Abstract: The subject of this research is Russian feature films from the 1990s that represent the image of Russia amid social and cultural changes, while the focus is on the artistic features and semantic mechanisms of shaping the image of Russia in the film "Everything Will Be Alright." The article examines key aspects of this image's formation: the state of social and cultural uncertainty, moral guidelines during a transitional period, the motive of emigration, the transformation of the family institution, the loss of trust in the state and society, as well as the resilience of the "little man" in an era of the destruction of the familiar world structure. Special attention is given to the analysis of visual and narrative solutions through which the director captures the traumatic experience of transitioning from Soviet to post-Soviet reality. A comparative approach is employed, comparing the image of Russia in "Everything Will Be Alright" with its representation in other social dramas of the 1990s: "Promised Heaven" (1991), "You Are the Only One for Me" (1993), "Window to Paris" (1993), "Brother" (1997), and "The Sharpshooter" (1999). Research methods include the interpretive method (analysis of symbolism, imagery, dialogues, and the film’s dramaturgy), the cultural-historical method (considering the film in the context of the sociocultural situation of the 1990s), the comparative method (comparing Astrakhan's film with other cinematic works of the era), and the hermeneutic method (revealing hidden meanings, tonal nuances, and the author's ethical position). The main findings of the research indicate that Astrakhan's film represents not only an artistic fixation of post-Soviet reality but also an important ethical document of the time, in which the "little man" becomes a central figure of national consciousness. The author's contribution lies in a comprehensive examination of one of the key cinematic works of the 1990s as a representative cultural artifact capable of reflecting and interpreting the sociocultural trauma of the era. The scientific novelty of the research is in the systemic analysis of the presented film as an artistic work that forms an original and underexplored image of Russia in the 1990s, as well as in identifying Dmitry Astrakhan's authorial position, which differs from the dominant narratives of violence, cynicism, and social hopelessness in the cinema of the 1990s.

Abstract: The object of this study is Soviet science fiction cinema of the 1950s to 1980s. The subject of the research is the image of the alien in Soviet cinema from the 1950s to the 1980s in visual, narrative, and symbolic structures. The article examines the key stages of the transformation of this image—from the early utopian model of the "other" to complex metaphysical and allegorical figures in late Soviet cinema. Special attention is given to the visual, genre, and stylistic means used to create the alien image: sets, lighting and editing dramaturgy, artistic codes of animation and live-action cinema, as well as sound and spatial solutions. The theoretical and methodological basis for this work includes the works of domestic researchers M. Yampolsky, M. Kogan, O. Kozhemyako, A. Sinitsin, I. Zhukov, S. Lem, S. Dobin, E. Ryazantseva, M. Voronin, N. Gromov, I. Kondakov, E. Ulyanova, V. Zhitenyov, as well as foreign researchers T. Dobzhansky, S. Lem, R. Lewis, Y. Tsivian, M. Smith, G. Roberts. The research methods include semiotic and visual-analytical methods, which provide an interpretation of the sign and symbolic structures that form the image of the alien, intertextual analysis that allows establishing connections between cinema and literary fiction (the works of Yefremov, Strugatsky, Lem, etc.), and a comparative method that enables the juxtaposition of different stages and stylistic traditions within the genre. The main conclusions of the study show that the image of the alien in Soviet cinema evolved from the embodiment of technocratic hope and dreams of interstellar solidarity to a visual expression of philosophical crises and ideological doubts. It becomes less a figure of the external other and more a screen metaphor for the inner self, God, conscience, utopia, and fear. The research demonstrates that through this image, Soviet cinema expressed both collective aspirations for the future and the hidden contradictions of cultural identity. The scientific novelty of the study lies in the comprehensive analysis of the image of the alien in Soviet cinema, emphasizing its artistic transformation: from a character of a utopian project to an allegorical figure of cultural and philosophical reflection. For the first time, this work conducts a systematic comparison of the visual and meaningful strategies involved in creating this image across different decades.

Abstract: The author considers the modern soap operas (series) in the audiovisual space as an object of research. By the subject of the study, the author understands the influence of the series of the XXI century on cultural, economic and technological processes, as well as their role in shaping modern media trends. Special attention is paid to the influence of the series on popular culture, the formation of audience preferences and their role in the globalization of the media market. Research methods include content analysis of scientific and journalistic sources, a comparative historical method for studying the evolution of the series, as well as a systematic approach that allows a comprehensive assessment of the impact of the serial medium on society, culture and the economy. The main conclusions of the study show that the series in the XXI century have become a powerful tool for influencing social processes, shaping public discourses and value orientations. They not only reflect current trends, but also actively participate in their formation, becoming an element of global cultural exchange. In addition, economic and technological changes have led to the emergence of new series formats, such as interactive projects and personalized content using artificial intelligence algorithms. The main contribution of the author is a comprehensive analysis of the serial medium, taking into account its historical development, modern influence and prospects of evolution. The scientific novelty of the research lies in an interdisciplinary approach to the study of the series, combining cultural, economic and technological analysis. The work expands the understanding of the impact of the series on global media processes and emphasizes their role as one of the leading formats of contemporary art and mass communication.

Abstract: Dmitry Astrakhan is a director who immensely "feels the time." His films of the 1990s are documentary films of their era, which are reflected in the works of modern directors. All this underlines and undoubtedly confirms the relevance of this study. Based on this, the author sets a goal to identify the features of Dmitry Astrakhan's creative unions. The set goal is solved by the following tasks: 1) to analyze the creative team of director Dmitry Astrakhan; 2) to identify the members of the creative team with whom the director worked more than with others; 3) to substantiate the role of the creative tandem in the filmmaking work of Dmitry Astrakhan. The object of the study is a creative tandem, and the subject of the study is the main creative tandems in the directorial filmmaking of Dmitry Astrakhan. Cultural-historical and art-historical research methods were chosen as the key methods of the current research. The theoretical and methodological basis for writing this work was the works of Russian researchers Z. Lissa, A.O. Kozyreva, M.A. Novoselova, S.V. Lavrova, Li Jian and N.V. Medvedeva. It is impossible not to mention the author's previous publications on the research topic, which served as material for the work. Also, journalistic articles were used in the arsenal of sources to reflect the opinions of film critics and moviegoers on research issues. The scientific novelty of the work lies in the actualization of the role of the creative tandem in relation to the work of domestic film directors and the justification of a clear analytical approach to identifying participants in the main creative team of film director Dmitry Astrakhan. As a result of the study, it was revealed that Dmitry Astrakhan collaborated most of all with screenwriter Oleg Danilov during the entire creative period (1991-2020) – 24 joint films and composer Alexander Pantykin – 11 joint films. This served as the formation of common stylistic features and relationships that allow you to create films with a unique author's handwriting.

Abstract: Full-length and short independent feature films directed by Martin Scorsese are considered as the research material. The object of the study is the main elements of Martin Scorsese's directorial style. Throughout his creative career, the director under study, without fear, operates with numerous artistic techniques that today form the directorial style – broadcasting Christian motifs, cruelty combined with the beauty of the criminal world, eyes as an element of the hero's soul, using a mirror in the context of reflecting the other world of the character, narration through dreams and fantasies, as well as an abundance of editing solutions. The main attention is paid to the cast in the director's filmography, which correlates with the subject of this study. In this article, the author analyzed 33 films of the director that fall under the conditions of the study. The theoretical and methodological basis of the research was the works of domestic and foreign theorists and practitioners of cinematography, as well as film encyclopedias and film textbooks of the academic level. According to the results of the study, the author came to the conclusion that the director is committed to a permanent cast in his films. More than others, Martin Scorsese stars such actors as Robert De Niro, Catherine Scorsese, Charles Scorsese, Leonardo DiCaprio. The director puts himself at the top of this list. 430 actors took part in all the films studied, who appear in the director's filmography at least twice. In the films The Irishman (2019), The Wolf of Wall Street (2013), Goodfellas (1990), and Casino (1995) starred the largest number of recurring actors in the director's work. Also, in the course of our research, we found that the director in most of his films prefers to shoot not only himself, but also members of his family.

Abstract: The authors designated speech culture as the object of this article. The subject of the study is the creative potential of the Honored Artist of the RSFSR Maria Vinogradova in the context of voicing Soviet cartoons. The authors set a goal to identify the range of the potential of speech capabilities in voicing cartoon characters. The methodological basis of the article is content analysis, comparative, statistical, historical and cultural analysis of Soviet animated works, as well as their characters voiced by Maria Vinogradova. The authors, when considering the problem, achieve the following results: from 1954 to 1995, Maria Sergeevna took part in the dubbing of 213 Soviet cartoons. The most fruitful years for the actress in terms of voice acting were 1976 – 15 works; 1975, 1984 - 12 works; 1973 – 11 works; 1974 – 10 works. For 40 years, the actress has voiced 109 animals, 87 boys, 22 girls, 14 indeterminate characters and 9 inanimate objects. In the process of developing the problem, the authors identify categories of voiced characters (boy characters, girl characters, animal characters, object characters, indeterminate characters) and analyze the actress' creativity for the characters she voices belonging to these categorical elements. The novelty of the research lies in the unconventionality of the indicated approach, as well as in the complex analysis of the palette of Maria Vinogradova's speech capabilities. As a result of the study , the authors come to the following conclusions: 1) The high creative rise of the actress was formed in the 1970s - 91 Soviet cartoons were voiced in this decade, which is 42% of the total number of voiced cartoons. 2) The acting role of Maria Sergeevna's travesty confirms the first place in the number of voiced male characters - children and animals. 3) In 15 cartoons, Maria voiced several characters, and in 2 – all the characters, which indicates a wide speech range of the actress.

Abstract: The subject of this research of this article is the trends, forms, themes and genres of children and adult amateur filmmaking on the context of development of the national film festival movement. The author traces  the evolution of the Russian film festival movement, which is reflected in trends, organizational forms, themes and genres of children, mixed and adult amateur filmmaking in the XX – XXI centuries. Methodological framework of this research is comprised of the dynamics of formation of the experience of emotional-value perception of the visual image of reality (B. M. Nemensky), content analysis, comparative, genre-thematic, statistical, historical-culturological analysis of the themes and genres of works of amateur filmmaking of the Soviet and post-perestroika periods presented at film festivals. As a result of the conducted research, the author divides the traditional filmmaking into enthusiasts of cinemagorahic art and amateur videographers; outlines the organizational forms and development trends of the Russian film festival movement; highlights the thematic peculiarities of modern amateur filmmakers that consist in the successive, traditional, new and lost themes of children and adult amateur films. The traditional amateur film and modern amateur video genres of screen works are determined. The novelty of this research lies in nontraditional approach, as well as comprehensive analysis of the problem of modern development of the amateur film festival movement. The main conclusions are as follows: 1) the division of traditional amateur filmmaking into two groups: enthusiasts of traditional cinematographic art and amateur videographers – creation of the works of new and traditional themes is substantiated by sociocultural peculiarities of modern development of the amateur film festival movement; 2) It is noted that the lost thematic groups, such as the Soviet legacy, would be revived in the works of modern authors; 3) there is an important feature in the development of modern amateur videography in the context of film festival movement and establishment of the new genres.