Abstract: The purpose of this work is to reveal the peculiarities of perception of historical archival newsreels on the example of pre-revolutionary non-fiction films. The objective of the study is to identify the qualities of pre-revolutionary newsreels that influenced the mass audience before the revolution and compare them with those qualities that come out on top when perceived by modern viewers.
In the work, an analytical approach is used as a method, which is based on theoretical provisions arising from the consideration of the specifics of newsreels as a special type of cinematography. The formation of Russian non-fiction cinema at an early stage is also considered, the techniques used in its development are revealed, and the extant evidence of the perception of newsreels in the first cinemas is studied.
Films considered are : "The Sovereign Emperor, the Empress Empress and the Heir Tsarevich are pleased to taste sailor food on the imperial yacht "Standard" during their stay in the Skerries in 1908" (1908), "Asbestos mining in the Urals" (1911) and "The opening of the bridge across the Volga in the center of Rzhev" (1911). The results of the study confirm the influence of the so-called visual turn that occurred and indicate a fundamental difference in the perception of visual information compared to verbal. When analyzing the preserved film materials, including documentaries, it is noticeable that now these ephemeral screen images convey the breath of authentic life, and we look at the screen not to learn any story, but to feel the atmosphere of being of those people.
The novelty of the undertaken research lies in the development of a model of perception of pre-revolutionary newsreels both in general terms and from the point of view of a specific audience before and now.

Keywords: visibility, image, understanding, screen reality, cinema, non - gaming, perception, viewer, film, pre - revolutionary newsreel

References:
Zorkaya, N. M. (1976). At the turn of the century. At the origins of mass art in Russia 1900-1910. Moscow: Nauka.
Mikhailov, V. P. (1998). Stories about the cinematography of old Moscow. – Moscow: NIIK.
Kovalova, A. O. (2012). Cinema in St. Petersburg (1907-1917). Film production and filmography. St. Petersburg: Scriptorium.
Tsivyan, Yu. G. (1991). Historical reception of cinema: Cinema in Russia, 1896-1930. Riga: "Zinatne".
Drubek, Natascha. (2021). The Book Lab: “Hidden Figures.” Apparatus. Film, Media and Digital Cultures in Central and Eastern Europe, 13, 94-129. [Electronic resource]. Retrieved from doi:https://dx.doi.org/10.17892/app.2021.00013.284
Elsesser, T., & Hagener, M. (2018). Theory of cinema. Eye, emotions, body. St. Petersburg: Session.
Cinematic experience: history, theory, practice. Collective monograph. (2020). O. S. Davydova, S. B. Nikonova, D. A. Polikarpova and others; ed. A. E. Radeeva, N

Abstract: The subject of the article is a film of a Bashkir film director -"Glass Passenger" by Bulat Yusupov. The author of the article carries out an archetypal, semiotic and hermeneutic analysis of the cinematographic text. The first one is the study of mythological elements within the film. It will show us the presence in the work of elements of the national myth and their connection with the literary archetypes of Jung. The second, semiotic, takes place under the conditions of isolating signs from relationships within the whole structure that defines a film work as a kind of a media text. And the third, hermeneutic, is based on the traditions of cinema interpretation in the intertextual interaction of all literary texts. The scientific novelty of the research lies in the systematic, comprehensive study of the Bashkir cinema, in comparison with the samples of the world artistic culture; in identifying the key features of an individual film that has not previously been subjected to detailed scientific study. The film refers the viewer to the images of Bashkir mythology. The analysis carried out reveals in the media text the trends in the creation of feature films in Bashkortostan.

Keywords: bashkir culture, folklore, Bashkortostan, cinema, archetypal analysis, semiotic analysis, hermeneutical analysis, history of cinema, Bashkir cinema, film studio

References:
 Aminev, Z.G. (2012).The epos "Ural-batyr" as a source for the study of the cosmogonic views of the ancient Bashkirs. Problems of Oriental Studies, ¹2 (56). Retrieved from: https://cyberleninka.ru/article/n/epos-ural-batyr-kak-istochnik-po-izucheniyu-kosmogonicheskih-vozzreniy-drevnih-bashkir-1.
Baiturina, D.U. (2022). Bashkir cinematography as a national culture phenomenon. Philosophy and Culture, ¹ 1, 11-25. doi: 10.7256/2454-0757.2022.1.37269.
 Belenky, I. (2019). History of cinema: filming, film industry, film art. M.: Alpina Publisher.
 Deleuze, J. (2012). Cinema: J. Deleuze. M.: Ad Marginem Press. 
 Zorkaya, N.M. (2006). History of Soviet cinema. St. Petersburg: Aleteyya, Publishing House of St. Petersburg University.
 Krank, E.O. (2020). National cinematograph and national mentality. Etnicheskaya kultura, ¹ 1(2), 21-25.
 Claire

Abstract: The article is devoted to an adapted medical series as an integral part of a professional franchise on a modern television screen. The main subject in the adaptation of a foreign original is the transformation of the modern image of a doctor. Using the example of the serial series "Dr. House", "Dr. Richter", "Hekimoglu", the image of a modern doctor is analyzed in the context of archetypal images of the past. The adapted series, which is a legalized remake of a foreign original, is a fairly new phenomenon.

The main principle of attraction among the audience is the originality of the character, which is a combination of archetypal images of the past in a modern reading, devotion to the image of national traits. The types of heroes, their archetypal images were considered and correlated, the casting of the actors of the original and adaptation were analyzed. The series with a strong transformation of the plot are analyzed using the example of "Without Witnesses". The reasons of failures and as a consequence of low ratings are revealed. Despite the fact that the topic of medicine is universal, eternal, nevertheless, it is necessary to take into account the mental characteristics of the country of origin, since not every plot can be adequately transferred to another national soil. At the moment, the adapted series has not been the subject of a detailed cultural or art criticism analysis. A detailed comparative analysis of existing serial samples will allow us to develop a methodology for carrying out an adequate transformation of the original plot under the national mentality of the country of the franchise buyer.

The success of the series consists of many components. One of the main elements is a high-quality casting of actors with getting into the image. The cast should create an ensemble of combined images. When adapting, it is required to provide the national viewer with the usual tempo, picture quality.

The reasons for the success of existing serial adaptations on a medical topic are studied. It is concluded that careful study of the scenario for the national mentality allows you to create a liquid national product.

Keywords: professional narrative, national mentality, Hekimoglu, Dr. Richter, Image of a doctor, medical deductible, Dr. house, modern popular culture, soap opera, Russian adaptations

References:
Carlo Ginzburg. Spie Radici di un paradigma indiziario URL: https://www.academia.edu/34805557/Carlo_Ginzburg_Spie_Radici_di_un_paradigma_indiziario (data obrashcheniya: 16.03.2021)
Yung K.G. Dusha i mif: shest' arkhetipov. M.:1997., s. 15
O. Stroeva. Iskusstvo i filosofiya. Udivitel'nye paralleli, neobychnye interpretatsii.-SPb: Strata, 2019. – s.50
Zorkaya N.M. Chary mnogoseriynosti/ Mnogoseriynyy telefil'm. Moskva, 1976.
Kempbell Dzh. «Tysyachelikiy Geroy». M.: Sofiya, 1997. – 336 s.
Propp V. Ya. Morfologiya volshebnoy skazki. Istoricheskie korni volshebnoy skazki. M.: «Labirint», 1998.-456 s.
Umberto Eko. Imya rozy. – M: Simpozium, 2009. – 540 s.
Akopov A. Z. Teleserial nachala XXI veka v kontekste otechestvennoy kinodramaturgii. – s. 27
Pamela Duglas. Iskusstvo seriala: Kak stat' uspeshnym avtorom na TV/ Pamela Duglas; Per. s angl. – M.: Al'pina non-fikshn, 2017. – s.367
Bakhtin M.M. Sobranie sochineniy, t.4 (1): materialy k knige o Rable (1930-1950 gg.), chast' 1.
K. Vogler. Puteshestvie pisatelya; Per. s

Abstract: The study of the cultural effects of television is inseparable the study of cultural habits related to age, gender, and other basic parameters of the audience. Rapid technological changes in TV broadcasting lead to reconfiguration of audience and reflective attitude of the viewers to their own TV habits. Contrary to expectations, such changes, however, do not necessarily imply bringing younger audience or attraction of youth with technological innovations of television, but rather the audience remains loyal and “ages” along with the channels and programs. The article aims to explain why the viewers of major federal channels are of pre-retirement and retirement age, as well as why the number of young viewers decreases with each year, where do they go, and what do they watch. The subject of this research is the specificity of cultural habits with regards to Russian television. Research methodology employs statistical data analysis, building a functional model of media in culture, interpretation of cultural patterns of behavior and habits. The scientific novelty lies in the fact that the Russian television is examines from the perspective of correlation between technological innovations and habits of perception for the first time; this allows clarifying the sociocultural characteristics of the viewer in their dynamics, and cultural contexts of functionality of Russian TV as media. The conducted research has proven different structure of TV habits among different socio-demographic strata of the Russian audience. Within the framework this research, the author was able to determine socio-demographic groups with similar TV habits, as well as reflect the socio-demographic differentiation of the Russian TV audience.

Keywords: internet tv, art of mass television, human and culture, culture and media, tv viewing, Russian television, modern tv viewer, mass culture, new media, media content

References:
Sayt RBK. Ekaterina Kopalkina, Yuliya Starostina. Stat'ya «Ot 60 do 120. Skol'ko zarabatyvaet sredniy klass v Rossii» https://www.rbc.ru/economics/18/06/2018/5b27bf829a794710796bbfe5
Sayt issledovatel'skoy kompaniya MEDIASCOPE https://mediascope.net Posl. prosmotr 12.03.2019
Teleradioefir. Istoriya i sovremennost'. Pod red Ya.N. Zasurskogo. M. :Aspekt Press, 2005, 239 S.
Televidenie v Rossii v 2015 godu. Sostoyanie, tendentsii i perspektivy razvitiya. Otraslevoy doklad. Pod obshchey redaktsiey E. L. Vartanovoy i V. P. Kolomiytsa, M.: Federal'noe agentstvo po pechati i massovym kommunikatsiyam, 2016, 110 S.
Televidenie v Rossii v 2016 godu. Sostoyanie, tendentsii i perspektivy razvitiya. Otraslevoy doklad. Pod obshchey redaktsiey E. L. Vartanovoy i V. P. Kolomiytsa, M.: Federal'noe agentstvo po pechati i massovym kommunikatsiyam, 2017, 120 S.
Itogi Vserossiyskoy perepisi naseleniya 2002 g.: V 14 t. Feder. sluzhba gos. statistiki; T.2. Vozrastno-polovoy sostav i sostoyanie v brake. M.: IITs Statistika Rossii, 2004, 15 s.

Abstract: The object of this research is a separate element of chronotope genre – the time in dystopia in Russian cinematography of the late XX century – early XXI centuries. The subject of this research is the ideological time – a part of screenwriting that reflects the worldview of the characters through verbal constructions. Special attention is given to juxtaposition of ideology (the system proclaimed by the author) and counter-ideology (the opposing system of the public majority), as well as the manifestations of “doublethink”. Detailed analysis is conducted on the characteristic of the author's position on the ideological questions and its correlation with the social and cultural situation in the Soviet and post-Soviet society. Leaning on the theory of “vertical” time, the author explores one of its chronological layers associated with the ideology of dystopia, which defines the scientific novelty of this research. The works of K. Lopushansky, A. Sokurov, and A. German Sr. demonstrate that there can be at least to perspectives on the events, which underlies the dramaturgical conflict. The conclusion is made that various parts of ideology of the characters may be attributed to time that is different from time of the author and the audience. Another conclusion indicates the diversity of humanistic ideologies that film directors resort to, as well as different ways of their expression by the characters. The acquired results can be implemented in the genre dramaturgy, film studies, and film criticism.

Keywords: science fiction, time, humanism, ideology, dramatic composition, poetics, Soviet cinema, dystopia, Russian cinema, film theory

References:
Uells G. Sovremennaya utopiya.//Zavtra: Fantast. al'manakh. Vyp. 1. M., Tekst, 1991. S. 120 - 130. URL: http://www.fandom.ru/about_fan/wells_1.htm (data obrashcheniya 03.06.2020).
Strugatskiy B.N. Kommentarii k proydennomu. //Esli, 1999, ¹1-2.-S.255-286.
Strugatskie A. i B. Trudno byt' bogom. M., Moskovskiy rabochiy, 1989.-528 s.
Strugatskie A. i B. Za milliard let do kontsa sveta. M., Tekst, 1993.-400 s.
Oruell Dzh. 1984. Perm', KAPIK, 1992.-304 s.
Mann Yu.V. «Malen'kiy chelovek» //Literaturnyy entsiklopedicheskiy slovar'. M., Sovetskaya entsiklopediya, 1987.-S. 207-208.
Marievskaya N.E. Vremya v kino. M., Progress-Traditsiya, 2015.-336 s.
Lopushanskiy K. Dialogi o kino. SPb., Aleteyya, 2010.-192 s.
Dzheymison F. Progress versus utopiya, ili Mozhem li my voobrazit' budushchee?//Fantasticheskoe kino. Epizod pervyy: Sbornik statey. M., NLO, 2006.-S. 32-49.
Chertkova E. L. Spetsifika utopicheskogo soznaniya i problema ideala// Ideal, utopiya i kriticheskaya refleksiya. M., ROSSPEN, 1996.-S.156-187.

Abstract: Lately, the research of Parody film as a part of film discourse have reached its peak in the history and philosophy of science. The polycode essence of the concept of film discourse prompts changes and modifications in the interpretation of Parody film. Therefore, the subject of this analysis is Parody film. The goal of this research consists in examination of the peculiarities, meaning, and role of the concept of “parody film”, which is a creative work intended to ridicule the plot through satirical or ironic imitation. Research methodology is based on the method of analytical study of sources for clarification of the logic and content of the concepts of “parody”, “parody film”, and “film discourse”, as well for revealing the essence of parody film as a postmodernist deconstruction in cinematography. The article also employs the methods of comparative analysis and the concept of local cultures. The scientific novelty of this research consists in systematization of the existing knowledge on parody film in the light of film discourse, which being the phenomenon at the intersection of multiple disciplines is in the epicenter of scientific inquiries in linguistics, literary studies, sociolinguistics, philosophy of semiotics and film semiotics, critical discourse analysis, and theory of cinematography. The theoretical importance lies in characterization of the concepts of “parody”, “parody film”, “comedy”, “comedy film” in the context of modern knowledge of moviemaking and cinematography. The acquired results give a better perspective on the role of parody film in art and life of the society. The Interpreters fight for cinema, on the one hand adoring it as the art with unlimited capabilities, while on the other – neglecting the fact that it should need the unpretentious demands of the audience. The author claims that in a broad context, the parody film of the XXI century is not aimed at parodying a literary text. The filmmakers rather consider and use parody film as a means for drawing attention of various life circumstances.

Keywords: humor, film industry, deconstruction, postmodernism, Director, cinema, cinema parody, Parody, satire, genre

References:
Makki R. Istoriya na million dollarov: master-klass dlya stsenaristov, pisateley i ne tol'ko / R. Makki.-M.: Al'pina non-fikshn, 2012.-456 s.
Mol' A. Sotsiodinamika kul'tury / A. Mol'.-M.: Izdatel'stvo LKI, 2008.-416 s.
Menvell R. Kino i zritel' / R. Menvell.-M.: Izdatel'stvo inostrannoy literatury, 1957.-280 s.
Panomitros D. «Gegemon Fasosa i udovol'stvie ot parodii, drevnikh svidetel'stv i Evstafiya o parodiste», Protokoly XI Kongressa FIEC, t. 3, Afiny, 2004.-S. 504-513.
Pervichko E.I. Strategii regulyatsii emotsiy: protsessual'naya model' Dzh. Grossa i kul'turno-deyatel'nostnyy podkhod (rus.) / E.I. Pervichko // Natsional'nyy psikhologicheskiy zhurnal.-2014.-T. 4.-¹ 16.-S. 13-22.
Pol Rota. Kinodokumentalisty mira v bitvakh nashego vremeni / Avtor-sostavitel' G. Gerlingkhauz.-M.: Raduga, 1986.-360 s. – S. 227.
Saprykin S. Yu. Bosporskie syuzhety v dialoge Lukiana «Toksarid» / S.Yu. Saprykin // Aristey: Klassicheskaya filologiya i antichnaya istoriya.-2012.-1.-S. 185-209.
Sotsiologiya i kinematograf / obshch. red. Zhabskogo M

Abstract: This article examines the visual means of modern music videos and their impact on perception of the audience. The author is first to study the peculiarities of creation of visual imagery along with artistic means of music videos and their impact on the viewership. The conception, development stages, and specifics of the visual imagery of music videos on TV – from the “Little Blue Light” and musical films to modern music videos – are considered. Each of the is based on the balance between musical content of the composition, based on the compositional differences of the plot, and viewership perception, arousing the feeling of immersion into the image, connectedness to the events on TV, and affection with  the heroes. The scientific novelty consists in the attempt to correlate verbal content of the music video with its visual imagery. The conclusion is made that the audience perception in a certain way depends on the peculiarities of visual imagery of music videos, which feature contrapuntal aesthetics combined with the main idea of music video and differences within the framework of performer’s representation of the composition. The common aspect for creation of all music videos is the depiction of motion, which again underlines its inextricable connection of music video and cinematography, which is based on creation of a certain image by the actor.

Keywords: consciousness, music, television, visual modelities, video, music video clip, visual range, aesthetics, composition, video editing

References:
Pudovkin V. I. Asinkhronnost' kak printsip zvukovogo kino // Voprosy kinoiskusstva. M.: Akademiya nauk SSSR, 1958. S.309-315.
Khlystunova S. V. V gostyakh u dobrogo volshebnika kino (K 100-letiyu so dnya rozhdeniya Aleksandra Lukicha Ptushko). / Shestoy Rossiyskiy kinofestival' «Literatura i kino» Katalog. Gatchina, 2000. S. 48-49.
Ovchinnikov I. Teatr rok-n-rolla. Videoklip kak forma teatral'nogo myshleniya. // Rakursy: Sbornik statey. Redaktor-sostavitel' E.Sabashnikov. M.: Gosudarstvennyy institut iskusstvoznaniya, 1996. S. 96.
Vatakis A., Spence C. Evaluating the influence of the 'unity assumption' on the temporal perception of realistic audiovisual stimuli // Acta Psychologica, 2008. Vol. 127. - Issue 1. P. 12-23.
Chernyshov A. V. Media-muzyka na televidenii. M.: Iz-vo Moskovskogo universiteta, 2009. 112 s.
Marumo N., Tsutsui Y., Yamada M. Semantic congruency between music and video in game contents // International Conferences on Human Factors and Wearable Technologies, and Human Factors in Game Design and

Abstract: The subject of this research is the suggestive techniques of screenwriting on various level of perception of the movie, which engage the audience into cinematographic scene. The majority of movies reproduce the topic of social taboo, pulling upon the forbidden desires, and thus, instigating the audience. Such movies intend to distort the socially accepted moral and ethical restrictions, blurring the boundaries of the generally accepted standard. Alongside the violation of social taboo, one of the most important elements of drawing attention of the audience is unpredictability, used in dramaturgy to create an effect of incompleteness of story and the desire to reveal it. The research is based on the analytical and comparative methods, which allow analyzing particular effects intended by the author at the conceptual and dramaturgical level of the screen work. As a suggestive dramaturgical element, unpredictability can be reflected as a deferred event or a unpredictability  that forms the screen image and character of the hero. Analysis is conducted on the movies “The Return” (2003), “Loveless” (2017) directed by Andrey Zvyagintsev; “Fight Club” (1999) directed by David Fincher; “The Departed” (2006) directed by Martin Scorsese; “Melancholia” (2011) directed by Lars von Trier. The research result consists in characterization of the modern trend of preserving unpredictability within a narrative structure of the movie to maintain non-triviality of the storyline.

Keywords: hero, manipulation, mystery, dramaturgy, suggestive techniques, character, ban, cinema, taboo, plot

References:
Shmid B. Narratologiya. – M.: Yazyki slavyanskoy kul'tury, 2003. – S. 312.
Freyd Z. Totem i Tabu. – SPb : Azbuka-klassika, 2005. – 253 s.
Rostotskaya M. Andrey Tarkovskiy: nachalo… i puti. — M.: VGIK, 1994. — 208 s.
Turkin V. Dramaturgiya kino.-M.: VGIK, 2007. –320 s.
Nekhoroshev L. N. Dramaturgiya fil'ma: Uchebnik. — M.: VGIK, 2009. — 344 s.
Propp V.Ya. Istoricheskie korni volshebnoy skazki. – M.: Labirint, 2000. – 336 s.
Metts K. Voobrazhaemoe oznachayushchee. – SPb: Izdatel'stvo Evropeyskogo universiteta v Sankt-Peterburge, 2013. – S. 336
Krakauer 3. Priroda fil'ma. Reabilitatsiya fizicheskoy real'nosti.-M.: Iskusstvo, 1974. –424 s.
Katyukhina T. . V poiskakh sledov "cheloveka bez sushchnosti" // Filosofskaya antropologiya. – 2016. – ¹ 1. – S. 177–194.
Arabov Yu. N. Kinematograf i teoriya vospriyatiya. – M.: VGIK, 2003. –106 s.
Bakhtin M. Avtor i geroy. K filosofskim osnovam gumanitarnykh nauk. – SPb.: Azbuka, 2000. – 234 s.

Abstract: The subject of this research is the acting jobs of B. V. Barnet of the 1940’s. Film director Boris Barnet, who started his path as an “actor-model” at the Lev Kuleshov’s workshop, and was active in the movies during the 1920’s. However, the two major roles he played in the movies Dark Is the Night” (1944) and “Secret Agent” (1947), in which he appears in an unusual role of German Officer, in other words as an “enemy”. The shift in paradigm of the actor’s path of B. Barnet is viewed in the context the early period of his works, biography, and the history of moviemaking. For achieving the set goal, the author apploes the semiotic, contextual, historical-comparative and anthropological approaches. The conclusion is drawn on the crucial differences in creating the characters played by Boris Barnet in his films: the role in “Dark Is the Night” is the key work in acting filmography of the master; while the role in “Secret Agent” is rather a production requirement, which does not fully reflects worldview of the film director.

Keywords: critical reception, Kuleshov's workshop, wartime cinema, The Second World War, soviet avant-garde, self-presentation, soviet film production, method acting, soviet cinema, enemy image

References:
Fil'mograficheskaya spravka. Delo fil'ma «Odnazhdy noch'yu» [Tekst] // Gosfil'mofond RF. F. 1577. 6 l.
Platt, D. Dark Is the Night [Text] / D. Platt. Daily Worker. New-York. 18 March, 1946. P. 3.
Turovskaya, M. I. Zuby drakona. Moi 30-e gody [Tekst] / M. I. Turovskaya. – M.: Izdatel'stvo AST : Corpus, 2015. – 656 s.
Stenogramma khudozhestvennogo soveta pri ministerstve kinematografii SSSR ot 21 avgusta 1947. Prosmotr i obsuzhdenie fil'ma «Podvig ostaetsya neizvestnym» (Rezhisser B. Barnet). Delo fil'ma «Podvig razvedchika» [Tekst] // Gosfil'mofond RF. F. 1767. 36 l.
Musina, M. K. Strakh i smekh. O fil'me Borisa Barneta «Odnazhdy noch'yu» [Tekst] / M. K. Musina // Kinovedcheskie zapiski. 2002. ¹57. S. 158-165.
Margolit, E. Ya. Prizrak svobody: strana detey [Tekst] / E. Ya. Margolit // Iskusstvo kino. 2002. ¹8. C.76-85.
Maklyarskiy, M. B., Bleyman, M. Yu., Isaev, K. F. Literaturnyy stsenariy «Podvig ostaetsya neizvestnym» s rezhisserskoy konsul'tatsiey B. Barneta. Delo fil'ma «Podvig razvedchika» [Tekst] // Gosfil'mof

Abstract: In this day and age, the problems of preservation of cultural memory and heritage alongside actualization of cultural experience become more and more relevant. As a response to the trends of “obliviousness”, culture’s self-regulation mechanisms become mainstream, enhancing the value and semantic aspect of the traditions. The author operates the concept of “cultural memory”, interpreted following J. Assmann, as a particular form of revival and translation of cultural meanings and values of the past onto the present. The subject of this research is the currently popular artistic method of historical reconstruction with the elements of reality in a documentary TV series as one of the key forms of preservation of cultural memory. The article is based on the use of axiological and cultural-functional approaches that allow revealing the functional value of such TV projects for social and cultural processes in the life of modern society. The novelty consists in examination of the popular TV projects, structured in accordance with the genre of documentary TV series, employing the method of historical reconstruction and elements of reality as a form of preservation of cultural memory. The effectiveness of such projects is ensured by the specific synthesis on the one hand, and the inherent to modern mass visual culture penchant for the unique and fascinating images; while on the other hand – the use of such quality in formation of the historically authentic situations of real actions of participants of the projects, sincere experiencing of the clash of life pattern and peculiarities of relationship characteristic to the past. Thus, the content of cultural memory attains embodiment in the materials that possess visual effectiveness, and at the same time, translate authentic meanings of historical events relevant for preservation of cultural identity in the modern world.

Keywords: documentary television series, television industry, communicative representative practices, cultural heritage, cultural interpretation, collective oblivion, cultural memory, historical reconstruction, artistic reception, reality show

References:
Sokovikov S. S. Problemy istoricheskoy pamyati i aktual'nye sotsiokul'turnye konteksty arkheologicheskogo pamyatnika (nachalo) // Vestnik Chelyabinskoy gos. akademii kul'tury i iskusstv. 2014. ¹ 1(37). S. 32-38.
Sem' glavnykh tendentsiy sovremennogo televideniya // Cinemotion. Zdes' nachinaetsya kino. Rezhim dostupa: http://www.cinemotionlab.com/
Ragoziina T. E. Kul'turnaya pamyat' versus istoricheskaya pamyat' // Nauka. Iskusstvo. Kul'tura. 2017. ¹ 3 (15). S. 12-20.
O kul'ture. Model': zakon RF ot 04.12.2004 ¹ 24-6 // Elektronnyy fond pravovoy i normativno-tekhnicheskoy dokumentatsii. Rezhim dostupa: http://kremlin.ru/events/administration/21027
Malygina I. V. Identifikatsionnyy resurs kul'turnoy pamyati: ot «pomnyashchey kul'tury» k «kul'ture zabveniya» // Kul'tura i obrazovanie: nauchno-informatsionnyy zhurnal vuzov kul'tury i iskusstv. 2003. ¹ 1 (10). S. 40-46.
Lysova N. A. PR-deyatel'nost' v sfere realizatsii gosudarstvennoy kul'turnoy politiki (na primere prodvizheniya istoricheskoy rekonstruktsii kak napravleniya kommemorativny

Abstract: This work is dedicated to the development of the Russian animation school on the example of a particular project. The object of this research is the TV series “Mountain of Gems” created in 2004-2018 by the animation studio “Pilot”. The subject of this research is the artistic and technical solution of its visual imagery. The author examines the main ideas of the project, its specificities, stylistic and technical arrangement of separate films of the project. An important factor for this analysis is that initially all creators of the project were put into the equal circumstances: dramaturgy based on the tale read by the author, equal running time, and identical studio resources. The author’s special contribution to the research of this topic along with its novelty is defined by the development and implementation of systematic analysis of the films from the cycle “Mountain of Gems” made with the use of computer technologies. The choice of films is dictated by their aesthetic value, originality and uniqueness of artistic and technical means for creating visual imagery. The author reveals the computer technologies applied in creation of these TV series. The main conclusions emphasize the role and contribution of this project to the development of Russian animation.

Keywords: computer technology, animation technology, character, visual number, mountain of gems, animated series, animation, animated film, aesthetics of the animated film, computer graphics

References:
Khitruk F. S. Professiya – animator: soch. v 2 t. M.: GAYaTRI, 2007. – 304 s.
Trapeznikova E. V. Evolyutsiya obraza khudozhestvennogo prostranstva v Rossiyskoy animatsii (1985 – 2014) Dissertatsiya na soiskanie uchenoy stepeni kandidata iskusstvovedeniya. M., 2015. – 180 s.
Tereshchenko M. Kto brosit kamen' v «Goru Samotsvetov»? Chast' 2. URL: http: // www.cinematheque.ru/post/144162/print/ (data obrashcheniya 10.06.2019).
Tereshchenko M. Interv'yu s Yu. B. Norshteynom «Kto brosit kamen' v «Goru samotsvetov»? URL: http://www.cinematheque.ru/post/144142 (data obrashcheniya 10.06.2019).
Slovar' – spravochnik sovremennykh animatsionnykh terminov / Nauch. Ruk. B. A. Mashkovtsev. – M.: LENARD, 2015. – 256 s.
Terakopyan M. L. Vliyanie komp'yuternykh tekhnologiy na sovremennyy kinoprotsess. Dissertatsiya na soiskanie uchenoy stepeni kandidata iskusstvovedeniya. M., 2006. – 175 s.
Popov E. A. Animatsionnoe proizvedenie: tipologiya i evolyutsiya obraznykh sredstv. Diss. kand. Iskusstvovedeniya. SPb, 2011. – 198 s.
Razlogov K. E. Kinoprotsess XX –

Abstract: 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

References:
Babra, E., Savareze, N. Slovar' teatralnoy antropologii: Taynoe iskusstvo ispolnitelya [Tekst] / E. Barba, N. Savareze. – M.: Artist. Rezhisser. Teatr, 2010. – 320 s.
Bagrov, P. Oblomok imperii [Tekst] / P. Bagrov // KhKhII festival' arkhivnogo kino Belye stolby. – M.: Gosfil'mofond Rossii, 2018. – S. 41-43.
Bakhtin, M. M. Tvorchestvo Fransua Rable i narodnaya kul'tura srednevekov'ya i Renessansa [Tekst] / M. M. Bakhtin. M.: Khudozhestvennaya literatura, 1990. – 543 s.
Borovkov, V. P. Fedor Nikitin [Tekst] / V. P. Borovkov. – M.: Iskusstvo, 1977. – 176 s.
Bulgakova, O. Fabrika zhestov [Tekst] / O. Bulgakova. – M.: Novoe literaturnoe obozrenie, 2005. – 304 s.
Grashchenkova, I. N. Kinoantropologiya KhKh/20 [Tekst] / I. N. Grashchenkova. – M.: izdatel'stvo «Chelovek», 2014. – 896 s.
Grigor'eva N. Ya. Evolyutsiya antropologicheskikh idey v evropeyskoy kul'ture vtoroy poloviny 1920–1940-kh gg. (Rossiya, Germaniya, Frantsiya): Monografiya [Tekst] / N. Ya. Grigor'eva. – SPb.: ID «Petropolis», 2008. – 344 s.
Kleyman, N. Eyzenshteyn n

Abstract: 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

References:
Pervyy Vsesoyuznyy s'ezd sovetskikh pisateley. Stenograficheskiy otchet. – M. "Khudozhestvennaya literatura", 1934, 718s.
Lotman Yu. Semiotika kino i problemy kinoestetiki. Tallinn: EESTI i RAAMAT, 1973, 92 s.
Maklyuen M. Galaktika Gutenberga. Kiev: Nika-Tsentr, 2004. 432 s.
Mikhalkovich V. Izobrazitel'nyy yazyk sredstv massovoy kommunikatsii. M.: Nauka, 1986, 224 s.
Tsit. po zh. «Iskusstvo kino», ¹ 5, 2002,138s.
Zhanry kino. (Seriya «Aktual'nye problemy teorii kino.) / otv. red. V. I. Fomin. M.: Iskusstvo, 1979. 319 s.
Borev V., Kovalenko A. Kul'tura i massovaya kommunikatsiya. M.: 1986. 304s.
G. Prozhiko. Zhanry v sovetskom dokumental'nom kino 60-70-kh gg, M., 1980. 60 s.

Abstract: The object of this research is the fundamental principles of capturing and analysis of new reality of the 1930’s in creative works of the most prominent national documentarians of that time. The article traces the similarities and differences in the relevant film journalism and newsreel of 1930’s from the perspective of compositional structure and visualization of a character; defines the concept of “documentary film image”; makes suggestions of the audience interpretation of reality through the prism of author’s mark. Based on the material of the films of D. Vertov and E. Shub, the author traces the evolution of original styles of the two brightest documentary artists, and determines the main trends of the development of documentaries that would be relevant until the “Thaw” period. The author conducts a gradual analysis of the plasticity and imagery nature of documentary material, new editinf and dynamic expressive means and methods of their implementation in such films as “The Symphony of Donbass”, “Three Songs About Lenin”, “Komsomol: Patron of Electrification”. The relevance of problematic is substantiated by transformation of the traditional approach towards the art analysis of the audio-visual content. The article examines the concept of “chronotope”. The new capabilities of sound art allow indicating the new expressive means based not on the language of classical arts, but the language of Soviet avant-garde of the 1920’s, adjusted to the need of creativity of the 1930’s. The novelt of culturological interpretation of the prospects of growth and establishment of the Soviet documentary art of that time is tested by the author on the film analysis of the most notable auteur films of that era (D. Vertov and E. Shub), which demonstrate the new forms of visual performance adding a publicist element.

Keywords: documentary image, film journalism, Esther Shub, Dziga Vertov, chronotope, documentary of the 30s, documentaries, kinopravda, close-up, screen reality

References:
Eyzenshteyn S. M. Izbrannye proizvedeniya: v 6 t. M.: Iskusstvo, 1964–1971. T. 2. 1964. S. 163, 167.
Shub E. Zhizn' moya – kinematograf, M. 1972, str. 248
Bakhtin M. M. Voprosy literatury i estetiki. M.: Khudozhestvennaya literatura, 1975. S. 235.
Kino: entsiklopedicheskiy slovar'. M.: Sovetskaya entsiklopediya, 1986. S. 163.
Shub E. Zhizn' moya – kinematograf, M. 1972, str. 261
Blyakhin P. Tsit. po sb. «Letopistsy nashego vremeni», M., 1987, str. 39.
Vertov D. Stat'i. Dnevniki. Zamysly, M., 1966, str. 132
Izvolov N. Chto takoe kadr? // Iskusstvo kino. 2000. ¹
S. 126. 9.Eyzenshteyn S. Sobranie sochineniy v 6-ti tomakh, M., 1964, t.5, str. 166.

Abstract:  
The subject of this research is the use of archetypical constructs within the framework of cinematic universe “The Game of Thrones”. The object is the phenomenon of the modern audiovisual arts. The key aspect of the topic is the analysis of application of the phenomenon of “Scandinavian myth” in modern film industry. This phenomenon is interpreted as a factor of transformation of mass consciousness that illustrating a set of “social myths” of globalization era, which is traced in a broad range of movies. The presented features are generalized on the example of created from the novels by G. Martin cinematic universe “A Song of Ice and Fire”, which in is named “The Game of Thrones” film’s release and is one of the brightest examples of “new mythology” in mass consciousness. The author makes the following conclusions: one of the development trends of film industry is the active use of cliché complex, which forms a special cultural reality interpreted as a Scandinavian myth, based on the fatalistic providence; using the phenomenon of time and space manipulation, the hi-tech types of art form the new models of “intellectual field”, which disrupt the outdated information and semantic structures of cultural space. This leads to implementation of the principle of balanced unity, referred to the collective unconscious. Thus, these models develop the concepts of mythology of art, its interrelation with society, which is expressed in the effect of satisfaction of the demands of gross audience.
 

Keywords: fatalism, fantasy, middle Ages, archetypal constructions, providentialism, Scandinavian myth, cultural landscape, instrumentalization, Game of thrones, Westeros

References:
Levi-Bryul' L. Sverkh'estestvennoe v pervobytnom myshlenii. M., 1994.608s.
Levi-Stross K. Pervobytnoe myshlenie.M.,1994.384s.
Kun N.A. Legendy i mify Drevney Gretsii. M., 1954. 445s.
Zubova, N. Yu. Granitsa kak element kartiny mira: na primere analiza khudozhestvennoy modeli mira v romanakh tsikla Dzh. R. R. Martina «Pesn' l'da i plameni» // Vestnik Chelyabinskogo gosudarstvennogo universiteta. 2012. ¹ 23 (277). S. 48–52.
Zubova, N. Yu. Khudozhestvennoe modelirovanie global'nogo miroustroystva cherez refleksiyu Srednevekov'ya v romanakh Dzh. R. R. Martina iz tsikla «Pesn' l'da i plameni»//http: // www. fgp.msu. Ru / content/category/14/51/149/ (data obrashcheniya: 13.03.2018).
Zlotnikova T. S., Erokhina T. I. Muzhskoy arkhetip v igrovom pole massovoy kul'tury // Voprosy kul'turologii.M.,2014, ¹11.S11 –18.
Gurevich A. Ya. Edda i saga. M.: Nauka, 1979.192s.
Dzholin, D. Magiya i voyna [Tekst] //https://www.film.ru/articles/magiya i voyna (data obrashcheniya: 13.08.2012).
Zima prodolzhit nastupat' : HBO prodlil Igru Prestolov n

Abstract: The article deals with the question of how accurate is one or another filmed event, as well as its correspondence with the realities of time. Having analyzed a number of archival chronicle film footage, the author can be assured that multiple scenes were filmed using the staging elements, and some of them staged. This becomes noticeable in working with the early national newsreel of the World War I period. Although, separate scenes are authentic. The author attempts to identify which criterion and knowledge form the accuracy of the footage. The source of such knowledge usually imply the ordinary experience of the audience, previously seen films, books, and other types of mass media. In addition, in shooting the chronicle material, the camera operators try to follow the certain moral and ethical norms of the historical period. Staging elements in the early newsreel are traced not only on the example of the World War I period, but also the so-called imperial documentaries and film magazines of the era. It is noted that in separate cases, the camera operators during the film editing, used not only the linear methods, but also acquired the skills of essential film editing, which was inherent to the later period. It is concluded that the historical newsreel not always demonstrates the objective truth of an event; the filmed images often carry the organizational and prearranged character, beginning from staging separate scenes, ending with following to the established ritual of one or another ceremony.

Keywords: film image, film shooting, camera operator, director, audience, staging, historical event, newsreel, film footage, editing archival cinematography

References:
Listov V.S. Neigrovoe kino: dokument ili mistifikatsiya? // Istoricheskiy zhurnal: nauchnye issledovaniya. 2011. ¹ 5. C. 16-22.
Malysheva G.E. Russkaya voennaya khronika 1914–1915 gg. Kinozhurnal Skobelevskogo komiteta // Kinovedcheskie zapiski. 1993. ¹ 18, s. 77-97.
Blok M. Apologiya istorii ili remeslo istorika. M.: «Nauka», 1986. 256 s.
Batalin V.N. Problemy vosstanovleniya kinodokumentov RGAKFD pervykh let rossiyskogo kinematografa // Vestnik arkhivista. 2011. ¹ 3.
Iz istorii frantsuzskoy kinomysli: Nemoe kino, 1911-1933. M.: «Iskusstvo», 1988. 317 s.
Mikhaylov V.P. Rasskazy o kinematografe staroy Moskvy. M.: «Materik», 1998. 292 s.
Krakauer Z. Priroda fil'ma. Reabilitatsiya fizicheskoy real'nosti. M.: «Iskusstvo», 1974. 424 s.
Trel'ch E. Istorizm i ego problemy. M.: «Yurist», 1994. 719 s.
R. Rother. “Bei unseren Helden an der Somme” (1917): the creation of a “social event” // Historical Journal of Film, Radio and Television, vol. 15. ¹ 4. 1995, p. 525-542.
M. A-ov. Operator-geroy // «Sine-fono». 1915

Abstract:  
The topic of this article is the movies “Fanny and Alexander” Ingmar Bergman and “The Sacrifice” by Andrei Tarkovsky. The subject of this research is their conceptual and structural interrelation. The author questions whether it is possible to view each movie as a so-called addendum with regards to another. The article thoroughly analyzes the temporal structure of the aforementioned movies, similarity and difference of their inner spaces, distribution of characters, and their meaning. The author also compares the circumstances under which the movies have been created. The article applies the method of phenomenological analysis (emphasizing the fact that a movie is given to the audience as a single temporal reality), as well as method of structural analysis (that views the relationship between characters as a certain landmark structure, which delivers a particular message to a spectator). A conclusion is made that both movies have the obvious similar features (beginning with the circumstances of their creation), as well as clear and less clear discrepancies. At the same time, it does not mean that “The Sacrifice” that came out four years later than “Fanny and Alexander” is a somewhat secondary or derivative with regard to it. It rather manifests as a two-sided latent discourse of the authors, their existential positions, and cultural traditions, into which both of them are inscribed in one or another way. 
 

Keywords: Sacrifice , Patricide, Father-son relationship, Antithesis, Catastrophe, Home, Family, Ordinary world, Homogeneity/heterogeneity of space, Cinematographic space/time

References:
Bergman I. Bergman o Bergmane // Ingmar Bergman o teatre i kino. M., 1985, 525 s.
Bergman I. Ispovedal'nye besedy. Laterna Magika. Deti voskresen'ya. M., 2000, 432 s.
Gusserl' E. Idei k chistoy fenomenologii i fenomenologicheskoy filosofii. Kniga pervaya. Obshchee vvedenie v fenomenologicheskuyu filosofiyu. M., 2009, 496 s.
K'erkegor S. Strakh i trepet. M., 1993, 109 s.
Mir i fil'my Andreya Tarkovskogo / Sost. Sandler A. M. M., 1990, 400 s.
Turovskaya M. I. 7, 1/2 ili Fil'my Andreya Tarkovskogo. M., 1991, 256 s.
Freyd Z. Khudozhnik i fantazirovanie. M., 1995, 400 s

Abstract: The subject of the study is the game as an artistic device in modern cinema. The object of research is modern cinema art. The author examines the question of what the game is from the point of view of philosophy and art history. The study analyzes screen versions of famous works of world literature based on the game in its various manifestations. Of interest are several cinematographic works in this aspect, among them the national adaptation of F. Durrenmatt's novel "The Accident", the director V. Zhalakiavicius, and the screen version of the play "The Sleuth" by A. Shaffer.The main methods of this study are comparative-historical and analytical. A comparative analysis of the cinematographic material of different years makes it possible to trace the dynamics of changes in cinematic artistic techniques. In the study for the first time films are analyzed in which the game becomes one of the main plot-forming, aesthetic or semantic components, through the comprehension of which the understanding of the meaning of the artistic work takes place. The game is interesting as an artistic device in the film industry, since it allows to include in the space of the film a lot of cinematographic techniques that allow diversifying and improving the language of the cinema.

Keywords: art history, composition, adaptation, plot, artistic image, art cinema, game, artistic technique, Kenneth Branagh, Anthony Shaffer

References:
Bykova N. I. Detal' kak khudozhestvennyy priem v fil'me F. Kaufmana «Nevynosimaya legkost' bytiya» i odnoimennom romane M. Kundery // Filosofskaya mysl'. - 2017. - ¹4. - C. 1 - 12. DOI: 10.7256/2409-8728.2017.4.22443. URL: http://www.e-notabene.ru/fr/article_22443.html.
Pudov A. G. Kinoforma kak effektivnyy instrument vyrazheniya i modernizatsii etnicheskoy kul'tury // Kul'tura i iskusstvo. - 2017. - ¹1. - C. 67 - 73. DOI: 10.7256/2222-1956.2017.1.21640.
Borunov A. B. Kompozitsiya kak avtorskiy priem organizatsii povestvovaniya (na materiale angloyazychnykh tekstov R.N. Mitry) // Filologiya: nauchnye issledovaniya. - 2016. - ¹1. - C. 11 - 20. DOI: 10.7256/2305-6177.2016.1.18011.
Mikheeva Yu.V.. Igra v igre: muzykal'nye stilizatsii v kinematografe // Filosofiya i kul'tura. – 2014. – ¹ 11. – S. 1684-1689. DOI: 10.7256/1999-2793.2014.11.10617
Rakov V. P. Osnovnye kontsepty poetiki nerazreshimostey // Kul'tura i iskusstvo. - 2013. - ¹6. - C. 633 - 652. DOI: 10.7256/2222-1956.2013.6.9598.
Toporina E.A.. Esteticheskie osobenn

Abstract: The subject of this research is the cinema museums, while the object is the art of cinematography. The author examines the global experience in the area of creation of cinema museums, as well as studies the history of Russian Cinema Museum and prospects of its further development. Special attention is given to the modern status of cinema museums and issues associated with determination of their functions, which at the present stage remain unambiguous. The perception of the world experience in regards to this question is necessary for resolving the problem of creation and functionality of the cinema museum in Russia. The main methods of this study is the comparative-historical and analytical. The work analyzes the key concepts of outlook upon the cinema museums, as well as their sociocultural importance. The scientific novelty lies in the fact that the cultural phenomenon of the museum of cinematography art requires thorough examination. Cinema museums are located in multiple countries of the world, however, the question of what does the notion of cinema museum imply, is rather complicated due to the syncreticity of the screen arts.

Keywords: multimedia, art of cinema, screen art, cultural heritage, cinematography, cinema museum, photography, syncretism, Museum of photography, exposition

References:
Razlogov K.E. Kanny – Moskva: opyt kul'turologicheskogo analiza festival'noy zhizni // Kul'tura i iskusstvo. 2013. ¹ 4. C. 426 - 438. DOI: 10.7256/2222-1956.2013.4.9300.
Zhabskiy M.I., Tarasov K.A. Konkurentosposobnost' rossiyskogo kino
v sotsiokul'turnoy perspektive // Kul'tura i iskusstvo. 2013. ¹ 3. C. 267 - 279. DOI: 10.7256/2222-1956.2013.03.3.
Potkina I.V. Dukhovnoe nasledie Rima v Moskve: k istorii sozdaniya kopiy katakomb rannikh khristian v Muzee izyashchnykh iskusstv // Istoricheskiy zhurnal: nauchnye issledovaniya. 2012. ¹ 4. C. 75-81.
Netherlands filmmuseum [Elektronnyy resurs]. URL: www.eyefilm.nl
Razlogov K.E. Prodolzhatel' velikoy traditsii // Kul'tura i iskusstvo. 2012. ¹ 3. C. 104 - 106.
Cinémathèque Française [Elektronnyy resurs]. URL: www.cinematheque.fr
Yatsenko-Bayrd O.A. Muzey i posetitel': mysli russkogo kuratora o sovremennoy muzeynoy pedagogike v Velikobritanii // Voprosy muzeologii. 2010. ¹ 2. S. 93-102.
Tem vremenem [Elektronnyy resurs]. URL: http:// tvkultura.

Abstract: This research examines the mainstream cinema of the United States and Soviet Union. Despite the ideological polarity, the culture of these countries was interconnected in multiple way; it incorporated similar tools for expansion of the important symbols, as well as expression of public moods. In the preceding war period, the movie characters of the two countries were rather alike – they lived within the space of the perfect dream that corresponds with the relevant values of this era. However, in the post-War period, the evolution of the heroes of mainstream cinema of the United States and Soviet Union started has taken different courses. The main result of the conducted research consists in determination of regularities in development of the images of protagonists in the mainstream cinema of the United States and Soviet Union/Russia. It is demonstrated that in the US movies the priority in such images belongs to the individual as such, while in the Russian cinematographer – to the interrelation between individual and society. This article illustrates the reason why such pattern was taking place.   

Keywords: protagonist, narrative, live action, mass culture, values, cinematographic discourse, hero, superhero, symbol, image

References:
Shchegolikhina S.N. Obraz amerikanskogo voennogo v khudozhestvennykh fil'makh Gollivuda // Metamorfozy istorii. - 2013. - ¹ 4. - S. 332 - 351.
Eko U. Rol' chitatelya. Issledovaniya po semiotike teksta. M.: RGGU, 2007. 502 s.
Khalilov V.M. Transformatsiya obraza zhurnalista i izobrazheniya pressy v kinematografe SShA v nachale XXI veka // Rossiya i Amerika v XXI veke. - 2007. - ¹ 2. - S. 8.
Shmeleva N.V. Obraz smerti v amerikanskom kino apokalipticheskoy i postapokalipticheskoy tematiki // Mezhdunarodnyy zhurnal issledovaniy kul'tury. - 2016. - ¹ 1(22). - S. 122 - 129.
Khalilov V.M. «Orly yurisprudentsii»: kino/televizionnaya yuridicheskaya drama i ee vliyanie na sovremennye kul'turu i obshchestvo SShA // Rossiya i Amerika v XXI veke. - 2015. - ¹ 3. - S. 11.
Stafievskaya M.S. Manipulyativnoe vozdeystvie amerikanskoy literatury i kino (na primere ponyatiya «American dream») // Nauchno-metodicheskiy elektronnyy zhurnal Kontsept. - 2016. - T. 11. - S. 3611 - 3615.
Sandanov A.B. Postapokalipticheskiy syuzhet v amerikanskom kino: istoriya razviti

Abstract: Based on the analysis of several films made by the brothers Korda’s creative union in the late 1930s – early 1940s, the author considers the method of formation in them the image of India and its inhabitants, highlighting the stereotypes inherent in the discourse of Orientalism and the traditions of colonial binary logic. In a broad sense, the work refers to the ideology of British colonialism, which in Russian historiography developed primarily from written sources of the second half of the nineteenth century. A correlations between the film images and the previous literary tradition, the political strategies of the British Empire on the sunset of the colonial period and the official propaganda are traced. The author concludes that the approach to Indian theme meant the use of scenes, which would have been impossible to imagine in the European world. The exotic played the main role in escapistic in spirit, fantastic and adventure films «Elephant Boy» 1937, «the Drum» 1938, «The Thief of Bagdad» 1940 and «The Jungle Book» 1942. As a result, the image of India represented an image of the Other that did not imply compulsory negative characteristics. India in the Korda’s films is a special world with its own history, visual code and dictionary, which is far from the image of the country ready to obtain the independence from the British Empire.

Keywords: India, ideology, stereotypes, the image of the Other, orientalism, colonial discourse, British Empire, cinematography, Korda, Kipling

References:
Chowdhry P. Colonial India and the Making of Empire Cinema: Image, Ideology and Identity. Manchester.: Manchester University Press, 2000. 224 p.
New York Times. December 6, 1940.
Film Daily. March 25, 1942.
«Priklyucheniya Aladdina» («Aladdin»), SShA, 1992 g., rezhissery R. Klements, Dzh. Masker (R. Clements, J. Musker).
«Kniga Dzhungley» («The jungle book»), SShA, 1942 g., rezhisser Z. Korda (Z. Korda).
James R. Popular Culture and Working-Class Taste in Britain, 1930-39: A Round of Cheap Diversions. Manchester.: Manchester University Press, 2010. 256 p.
«Bagdadskiy vor» («The Thief of Bagdad»), Velikobritaniya, 1940 g., rezhissery L. Berger, M. Pauell, T. Uelan, Z. Korda, A. Korda. (L. Berger, M. Powell, T. Whelan, Z. Korda, A. Korda).
Shteyner E. Vostok, Zapad i orientalizm: mesto vostokovedeniya v globaliziruyushchemsya mire // Orientalizm/oksidentalizm: yazyki kul'tur i yazyki ikh opisaniya /Ros. In-t kul'turologii ; red.-sost. E.S. Shteyner. M.: Sovpadenie, 2012. 416 s.
Lotsmanova G.I. Iz istorii formir

Abstract:  
This article examines the peculiarities of realization of the aesthetic concept of screen sound in a form of continuum within the framework of formation of the audiovisual image. The determination of characteristic of details of the process of perception of the sound information by human being a recipient of screen oeuvre allows taking a more in-depth and thorough look at the nature of sound-visual image, as well as its realization in accordance with the contemporary trends in audio culture and sound aesthetics, and also suggesting a certain addition to the instruments of practical acoustical engineering in screen arts. The presented research is carried out with the attraction of certain positions of the phenomenological directions in history and psychology of art. The scientific novelty consists in the fact that the existing models of the screen arts phonography aesthetics are complemented and subjected to the development  in accordance with the actual achievements of the phenomenological directions in the history and psychology of art; the aesthetic attitude towards the screen sound is defined with regards to the modern realities of the screen culture.
 

Keywords: phonography, phenomenology, psychology, arts, screen, image, audiovisual, sound, continuum, counterpoint

References:
Delez Zh. Kino. — M.: Ad Marginem Press, 2012. — 560 s.
Lissa Z. Estetika kinomuzyki. — M.: Muzyka, 1970. — 495 s.
Polyakov S.E. Fenomenologiya psikhicheskikh reprezentatsiy. — SPb.: Piter, 2011. — 688 s.
Chion M. Audio-vision: Sound on Screen. — New York: Columbia University Press, 1994. — 282 p.
Dallaire F. Exploration des puissances sonores cinématographiques. Une pensée du continuum.-Université de Montréal, 2005. – 26 p.
Fano M. Musique et Film. URL: http://www.michelfano.fr/Textes/Musique_et_Film.html (06.03.2016)
E.M. Antonova Pravdopodobie ekrannoy illyuzii // Psikhologiya i Psikhotekhnika. - 2010. - 7. - C. 44 - 53.
Rymzhanov D.N. Zvukovoy dizayn, kak samostoyatel'naya nauka i sredstvo primenimoe v shirokom spektre sovremennogo dizayna // Pedagogika i prosveshchenie. - 2014. - 1. - C. 98 - 103. DOI: 10.7256/2306-434X.2014.1.11670.

Abstract: Object of research is reflection in the Soviet cinema of the 1920th of social changes in society. Reflection – not always direct, mediated, metaphorical, poetic. For example, Moscow eras of military communism, the New Economic Policy – in the movie "Aelita" of Ya.A. Protazanov. In article separate aspects of the Soviet film process of the second half of the 1920th years are analyzed. Some ideological components of creativity of Dzigi Vertov are investigated. Movies "Aelita" (1924, the director Ya. Protazanov), "the Third Petty-bourgeois" (1927, the director A. Room), "The poet and the tsar" are considered from the point of view of reflection of ideology at cinema (1927, the director V. Gardin). Article is based on archival material (archival funds "Glaviskusstvo", "Sovkino" of RGALI) and the press of this period ("The Soviet cinema", "Film Week", "Film Front", etc.). The comparative analysis of sources is applied. On this period of development of the Soviet cinema scientific researches Yu.I are published recently. Goryachev, N. M. Zorkoy, V. S. Listov, E. Margolita, A. Rubaylo, V. I. Fomin and other film experts. Statement of a research objective differs in novelty: identification of projections, systems of reflection of the changing social reality in the Soviet film process of the 1920th. The characteristic in this research of details of reflection in film process of changes of sociocultural image of the country will allow to find details and focal points of film process of the 1920th. It is necessary to refer a conclusion about gradual strengthening of mythemes in the Soviet cinema, "rooting" in movie space of not poeticized reality, and the mythological scheme of functioning of socialist society to scientific results of research.

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