Abstract: Paper cutting is an important part of Chinese traditional culture, and the regional features of Chinese paper cutting are mainly reflected in the artistic traditions and paper cutting styles in different regions, reflecting the cultural characteristics and folk traditions of each region. The research is devoted to the study of the current state of the traditional Chinese art of jianzhi (paper cutting technique) in Shandong province. It has been established that the northern and eastern traditions/styles of this art are distinguished in Shandong Province. The main focus of the work is on the northern local tradition of Jianzhi, conventionally called "Jianzhi of Binzhou". The purpose of this study is to show the peculiarities of the development of the traditional Jianzhi style from the Chinese city of Binzhou, Shandong province, using the example of the work of the famous master Lan Fumei. The main methods used in this study are historical-cultural, formal-stylistic and semiotic, which allow us to show the features of the artist's creative method and its connection with traditional Shandong paper cutting. The novelty of the research is the formal, stylistic and semiotic analysis of Lan Fumei's famous jianzhi on the historical plot "The Holy Warrior Sun Wu" and on the plot of the Chinese opera "The Woman is the Husband of the Princess", demonstrating the specifics of the regional Jianzhi of Binzhou. It is established that the master uses both traditional jianzhi techniques typical of the Binzhou style, and makes his own changes by expanding the plot. The results of the study are aimed at drawing the attention of Russian researchers to the little-studied regional traditions of Chinese Jianzhi and the work of Lan Fumei, as well as modern traditions of jianzhi development in China.

Keywords: Woman-Husband of the princess, modern jianzhi tradition, Holy warrior SunWu, master Lan Fumei, jianzhi features, Binzhou jianzhi, Shandong jianzhi, paper cutting, jianzhi, Chinese decorative techniques

Abstract: The topic of the research is the artistic image of Macau in the process of interaction between Eastern and Western cultures. The object of the research is the stages of formation of this image, starting with traditional art, modern artistic image and development of public artistic practices. The study of the evolution of the artistic image of Macau through the analysis of works of Chinese and Western artists allows us to demonstrate how the interaction of cultures influences the formation of a unique artistic image of the region. The methodological basis of the work was the historical-biographical and comparative-historical approaches. The historical-biographical method allows us to focus on the influence of the biographical aspects of the artists on their work. The main conclusions of the study are that the artistic image of Macau is the result of a unique process of cultural synthesis, in which Eastern and Western traditions mutually enrich each other. This process, which began in the Ming Dynasty, continued through Portuguese colonization and remains relevant to this day, demonstrating the importance of cultural interaction in the creation of outstanding works of art. Macau has had a significant influence on the formation of the style of such artists as George Chinnery and Augustin Bolger. The novelty of this study lies in its use of a comparative historical method, which, combined with biographical analysis of artists such as Chinnery, demonstrates how their personal experiences and cross-cultural interactions are reflected in their works, shaping the unique artistic identity of Macau. The results obtained contribute to a deeper understanding of cultural processes and can be used to develop strategies for the preservation and promotion of the region's unique cultural heritage.

Keywords: cultural exchange, History of Art, artistic development, urban culture, urban context, cultural trends, development trajectory, interaction between East and West, artistic image, Macau art

Abstract: There is a significant number of scientific literature on the philosophical work of the outstanding Russian philosopher, cultural critic and literary critic M. M. Bakhtin. His ideas made him one of the most influential Russian theorists, penetrated deeply into all the humanities ("sciences of the spirit" according to M. M. Bakhtin). Modern humanitarianism is impossible without such concepts as dialogue and polyphony, author and Other, act and responsibility, etc. However, for the most part, Bakhtin scholars are focused on analyzing and generalizing the semantic and ideological content of his manuscripts. Considering the key principles of M. M. Bakhtin's philosophical teaching, the authors of the article propose their promising development in relation to the main directions of cultural and philosophical science. Basing their research on the methods of logical extrapolation and modeling, the authors try to outline the possibilities of applying Bakhtin dialogism as a universal methodological principle in various fields of modern philosophical knowledge and culture. The novelty of the research lies in the fact that four aspects of the prospective application of this conceptual position in different fields of humanitarian knowledge are highlighted: 1) historical-cultural and historical-philosophical (as the principle of constructive dialogicity of different philosophical trends and traditions), 2) epistemological (as the principle of dialogicity of human cognition), 2) axiological (the principle of polyphonic axiogenic dialogue of different social subjects) and 4) socio-cultural (the principle of equal partnership dialogue in interstate relations, which is the basis of global integration and the defining trend of modern world development (i.e., the main content of the modern era). The depth of M. M. Bakhtin's vision of the problems of modern humanitarianism, who anticipated the development of scientific knowledge about man and his spiritual being for almost a century ahead with his ideas about dialogic and personal responsibility, allows, on the basis of the method of logical extrapolation, to outline ways to further develop his conceptual provisions.

Keywords: responsibility, society, personality, the humanities, social values, dialogical approach, cultural studies, M. M. Bakhtin, cognition, philosophy of culture

Abstract: This article is devoted to the historical and philosophical foundations on which the "cinematic suture" as a concept from psychoanalysis became an object of the analysis of sensuality in the 20th century. The relevance of the research is related to the need to pose the problem of a gradual movement from cinema as an object of perception to the analysis of the spectator`s role in the film philosophy of the last century. The connection of the subject with the discourse of the film through the "suture" is considered according to the scenario of J. Lacan, J.-A. Miller and J.-P. Oudart. The impact, as well as the differences between the "classical" and the modern version of "the system of suture" are called. The thesis is put forward that the expansion of the context of such concepts as the "cinematic suture" may lead to the loss of its theoretical framework in the history of psychoanalysis and structuralism in film theory. Analytical and comparative methods are used in this article to find the prerequisites that in the 1950s and 1990s shifted the discussion of realism from film criticism to the level of theory and philosophical problem. The scientific novelty consists of substantiating the continuity of the "suture" concept with realism and the impression of reality in contemporary film theories. The illustrative field of the reality effect, the impression of reality and the cinematic "suture" is expanded and complemented by audiovisual features of different genres using the example of the analysis of the satirical comedy by Elem Klimov "Welcome, or No Trespassing" (1964). As a result, it is concluded that the anticipation of the viewer's reaction and his spatial identity in the film serve not only as a criterion for evaluating the cinematic experience as a sensory one, but also as a sign of the difference between several periods of comprehension and criticism of "the system of suture" from each other. It is proved that the turn of the XX-XXI centuries in the theory and philosophy of cinema was marked by criticism of the idea of the spectator as a "reader" of movies, which at an early stage of the development of "the system of suture" was no less universal and prescriptive than realism.

Keywords: aesthetics of cinema, realism, cinematic experience, sensuality, spectator, comedy, reality effect, impression of reality, psychoanalysis, cinematic suture

Abstract: The article is devoted to the study of the problem of defining and classifying interactive cinema as a special media format in the modern digital space. The relevance of the research is conditioned by the rapid development of hybrid forms of media content, blurring the traditional boundaries between cinema and video games, as well as the lack of clear criteria for their theoretical classification. The research methodology is based on a comparative analysis of the characteristics of video games and cinema using M. McLuhan's theoretical concepts of ‘hot’ and ‘cold’ media, the ludological approach and narratological analysis. Interactive projects of Quantic Dream studio – ‘Fahrenheit’ and ‘Heavy Rain’, as well as examples of experimental formats in traditional cinema were used as the research material. The scientific novelty of the research consists in the attempt to distinguish interactive cinema as a separate type of media content; in the proposal of the concept of “hybrid media”, which combines the principles of visual narrative cinematography and interactivity, which allows us to classify new formats more precisely and to understand their features and possibilities more deeply. As a result of the research: the essential differences of interactive cinema from both traditional video games (the absence of classical game mechanics and progression systems) and cinematography (the presence of active user participation and variability of plot development) were revealed; the definition of a new category of “hybrid media” characterized by the combination of cinematic principles of visual narrative with elements of interactive interaction was proposed and substantiated; the specific position of the user in interactive cinema was analyzed, The results of the study contribute to the development of the theory of modern digital media and can be used for further study of hybrid forms of media content.

Keywords: focalization, gameplay, interactivity, digital narrative, cinema, video games, hybrid media, interactive cinema, game, immersivity

Abstract: The purpose of this article is to popularize the music of our famous compatriot, composer Efrem Iosifovich Podhaits. His chamber music is the subject of research, and the sonata for double bass and piano is the object of study. Efrem Iosifovich is a very prolific composer who, year after year, pleases musicians and ordinary listeners with composing more and more new works, confirming his professional worth. The author's interests cover all musical genres. Along with symphonic, opera, and choral music, there are chamber compositions for all instruments. And the double bass is no exception. Despite the established opinion about it as an instrument exclusively accompanying, orchestral and jazz, Efrem Iosifovich goes beyond stereotypes and gives the double bass in his sonata a full-fledged solo part, which includes new playing techniques such as pizzicato on the fingerboard, glissando with flageolets, cross pizzicato on open strings with two hands and others. The author of the article claims that the sonata for double bass and piano is unique because it combines deep philosophical content and knowledge of all the subtleties of playing this instrument. Based on a detailed study, the author gives a subjective assessment of the form and inner world of the work. The main conclusion of the acquaintance with Efrem Iosifovich's chamber composition is the conviction that it is necessary to familiarize oneself with and include one of the most remarkable contrabass opuses in the current repertoire of performing musicians. This is confirmed by the release of the Anthology "Modern Music for Double Bass" by the publishing house of the Moscow Conservatory, which includes three sonatas, including the sonata by Podhaitz. The article emphasizes that despite the modern language of writing, Efrem Iosifovich's style remains recognizable and unique. The composer does not deviate from the classical canons of art and relies in his work on three main musical "whales" – rhythm, harmony and melody. The novelty of the article lies in the fact that before the author, this work unfairly remained in the shadow of other works, and did not act as an object for special research. The article is a huge contribution to spreading information about this little-known work among fellow musicians and students.

Keywords: The sonata, musical composition, double bass, symphonic music, new ways of sound production, the composer of modern times, sonata for double bass, works, concerts, chamber music

Abstract: This article is devoted to the emergence of individual plots illustrating the story of the Trojan Prince Alexander (Paris) in Venetian art in the first decade of the sixteenth century. Although Trojan themes were widely represented in the works of Florentine artists, ancient history received a different interpretation and a new edition in the works of Venetian masters Giorgione and artists in his circle. The publication examines the reasons for the interest in the Trojan theme among Venetian artists and how this theme was implemented in the art of the Most Serene Republic during the fifteenth and sixteenth centuries. The evolution of the plot of The Court of Paris and the variety of ideas of Venetian artists visualizing the story of the Trojan Prince are shown. As a result of the work done, it was revealed that the new image of Paris, which appeared in Venetian art in the first decade of the sixteenth century, reflects the ideal of a new personality, gentile uomo, and corresponds to the mindset of Venetian society, which arose at the turn of the century and associated with the decline of the economic and political greatness of the Most Serene Republic. The paper presents descriptive and formal stylistic analyses combined with iconographic and iconological methods of studying works of art. The relevance of this work is evidenced by the evolution of the image of Paris and the many interpretations of his life story, from the ancient epic to the visual form, thanks to which he takes root in the spiritual and artistic culture of Venice, becoming a symbolic figure in the humanistic consciousness of society at the beginning of the sixteenth century. The novelty of this topic lies in the analysis of little-studied works by Venetian masters, which were created based on ancient myths. We have proposed a new approach to interpreting the image of Paris and individual scenes from his life in the works of Giorgione and his followers. This interpretation brings the fundamental semantic meaning of the plot closer to the requirements that arose in the mindset of Venetian society at the turn of the fifteenth and sixteenth centuries. This approach allows us to consider these plots as integral historical and artistic phenomena, illuminating the semantic meaning of several works studied in a general context.

Keywords: Venetian art, Giorgione and the circle of Giorgione, pastoral genre, the ideal of a new identity, Trojan legend, shepherd, mythological subjects, Venice, Judegement of Paris, Paris

Abstract: The legacy of Crimean painting from the late nineteenth to the first half of the twentieth centuries requires a deep scientific approach in cultural studies, as a result of which the relevance of our research is determined by the analysis of the evolution of the visual code of the great marine painter I. K. Aivazovsky, reflected in the works of Crimean artists of subsequent generations. The application of the cultural approach together with the art historical analysis made it possible to address the problem of the synthesis of traditions and innovation, to trace the transformation of the methods of depicting the Crimean nature of I. K. Aivazovsky in the works of painters during the period under study. The cultural code, in the semiotic interpretation of Yu. M. Lotman, is identified with a communicative function and is a text in the form of a special form of message transmission. Based on this provision, we have named the term "Aivazovsky code" as a pictorial text, that is, a method of depicting the Crimea used and transformed in the works of Crimean painters and masters of the Cimmerian school, whose work is the object of our research. The subject of the study is the evolution of the Aivazovsky code, integrated into the art of the Crimean school of the first half of the twentieth century, in the context of creating an artistic image of Crimea. The research methodology includes the use of a cultural approach in conjunction with art historical analysis and the method of comparison, which makes it possible to address the problem of synthesizing traditions and innovation, to trace the integration and transformation of methods of depicting the Crimean nature of I. K. Aivazovsky in the works of painters during the period under study. A special contribution to the study of the stated topic is the characterization of Aivazovsky's visual code and the identification of its features transformed in the process of integration into the artistic space of the Crimean painters of the first half of the twentieth century. The novelty of the research lies in explanation of the term "Aivazovsky code" and conducting a cultural analysis of this phenomenon. It is established that Aivazovsky's visual code, as a carrier of information, in the process of integration determines the possibility of dialogue and communication between cultural spaces of artists. Throughout the twentieth century, the process of evolution of Crimean painting has been taking place based on the use of a synthesis of traditions and innovation, thanks to the introduction of new visual texts by artists into the cultural memory embedded in the Aivazovsky code. A feature of his evolution is the transition from romanticism and realism to the transformation of the artistic image.

Keywords: Crimean painting, artists, dialogue, Evolution, integration, visual text, The Cimmerian School of Painting, the Aivazovsky code, synthetism, artistic image