Review: The subject of this research is the evolution of the institutional structure, social base, ideology, trends and priorities of the activity of public organizations of the Russian diaspora in the United State at the turn of the XX – XXI centuries. Focus of attention is the cultural-educational societies, publishers, humanitarian foundations of the Russian America that has established relationships with Russia during the post-Soviet period, as well as the new public organizations formed within the Russian-speaking communities of New York, San Francisco, Houston, and other US cities in the late 1990’s – early 2000’s. The research methodology is based on the fundamental principles of historical science – historicism, scientific validity, and objectivity. The author also applies the systemic and contextual analysis, comparative and other special methods of historical research. The scientific novelty lies in determination of development trends of public organizations of Russian diaspora in the United States over the period from 1991 to the early 2000’s. The study demonstrates that in the context of conducting democratic reforms in Russia, the ideological component in the life of Russian America recedes into the background. The priority vectors of public activity of the Russian-American intelligentsia becomes the cultural dialogue with Russia, implementation of humanitarian and educational projects in the historical motherland. In the late 1990’s – early 2000’s, within the framework of Russian-speaking communities in the United States, appears a number of new social centers aimed at the promotion of the Russian language and culture in the United States, which activity reflected the socio-mental image of Russian Americans of the early XXI century, their interest in the dialogue with Russia and international world of the Russian compatriots.

Keywords: Russian-American relations, foreign compatriots, Russian abroad, Russian diaspora, emigration, Russian America, USA, charity, education, museum building

Review: Visual anthropology is viewed from the perspective of usage of the dominants of corporeal apparatus of the actor within a film frame, as a script of archetypical images structured by the filmmaker, as well as individual corporeality of the actor. The article analyzes the roles of Fyodor Nikitin in F. Ermler’s films of the late 1920’s : Katka's Reinette Apples (1926 with E. Ioganson), The House in the Snow-Drifts (1927), The Parisian Cobbler (1927), Fragment of an Empire (1929). The author applies the method of cultural anthropology, leaning on the works of M. Bakhtin, M. Eliade, and C. Jung. The article is firs to touch upon the problem of creating a screen image based on the two independent from each other scripts: visual is created using the corporeal nature of the actor and film editing approach of the director, and has powerful influence on the emotions of the audience; the inner is based on the unique actorly nature and can be autonomous from the created by an actor image, reaches the level of personal sensible experience of an actor. Similar principles of the work of actor and film director were also used in the theatre of Jerzy Grotowski in the 1960’s, The author concludes that the key principles for creating the unique screen images that can become the basics for a modern film actor have already been formulated and developed.

Keywords: godlike child, quadrangular man, spectator's appreciation, grotesque body, ecstatic man, archetypal image, visual anthropology, body-in-life, extended body, stage presence

Review: The subject of this research is the development of aboriginal tourism in Canada as one of the priority directions towards preservation and development of the cultural heritage of its indigenous population. Aboriginal tourism in Canada is define by the activity of such tourism agencies and organizations, which mostly belong to the representatives of indigenous people – First Nations, Métis, Inuit, managed and/or controlled by them. Special emphasis is made to the economic indicators of such type of tourism industry, as well as the core activities of aboriginal tourism agencies, their concept and development trends from the perspective of sustainable development of the territories used for preservation and promotion of the traditional cultural practices and language of the First Nations communities. The conducted research demonstrates the sustainable development of aboriginal tourism in Canada, escalating interest of tourists and the indigenous population. One of the key factors contributing to such increase becomes the tourists’ intention to obtain new cultural experience and knowledge, along with the desire of aboriginal communities to improve their socioeconomic situation and promote further preservation of the traditional economy and native culture. Therefore, the author underlines the annual increase in employment rate among the representatives of indigenous population and the range of tourist activities implemented by them. Such experience is of special practical importance for the creation of regional programs for support and development of the indigenous minorities of Russia.

Keywords: Aboriginal culture, Inuit, Métis, First Nations, Indigenous peoples of Canada, Ethnic tourism, Aboriginal tourism, traditions, cultural heritage, tourist activities

Review: The subject of this research is the transformation of the screen canon in Russian films of the first decade of the XXI century. The article meticulously analyzes the three new trends characteristic to the films of this period, which in the author’s opinion, reflect the new canonic features of Russian cinematography. The first trend – emergence of a hero able to take action. The second trend pertains to formation of a new mythological structure of the past, visualized in modern national war films. The third trend is associated with delineation of space and functioning of film characters, which forms a new look of a screen worldview. The main conclusion lies in the idea of formation of a new image of full-fledged hero, establishment of a new canon of capturing the spatial elements of screen environment along with the new ideologemes aimed at structural moral-ethical principles of the audience. The concept of canon is justified by the development of figurative language of the films of the first decade of the XXI century.

Keywords: film entertainment, film genre, cinema of 00s, russian cinema, native cinema, screen reality, screen canon, canon, art expression, film editing