linkage with the manufacturers and assemblers of cars in China, which have become famous by doubling the German product. This article shows how corporate espionage constitutes a part of the modern commercial game, particularly in the context of the German automotive industry in China, under the lens of economic security, the dynamics of modern industrial espionage and the culture of China's capitalism. For such ends, it discusses the main cases of Chinese espionage of the German industry, the defensive actions undertaken by the German Government, and the strategies that the German automotive industry prioritizes in order to maintain its competitiveness in an environment of espionage and uncertainty.
Consideraciones de contrainteligencia en la formulación de estrategias de seguridad: utopía o evolución pragmática
Authors: Castillo Arias Jaime Oswaldo
Published: February 2020

El artículo presenta las actividades que corresponden a la contrainteligencia en un contexto de actualización doctrinaria, con la finalidad de establecer los procedimientos operativos que permitan visibilizar esta actividad que, al defender los intereses estatales, debe estar asociada con actividades regidas por la legalidad, así como el control público. Se plantea un proceso descriptivo de las actividades de este tipo, tomando en cuenta algunos países de la región andina, de Norteamérica y de Europa, considerando la disponibilidad de sustentos legales y doctrinarios. Ello permite conocer las tendencias vigentes en el campo de estudios. Igualmente, permite describir y plantear posibles estrategias y las correspondientes líneas de acción, controladas sistemáticamente por los Estados que las requieran. Con esos antecedentes, se evidencia la necesidad de configurar las mencionadas estrategias y líneas de acción de la contrainteligencia, que permitan mejorar la seguridad y el apoyo externo para enfrentar en mejores condiciones los factores de riesgo y las amenazas que afectarían a la sociedad, al Estado y sus instituciones.

Abstract

The article presents the activities of the counterintelligence in a context of doctrinal update, in order to establish the operational procedures that allow this activity to be more visible, given that it defends state interests and therefore should be associated with activities governed by legality, as well as public control. A descriptive process of such activities is proposed, considering some countries in the Andean region, North America and Europe, as well as the availability of legal and doctrinal sustenance. This allows knowing the trends currently in force in this field. It also allows to describe and propose possible strategies and the corresponding lines of action in the field of counterintelligence, systematically controlled by the states that require them. With this background, there is a need to configure counterintelligence strategies and lines of action, which would improve security and external support to better address risk factors and threats that would affect the society, the state and its institutions.
KÛTÜ’L AMÂRE ZAFERİ ÖNCESİ VE SONRASINDA IRAK-İRAN CEPHESİ GELİŞMELERİ
Authors: ÜNAL Levent
Published: February 2020

Birinci Dünya Harbi’nde Irak ve
İran cepheleri birbiriyle ilişkili iki cephedir. Bunlardan büyük çaplı, uzun
süreli ve kesintisiz muharebeler Irak cephesinde gerçekleşmiş, İran cephesi
Irak cephesini tehdit etmesi bakımından önem kazanmıştır. Türk kuvvetleri Irak
cephesinde İngiliz birlikleriyle muharebe ederken, İran cephesinde Rus
kuvvetleri ile çatışmıştır.

                   İran
cephesi, Irak’ta muharebelerin gidişatı Osmanlı ordusu lehine gelişirken
açılmıştır. Bu cephenin açılmasında, Rus kuvvetlerinin İran’ın kuzeyinden Irak
cephesini tehdit eder mahiyette ilerlemesinin de payı olmuştur. Fakat cephe
yalnız bu tehdidi bertaraf etmek gayesiyle açılmamıştır. Asıl gayeyi, tüm
İran’ı kontrol altına alarak Orta Asya ve Hindistan’a kadar geniş bir bölgede
İtilaf Devletleri aleyhine ayaklanmalara öncülük etmek oluşturmuştur. Amaç
geniş kapsamlı olunca cephe için, tehdidi önleyecek seviyede savunma kuvveti
yerine, İran’daki Rus kuvvetlerini imha etmeye yönelik taarruz kuvveti tahsis
edilmiştir. Bunun sonucunda Irak cephesindeki kuvvetlerin yarıya yakını İran
cephesine kaydırılmış, böylece Irak cephesi zayıflatılıp İngilizlerin müteakip
taarruzlarına açık hale getirilmiştir. Ayrıca İran cephesinde başarılı
muharebelere ve İran içlerine kadar ilerlenmesine rağmen herhangi bir somut
fayda sağlanamadan birlikler apar topar geri çekilmek zorunda bırakılmıştır.

                  Bu
makalede, her iki cephedeki gelişmeler bir bütünlük içerisinde ele alınacak,
Osmanlı Devleti’ni Irak cephesinde muharebe gücünün zayıflamasını göze alarak
İran’a kuvvet sevk etmeye zorlayan koşullar incelenecek ve bu uygulamanın
sonuçları değerlendirilecektir. Çalışma için literatür taraması metodu ve nitel
araştırma modeli kullanılmıştır.
Prescription Patterns of Riluzole in a Population of Patients with Motor Neuron Disease v1
Authors: Machado Alba Jorge , Calvo Torres Felipe
Published: February 2020

Background. Amyotrophic lateral sclerosis (ALS) is a disease characterized by the progressive degeneration of the upper (UMN) and lower motor neurons (LMN), causing weakness, fatigue and muscular atrophy. Objective. To determine the prescription patterns of riluzole and the variables associated with its use in a population of patients with motor neuron disease. Methods. Descriptive cross-sectional study. Through a systematized database of approximately 3.5 million affiliates to the Health System of Colombia of Colombia, we selected patients who received riluzole. Sociodemographic and pharmacological variables and comorbidities were analyzed. Results. A total of 81 patients with motor neuron disease receiving riluzole were included, with an average age of 60.8±12.6 years; 48.1% were men. The prevalence of motor neuron disease was 2.29 per 100,000 people. Sixty-three percent received medications reflecting comorbidities or possible interactions with riluzole. The average cost per daily prescribed dose was USD 2.3. Conclusions. Riluzole was prescribed to patients with motor neuron disease in Colombia at the doses recommended and with a direct cost lower than that reported in other countries.
Networked Gatekeeping and Networked Framing on Twitter Protests in Mexico about the Ayotzinapa Case
Authors: Galarza Molina Rocio
Published: February 2020

This research focuses on a Twitter protest about the disappearance of 43 students in Mexico in 2014 known as the Ayotzinapa case which used the hashtag #PaseDeLista1al43. Social network analysis, interviews and thematic analyses of 3,616 tweets were conducted to investigate how networked gatekeeping and networked framing processes occurred within this networked public. Results show that on this digital protest, elite and non-elite Twitter users were in charge of gatekeeping activities, collaborating to maintain the discussion of the topic of the missing students. The analysis of frames revealed that the protest sought to: humanize the case emphasizing the life of the students; assign responsibility; and portray itself as a way to take an active role and coping emotionally with the disappearance. This works contributes to the literature on networked publics, combining network analysis with interviews to look beyond the digital footprint of the protest to listen to the perspectives of protesters, providing an insight into the dynamics of gatekeeping and framing within a network. Given the porosity, openness, and permanence of Twitter, results from such collaborative relationship of elite and non-elite voices to protest about an issue are now harder to ignore in the public sphere.
Causes and Results of Subjection of Central Asian Khanates to the Russian Empire (1860—1890s)
Authors: Aminov I. I.
Published: February 2020

The Russian Federation being currently a regional leader in strengthening Eurasian integration, it is necessary to remove contradictions concerning the interpretation of the history of Central Asia’s accedence 1 to the Russian Empire. Thus, it is indisputable that it was the Russian Empire that played a key role in the transition of the peoples of the Central Asian region, on the territory of which there were three major states — Bukhara Emirate, Kokand and Khiva Khanates, to a new level of civilizational, state and legal development.

The paper not only touches upon the reasons, nature of the accession of the Central Asian states to the Russian Empire, but it also carries out a comprehensive analysis of the internal- and foreign-policy situation during the historical period under consideration. The totality of the circumstances makes it possible to answer the following questions: whether the Russian Empire under those conditions had an alternative to armed intervention; whether that intervention was carried out in accordance with the national interests of the peoples of Russia and Central Asia; what changes in the form of governance took place in Central Asian States after they lost political independence.
A Settlement Agreement in an Administrative Dispute: Problems of Theory and Tendencies in Law Enforcement
Authors: Yakovleva I. A.
Published: February 2020

The paper has analyzed approaches to the issue of conclusion of a settlement agreement in administrative cases. The author justifies the possibility of conclusion of the settlement agreement in an administrative dispute. The settlement agreement (a conciliation agreement) serves an evidentiary and compromise function and, in the case of a dispute with the antimonopoly authority, may be resorted to as a means of protecting competition by referring in the text of such agreements to specific acts commission of which or omission to commit which is aimed at securing competition. The paper considers the issue of interrelation between the settlement agreement and the agreement on facts of the case in relation to the evidentiary function of the settlement agreement. There is a tendency to expand the use of the institution of the settlement agreement in order to put an end not only to disputes with antimonopoly authorities, but also to cases contesting cadastral value, tax disputes, as well as cases arising in connection with the change of place and/or time of a public event. It is proposed to use foreign experience with regard to the possibility of conclusion of the settlement agreement in administrative cases initiated due to violations of financial markets legislation and the use of insider information.
Guarantees of the Rights of Workers in the Labor Regulation
Authors: Filyushchenko L. I.
Published: February 2020

The issue of guarantees of the rights of workers during labor standards is of interest, because labor rationing, being a way to increase the efficiency of employees and reduce labor costs, affects their rights and interests. The purpose of this paper is to study the legal regulation of relations on labor standards by analyzing the norms and practices of the application of legislation on labor standards. The author considers guarantees of the rights of workers and concludes that the legislator does not give enough attention to the problems of legal regulation of relations on labor standards. The processes of labor standardization are negatively affected by the absence or incompleteness of normative legal acts on standardization, including the lack of a professional standard for the specialist in question. Guarantees turn out to be declarations, employers abuse rights, neglecting the development of labor standards. Gaps in the legislation, ambiguity of concepts give rise to ambiguous judicial practice. A summary of court practice and related clarifications could resolve contentious issues. The author formulates some suggestions to improve the legal regulation of labor standards.
Visual picture of the world in the reflection of modern media
Authors: Utilova Natalya I.
Published: February 2020

The article Visual picture of the world in the reflection of modern media is a part of the scientific work devoted to the analysis of the methods of disclosure of the plurality of meanings by means of visualise and ways of their influence on the viewer's perception.
The analysis offered for discussion of questions allows to trace in a new way process of search of expressiveness of screen culture, including off-screen media content and art projects. We also consider how with the advent of computer technology, modern media, United in a single screen culture, seek to reflect the picture of the rapidly changing world in its mosaic, in the development of end-to-end time. Special attention is paid to the visual form of plastic images of cinema and television, which largely predetermined the path of development of visual perception of the world through sensory knowledge of the global process-taking place in the world. The author highlights the question of how the screen directs a person on the path of solving problems on links/trailers, lifehacks / commercials, running lines, while providing the right to choose, and new judgments, sometimes non-trivial, and sometimes false.
Revealing the connections of new communicative means the author offers the concept of the birth of a new civilization, where online communication, information exchange, media messages, various formats-not just a way to change the transmission of information, but civilization with its own laws and rules of communication, with a new language, based on technical and English language terms, expanding the possibility of merging different cultural layers, with its philosophy and aesthetics, where visualization is a way to control the viewer's attention. Various forms of editing in its broadest sense become the main "bridge"of the whole" composition" of the world order, where the division into the size of the event series, media persons is decisive. Various forms of editing in its broadest sense become the main "bridge"of the whole" composition" of the world order, where the division into the size of the event series, media persons is decisive. To reveal a number of issues, the author draws Parallels with the cinema, highlighting the similarities and differences in the specifics of the spectacular nature of the two components of modern screen culture.
To academic film science
Authors: Vinogradov V. V.
Published: February 2020

To academic film science
Faculty as a unique school of creative communication
Authors: Golubev V. A.
Published: February 2020

Faculty as a unique school of creative communication
The creative work of Sergey Paradzhanov as an event of Postmodernism
Authors: Lukashova Anna Georgievna
Published: February 2020

In this article a new method of analysis of S. Paradzhanov's creative work is suggested: the works of Paradzhanov-artist and Paradzhanov-director are examined as a united paradigm, which gives an opportunity to present the phenomenon of his art in the context of art culture of the 20th century in the most adequate way, and deine the connection of the aesthetics of his work and the basic tendencies of the past century.
Contemporary Russian cinema and its world contexts
Authors: Reisen Olga K.
Published: February 2020

The author of the essay examines the main trends in contemporary Russian cinema, correlating them with similar manifestations in world cinema and, simultaneously, tracing the origins of these phenomena to the Soviet cinematic past. Thus, the essays section devoted to the analysis of manifestations of the Aesopian language in cinema, reveals models of the use of metaphors, symbolic allusions, etc., observed in the cinema of the socialist countries or in Spanish cinema under the Franco regime - as ways of countering censorship bans. In this context, it should be noted that these trends became firmly established in the cultures of the mentioned countries and have been preserved in them after the acquisition of political freedoms.
The section entitled Utopian Realism vs New Sociality analyses the technique of combining slice-of-life approach with the magic tale canon, opened by American director Frank Capra and screenwriter Robert Riskin in the 1930s, known as utopian realism and widely employed in the Russian cinema of the past quarter century, in particular in the stage-to-screen trend of the New Drama.
The essay also looks at forms and methods of the trend of magical realism typical of the turning points in the historical development of different countries and here exemplified by the cultures of Latin America and the Russian cinema of the 1990s.
Further, the author analyses the adaptation of Hollywood genre clichs for Russian blockbusters, as well as a more frank representation of social realities in the context of new developments in the sphere of economy.
Entrepreneur as a hero of Russian cinema in the first half of the 1990s: the adoption of a new stereotype
Authors: Karavaev Dmitry L.
Published: February 2020

The essay discusses, via the analysis the Soviet and Russian cinema of the first half of the 1990s, the problem of adoption of a new socio-ethical stereotype the positive moral stereotype of an entrepreneur, a businessman and a private property owner in post-perestroika Russia. The scholarly novelty of the presented study consists Pointing out that films of that period have been mostly evaluated in a fragmented and ambiguous manner, the author analyzes them in the context of the formation of mass representations (stereotypes and frames) of one of the periods most characteristic social figures. The actuality of the study analysis is evidenced by the ongoing discussions about the ethical background of entrepreneurship in contemporary Russia and about the nature of the 1990s. Considering this problem on the basis of a comprehensive analysis of representative films (Genius, Confessions of a Kept Woman, Limita, Ryaba My Chicken, Love the Russian Way, and others), the author concludes in 19901995 Soviet/Russian cinema, inspired both by the inertia of the former Soviet ideas about business and businessmen and the dramatic collisions of the first five years of the post-Soviet era, did not provide the viewer with sufficient artistic arguments for the ethical rehabilitation of entrepreneurship and, therefore, failed to fix new stereotypes and instructional representations/frames in the mass consciousness.
preasentation of authors
Authors: Urazova Svetlana L.
Published: February 2020

Content of the issue and authors affiliation
Cinematic media in digital culture
Authors: Bakulev Gennady P.
Published: February 2020

Periods of important technological changes greatly influence film theory, as new films usually raise the key question: what is actually a film? This problem has been discussed by film theorists over many decades.
Todays film industry, in which digital technology is being successfully integrated in the traditional narrative media and combined with the established visual paradigms, clearly demonstrates how classical artistic approaches can go along with new technical developments.
Contemporary documentary cinema is a vivid example of the ways in which digital technology can expand and deepen the area of cinematic media. Basing themselves mostly on traditional formats, media makers create products which could be rightfully considered as new genres.
By restructuring cinemas borders film scholars widen the scope of their studies. One of the ideas attracting their attention is that of expanded cinema. This concept, suggested by Gene Youngblood, is usually related to experimental media, in which the perceptive context is the key aspect of artistic creativity.
The principal task of film researchers has been to follow the continually changing horizons of cinema in the context of film history. New schemes of development often create new problems which can be solved only by means of new critical tools.
Modern art history as a human science in a situation of cultural turn
Authors: Khrenov Nicolai A.
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 self-protection 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 requires a 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.
Artistic features of Russian TV serials about the Great Patriotic War
Authors: Shergova Ksenia A. , Muradov Aleksey B.
Published: February 2020

The essay represents the first effort to explore the artistic methods employed in the TV series about World War II (the Great Patriotic War) and analyzes four multi-episode TV shows released in 2004. In its own way, each of these series responded to the new public interest in the less known aspects of the war. Simultaneously, each of them established a dialogue with the previous cinematic and TV productions, comprising direct reminiscences to earlier films, objectivizing the audience expectations formed by earlier productions, or even arguing with them. This dialogic trend should be considered as part of the postmodernist framework of contemporary television: reminiscences of popular post-war films or literal or visual citations from these films become an integral part of contemporary cinema and television and also act as documentary-like reference points.
In all reviewed cases, the authors emphasize adventure narratives well suited for TV presentation and rendered even more spectacular by modern visualization technologies. The producers are confronted with a contradiction between the chosen historical context and imaginary plotlines: it is quite difficult to put the series characters within the imaginary space, depriving them of the well-known facts, especially those propagated in earlier film and TV productions. Inevitably, each plot is aggressively influenced by the tragedy of the little man, in which the place of the enemy occupied in the Soviet tradition by the Gestapo and the Abwehr is replaced by the repressive Soviet state security services. Even a decade after its release, Shtrafbat (The Penal Battalion) plays a major role in the public and professional discussion on the ethics of war-related films and television series. Meanwhile, At a Nameless Height, a series which contains even more reminiscences to Soviet film and television productions, should be regarded as one of the earliest works in which the sense of authenticity was sacrificed to the imaginary expectations of the viewers expectations formed by the Soviet historical and cultural framing.
Viktor Turin's Turksib as an ecological message
Authors: Berkova Nadezhda N.
Published: February 2020

The documentary by Victor Turin The Steel Way. Turksib (1929) is analyzed in this essay from the perspective of interaction between nature and society. The essay compares Turksib with the avant-garde films of Dziga Vertov and analyzes the language, editing system and poetics of intertitles characteristic of Turins film. It is noted that in the visual structure of Turksib images of the sculpting in time (according to Andrei Tarkovsky) allocate a significant role to the ethnographic pictures of local peoples life, virgin landscapes and wild and domestic animals. The accent is put on the emphatic rhythm of the intertitles, which actualizes the problems of interaction between nature and society. The construction of the Turkestan-Siberian railway through the Kazakh steppe and the Siberian forests demonstrates the advancement of scientism whose proponents are convinced of the inevitability of scientific and technological progress. The essay shows how the attitudes of the representatives of power, the transformers of the region lead to a change in value priorities in particular, towards the pacifying of the stubborn nature with the aim of putting it at the service of man. The essay ends with an analysis of Turksibs significance as an ecological message and concludes that if the ideas and artistic techniques of Turins film were developed further, the history of documentary cinema in the following decades could include ecology as one of its major directions.
The image of prince Myshkin in Russian cinema
Authors: Ryabokon’ Anastasia V.
Published: February 2020

The research is dedicated to the screen adaptations of Fyodor Dostoevskys The Idiot made in Russia in different cultural and historical periods. Films produced from 1910 to 2003 are analyzed in chronological order, with the aim of showing the transformation of the image of Prince Myshkin (Prince Christ), one of the key images of Russian culture1 within Russian national consciousness.
The essay analyzes the following films:

The Idiot (1910), directed by Pyotr Chardynin
Idiot (Nastasya Filippovna) (1958), directed by Ivan Pyryev
Idiot (1981), directed by Vladimir Tumaev
Down House (2001), directed by Roman Kachanov
Idiot (TV series, 2003), directed by Vladimir Bortko

The essay reveals gradual trivialization of the image of Prince Myshkin. The first step down was from the divine child of Pyotr Chardynin to the angel of Ivan Pyriev. God placed man above angels, so Chardynin shows Myshkin as a pure child of the Garden of Eden, the highest among the analyzed screen images of the novels main character. The second step was made from Pyriev's angel to Vladimir Tumaev's fallen Adam. In Tumaevs 1981 adaptation, the image of Prince Myshkin is still characterized by evangelical parallels but they are absent in the characters created in the 2000s by Roman Kachanov and Vladimir Bortko. Ordinary people with varying degrees of mental disorders become substitutes for Prince Christ.

1 Dostoevsky calls Prince Myshkin "Prince Christ" in drafts to the The Idiot. The writer accentuates the evangelical parallels of this image are
The sound world of the alienated film character
Authors: Rusinova Elena A.
Published: February 2020

Alienation is a concept interpreted from different angles and used in various areas of human thought: in philosophy, psychology, sociology, law, and economics. Some theoretical works and those works of art which center on the phenomenon of alienation, emphasize three main aspects of this phenomenon: alienation as the loss of essential connections (identification) with the outside world (society, social group, nature); with close people (the loved one, family, friends) and, ultimately, with oneself, the true self. It is these aspects of the understanding of alienation that can also be seen in cinema an art form which, perhaps, responds to the problems and events of contemporary reality in the quickest and most vivid way. Most frequently, the theme of alienation in the film is based on the development of the artistic image of one as a rule, the main character. Despite the fact that alienation a priori implies the alienation of the actors performance and the minimization of expressive means, the ideas and deep meanings that are very important for the director, the directors aesthetic and ethical principles and his or her interpretation of contemporary problems are often conveyed through the image of the alienated character. The essay deals with the visual and sound techniques and the semantics of word and music employed in the process of creating the inner and the outer worlds of an alienated film character.
Framing as a method of creating a film's metaphorical context
Authors: Korobko Roman V.
Published: February 2020

This essay continues the study of the semiotics and synergetics of Framing in the Art of Cinematography which substantiates the hypothesis that framing (perspective) constitutes one of the most important codes of screen communication in its cinematographic and metaphorical contexts. Thus, framing is represented by two hierarchical levels of representation of contextual semiotic connections: the connection between mise-en-cadre and mise-en-scne (the level of the cinematographic form of film sign); and the relationship between cinematographic imagery, action and meaning (the level of the cinema sign).
Framing consolidates the process of cinematography divided by the artistic and production dichotomy, which is especially important in the context of mass culture determined by the total industrialization of all areas of life, including cinema.
The essay is based on the statement of Sergei Eisenstein that each high film work has the unity of two dialectical categories: the content (abstract language, part of logical thinking) and the form (emotional language, part of emotional-sensory thinking). It identifies and analyzes the spatial-temporal and linear-tonal features of cinematic framing as a method of expressing the metaphorical existential context of the crisis of Russian self-identification, using as examples a number of expressive episodes of the documentary film Anna: 618 (1980-1993; dir. Nikita Mikhalkov, DOPs: Pavel Lebeshev, Vadim Yusov, Vadim Alisov, and Elizbar Karavaev). This film work is explored as a study of the socio-cultural situation in modern Russia undertaken from a multi-faceted and multi-level authorial perspective associated with expressive cinematographic framing.
The environment of the cinematic spectacle. The architecture of the early Russian movie theaters
Authors: Anisimov Alexander V.
Published: February 2020

The emergence of cinema brought about the issue of forming a comfortable environment for film screenings. This essay analyzes the characteristics of the first spaces used for film exhibition in St. Petersburg and Moscow and the architecture of the movie theaters built in these cities in the first decades of the 20th century and characterized by a combination of theatrical architectural traditions, eclectic restaurant design and elements of the fading Art Nouveau style.
Film exhibition was a profitable business. Initially, screenings were held in rented spaces but soon specialized buildings were designed and constructed. The essay looks at the largest and most popular movie theaters built in St. Petersburgs main street, Nevsky Prospect, and in the center of Moscow, discussing their architectural features and their historical development. Thus, during the 1920s and 1930s, large movie theaters included a foyer with a stage for variety shows and a theater-like auditorium with a high-mounted, dark-framed screen; the spectators entered the auditorium via the main entrance and, after the screening, exited directly to a street or a yard.
Actual problems of the composition of the artistic image
Authors: Sveshnikov Alexander V.
Published: February 2020

This essay explores the general compositional features by opposing the common understanding of composition as an arrangement of the image on the sheet surface. An image is essentially a text that conveys information from the author to the viewer and has no meaning without them. The main premise is that a semantic compositional unit can be represented by the sequence conveyor image perceiver. It is shown that a pictorial text consists of separate elements with a certain structure (experiments of R. Pritchard). These elements, in turn, are closely interrelated with each other, and only in this connection can their artistic meaning be perceived. The perception of meaning is a temporal process, which is determined by the transition of gaze from one group of elements to another. In different contexts and with a different route of perception, the same group can carry different meanings. It is important that if the image does not carry any specific information for us it can nevertheless cause associations which mostly reflect our inner essence. In this case, the viewer can understand the original general meaning of the work very subjectively, despite all the efforts of the author to show a clear structure of the image.
In this regard, the compositional routes of the spectator's perception of pictorial elements can differ greatly from one another, depending on the viewer's internal presets, which Alfred L. Yarbus proved experimentally back in the 1960s. The essay briefly discusses some properties of pictorial signs and their impacts on the emotional sphere of a person.
Finally, several pedagogical conclusions are made, in particular that the ability of the student to penetrate into the symbolic artistic-semantic structure requires education and development of his personality. Without this, he will only glean the surface, the material aspect of the image. That is why an unprepared student is often fond of "illusionism", of copying. Only serious pedagogical work that requires knowledge of the fundamental principles of composite image construction helps to cope with this.
Contemporary approach to the understanding of the notion of “beautiful” as an aesthetic category
Authors: Nikitina Irina P.
Published: February 2020

The author elaborates the idea of modern aesthetics that the notion of beautiful is not a fundamental category of modern art and modern philosophy of art. Under the direct influence of science and arts modern philosophy has added to the categories such notions as probability, absurdity, the mundane, the understanding etc. On the other hand a new understanding of society and man prompted the introduction of such categories as lifeworld, fear, solitariness, care, doubt, language games etc. It has become evident that many categories are not only blurred but rather heterogeneous, thus the system of categories is something to be referred to with considerable reservations.
The article proposes a preliminary definition and interpretation of the beautiful and the main principles of the analysis of the beautiful. In the most general and tentative terms the beautiful can be defined as something that complies with the idea of beauty accepted in a given society or civilization. Ideas of beauty can vary from culture to culture and from civilization to civilization. This is no to say that certain, albeit few, objects cannot be considered beautiful throughout many historical epochs. Standards of beauty as well as social standards in general, do not refer to any object but only to certain types of objects. Consequently beautiful is always beautiful of a kind. Beauty in general does not exist, there are only beautiful objects of a definite kind.
The article maintains that there are at least three reasons why the beautiful cannot be verbally defined. The first is methodological, the second is social and the third is related to the peculiarities of the beautiful itself, primarily it sensual nature. In the first place the degree of clarity of scientific notions depends on the level of the development of science. The scientific study of arts is a never-ending venture. And while it continues, its categories and in particular the category of the beautiful will require clarification.
Worldview criteria for a profession in the bowels of VGIK
Authors: Tsetlina V. Yu.
Published: February 2020

Worldview criteria for a profession in the bowels of VGIK
Methodological aspects of studying the history of Soviet cinema in the 1930s
Authors: Usuvaliev Sultan I.
Published: February 2020

The article is devoted to the history of the Russian film studies and methodology of film history as science using the example of the Introduction of History of the Soviet Film Art by Nikolai Iezuitov (18991941), one of the founders of the national film studies. Since the manuscript of History of the Soviet Film Art the first history of the Soviet cinema has not yet been published and introduced into scholarly use, the author pays special attention to archival sources.
Despite a number of essays and discussions about film history and its methodology, a fundamental scholarly work on the historiography of the history of Soviet and Russian cinema has not yet been written. The relevance and novelty of the article is that it is based on the study of archival manuscripts of Nikolai Iezuitov. The exploration of early approaches to the study of the history of the Soviet cinema is important both historically and pedagogically.
One of the most important sources of the concept of film history at an early stage of the national film studies is Iezuitov's Introduction to History of the Soviet Film Art. The Introduction is valuable because: 1) it is a rare evidence of reflection on the foundations of film history as scholarship and its methodology; 2) it is given by the author of the first history of the Soviet cinema; 3) it is represented by the author not as a separate abstract essay but as a part of the history itself.
The Introduction defines the scholarly tasks and content of film history; overviews foreign books on the history of cinema; emphasizes specific periods of Soviet film history; and indicates the principles of work with relevant sources.
Iezuitovs main principles in relation to film history are established in connection, firstly, with Soviet history scholarship; and secondly, with the vision of film history as the history of film art. Thus, film history, according to Iezuitov, is the unity of Marxist understanding of history and art-historical (stylistic) analysis of films and the main film movements in Soviet cinema.
The evolution of visual instruments of VR cinema
Authors: Matkin Aleksei V.
Published: February 2020

The author states the achievement by virtual reality technology of a certain stage of maturity. Virtual reality equipment as a means of film exhibition not only determines our aesthetic experience but fundamentally changes film language the duration of a film and particular takes, their composition, the specifics of inter-shot and intra-shot editing, etc. The essay explores the visual system of VR cinema, a phenomenon which is gaining more and more spectator popularity.
Defining the depth of immersiveness as the fundamental difference between traditional and VR cinema, the author identifies aspects characteristic of the latter aspects determining its creative method. Among them is limited length (the duration of a typical VR film rarely exceeds 1520 minutes), a 360-degree view, the representation of spherical space (for example, the viewer does not see anything more than shown to him in the film), and interactivity, which manifests itself in the spectator's freedom of to choose the area of focus and borrows elements of gaming practices.
The essay analyzes typical mise en scnes and highlights the basic ones. The most important aim of mise en scne along the first person axis is to give the viewer an opportunity to feel in a different way, to look at the world with other people's eyes. In passive mise en scne along the third person radius, where the axis of movement is absent, the semantic center of is expressed not so clearly. This type implies the viewer's aspiration to study the surrounding space. The third type is active mise en scne along the third person radius, which corresponds to the look of an active full participant in the shown events instead of the look of an abstract observer from the inside. The essay describes the mechanism of synthesis of mise en scnes with the aim of obtaining a new artistic quality.
The author emphasizes such aspects of the artistic uniqueness of VR cinema as expressive minimalism, minimization of the value of editing, and new attitudes towards camera work. In conclusion, he describes the current state of VR cinema and looks at the basic principles of the development of its artistic uniqueness.
The film star — the phenomenon of a parasocial relation
Authors: Zhabskiy Mikhail I. , Novoselova Faina V. , Tarasov Кirill А.
Published: February 2020

The parasocial relation is a reality of interaction of the communica- tor, integrated into a complex media structure, and of his fans. The relationship between them are regulated not by a mutuality of rights and obligations. The film star as a communicator addresses a (de facto) anonymous audience. At the same time the formers message is received, pondered upon and mastered individually which engenders the spectators impression of a face-to-face interaction. In the capacity of a film star the given actor comes on as a good virtual acquaintance for a large number of the audience, kindred to them in spirit, bringing out their amicability, a desire to become actually acquainted. In pursuit of commercial goals, the film industry purposefully constructs and utilizes this feature of an actor. Fielding itself on the screen in a specific social role, the film star thanks to the fans parasocial relation to it promotes for the mass consciousness behavior patterns, norms and values of the given society that are embodied in it. The article adduces sociological evidence for the transplantation in the transit period of the 1990s into young Russians mass consciousness of values disseminated by Western cinema. The film star also constitutes a factor of the competitiveness of a given cinematography on a given spectator market. In this regard the Russian cinema loses to Hollywood on its home market. As a sociological study has shown (the city of Kirov, 2016), Russian-filmgoer rating of stars is headed by American masters: Johnny Depp with 60% of the spectator votes; Leonardo Di Caprio 58%; Anjelina Joli 56%. The top three of Russian actors noticeably lag behind: Sergey Bezrukov 55%, Daniil Kozlovsky 44%; Konstantin Khabensky 43%.
Methods of using the type expressiveness of the actor in the cinema of “new sincerity”
Authors: Kuznetsova Maria O.
Published: February 2020

One of the characteristics of films related to the new sincerity trend is the priority use of the type expressiveness of the actor. The essay compares between the methods of using the type expressiveness of an actor in the artistic concepts of Lev Kuleshov and Sergei Eisenstein and in the films of new sincerity.
Lev Kuleshov's concept of the model is characterized by emotionality produced by posing instead of experiencing emotions corresponding to a specific pose. In the films of new sincerity this emotionality is characteristic of the protagonists and is interpreted as their inability to experience and reflect. This complex mental state is typical of protagonists in the new sincerity films.
Such characteristic features of Sergei Eisenstein's masks as their static character, negativity and actions and appearances conditioned by social status are interpreted by new sincerity filmmakers as protagonists' problems, their inability to be sincere with themselves and with others. Identification of protagonists with their social masks threatens them with death.
On the visual level, the type expressiveness of actors is emphasized by long plans, using a panoramic lens when shooting close-ups of faces; symbolism in a costume. Often masks, dolls and mummers appear in the frame as signs indicating a human individuality dying under a social mask.
The use of type expressiveness of the actor in the films of new sincerity is explored in the essay as an example of the artists' striving for the authenticity of screen reality, which results from the authenticity of the actors existence within the frame and the reflection of the heros unconscious sphere characteristic of type..
The role and basic aspects of ‘‘the montage of attractions’’ in Russian cinema
Authors: Gulyaeva Yana V.
Published: February 2020

The essay is devoted to the application of the concept of the Montage of Attractions in Russian cinema in different time periods. The relevance of the essay is determined by the need to explore the influence of the Russian avant-garde on the world artistic process. In the opinion of the author, the key concept of the avant-garde film thought of the 1920s, the theory of the Montage of Attractions, deserves a separate independent study.
Considering "the Montage of Attractions" from a historical perspective, the author analyzes various trends in Soviet cinema. Starting from the basic idea of Sergei Eisenstein, the author pays special attention to the use of the Montage of Attractions in the work of Mikhail Romm and Aleksandr Mitta.
The article looks at the main features of the actualization of the Montage of Attractions at different stages of the development of Russian cinema. In the 1920s, the attraction was perceived as an aggressive element exposing the viewer to ideological influence. In the 1960s, the Montage of Attractions meant the reception of a contrast connection between the semantic parts of the film. In the 1970s, the principle of attraction was the basis for the plotting of genre films.
Summarizing the information obtained, the author comes to the conclusion about the universal nature of the theory of the Montage of Attractions and introduces her definition of an attraction. The essay also lists such basic aspects of the attraction as conflict, suggestiveness, universality.