Culture and Art - rubric Audiovisual culture and art

Abstract: The article studies existing methods of the analysis of cultural resources including resources of ethnology in the global network. Special attention is paid at intellectual resources which are, due to their credible and intelligent content, capable of standing against ethno nationalistic discourse into ethnicity currently prevailing on the Internet as well as implanting values of intercultural respect and tolerance. In her article the author describes various methods of analysis of information distributed within electronic resources and compares these methods in order to defi ne the most effective ones. The author also touches upon the questions of quality of information represented in the global network.

Keywords: cultural studies, electronic mass media, online journalism, discourse of ethnicity, discourse analysis, web-site analysis methodology.

DOI: 10.7256/2454-0625.2017.3.22371

Abstract: The article reveals the scope of the concept of object design in the screen arts and the specific applicability of the term "design object " in the theory of screen arts through the comparison, interconnection and mutual influence of the concepts "artifact", "simulacrum", "design object", "transmedia", "special effect" and "virtual reality". The influence of object design on the structural-semiotic, dramatic and entertaining aspect of the screen artwork is emphasized. A brief review of the application of object design in screen products is given.The technological aspects of production of design objects, and psycho-physiological aspects of their perception including sound accompaniment are considered. Also, the transmedia essense of object design is the cross-cutting theme of the article.In addition to the systemic and comparative-historical method, the methods of formal and contextual analysis, the structural method, abstract logical reasoning were used in the study. The novelty of the research is caused by the fact that the author identifies the significance of design objects as discrete units of visual content of any screen artwork and to substantiate the hypothesis of a multifaceted independent role of design objects in the text of a screen work: semiotic, spectacular, ideological and dramatic. In conclusion, the author proposes to consider object design as a separate trend in the theory of screen arts, exploring the artistic-spatial and ideological-aesthetic content of the real, pseudo-real, and virtual environment of screen products.

Keywords: special effect, Simulacrum, screen artwork, virtual reality, artistic and spatial environment, cinema and animation, screen arts, visual screen content, object design, design object

DOI: 10.7256/2454-0625.2017.6.22385

Abstract: In his research Muradov analyzes traditions of research devoted to films about the Great Patriotic War. The author demonstrates contradiction of two approaches offered by modern critics that were born at the crossing of different traditions, the concept of the epic narration and the principle of historical credibility. Images of the war in the 20th century including the image of the Great Patriotic War are developed by media - TV and cinema in the first place. TV serials about war (both feature motion films and documentaries) reflect both ideological and social needs of the time. Noteworthy that today, 70 years after, analysis of the image of war on TV is inextricably connected with the concept of epos as well as the relationship between epos and the problem of historical and human memory. These are visual mass media means that substitute our own memory with the 'collective' memory which creates the problem of mythologisation. The narration about war becomes some kind of an epos, sometimes heroic, sometimes folk, sometimes both, while it is not an epos as it is. The problem of historical credibility arises when epos is opposed to myth in modern films. Each serial film is critisized from the point of view of the epic and historical approaches which are opposite principles. The farther the events are in time, the deeper the conflict between historical credibility and the attemp to create a new epos is.

Keywords: contradictory approaches, criticism, mythologisation, media, historical credibility, image of the main character, heroic epic ballad, epos, serial films, Great Patriotic War

DOI: 10.7256/2454-0625.2019.4.29419

Abstract: The focus of the research attention is on the dynamics of the popularity of the person-centric and socio-centric symbols of success, expressed by the content of popular films of USA film distribution. On the example of analysis of the corpus of popular feature films from 1980 to 2019, presented in the Top-10 leaders of box-office sales revenue according to Box Office Mojo statistics, the attempt of typology of motivations of activity developed by mass culture of the USA on the basis of a disposition of symbols of success of autonomous activity (personocentrism) and collective interaction (sociocentrism) is made. Marking the personocentrism and sociocentrism (two different strategies of achieving success) in the artistic reality of a movie assumes the determination of stereotypes of behavior, broadcasted by means of movie communication. The research is based on the method of a typology of movies as person-centric and socio-centric symbols of success, implying a set of non-interrogative methods of qualitative and quantitative analysis of the plot content. The novelty of the research is due to both the innovative author's approach to the analysis of sociocultural processes and interpretation of publicly available empirical data of box office film distribution. The obtained results suggest that the marking of the popularity of socio-centric or person-centric content of films in contrast to the ideal image of a cultural hero (in the national tradition - a collectivist, in the American - an individualist) reflects the value dynamics of the symbols of the success of collective interaction or autonomous activity of the individual in the mass culture of the United States.

Keywords: cultural dynamics, american values, collectivism, individualism, sociocultural processes, success symbols, movie communication, movie, sociocentrism, personocentrism

DOI: 10.7256/2454-0625.2019.8.30328

Abstract: The article is devoted to the brightest experiments with a split screen and the use of this technology by Soviet stage directors during the era of stagnation. The aim of the research is to describe aesthetical goals achieved by the use of a split screen and their influence on the poetics of cinematograph. The author of the article focuses on the semantic functions of a split screen that were typical for the Soviet cinematograph. He analyzes works of different genres in order to compare functional and aesthetical features of a split screen in popular-science films of Kirill Dombrovsky, documentaries of Alexander Shein and feature films (Yevgeny Matveyev, 'Victory'). The methodological basis includes comparative, structural-functional and semiotic methods that allow to achieve research targets. For the first time in the academic literature the author of the article suggests that cinematograph of the stagnation era is characterized with functional and formal functions. The most demanded function is visualisation of simultaneous development of parallel plotlines that makes the narration more spectacular. In his works Kirill Dombrovsky used a split screen to reinforce expressiveness, create cause-and-effect relations and demonstrate the importance of central segments. Alexander Shein's films are characterized with exaggerated patriotism with the focus on the ruling ideology. His split screen became a manifest of ultra-modern socialist system and ability of the system to speak the 'new' high-tech language. Yevgen Matveyev's split screen is meant to bring the epic air into his films. The author concludes that during the stagnation era, technological and visual innovations such as split screen characterized both films and Soviet ideology as ultra-modern and actively developing.

Keywords: ideology, Yevgeny Matveyev, Alexander Shein, Kirill Dombrovsky, visual effects, screen art, visual culture, split screen, Soviet culture, cinema

DOI: 10.7256/2454-0625.2017.11.24527

Abstract: The subject of the research is the dynamics of development of expressive means in the art of cinema. The object of the research is the novel 'The Great Gatsby' by Francis Fitzerald and film versions of this novel. The author of the article focuses on the three most recent film versions of the novel by Jack Clayton (1974), Robert Markowitz (2000) and Baz Luhrmann (2013). According to the author, The Great Gatsby Novel offers an interesting approach to the concept of the American Dream. The novel does not idealize the American Dream but dispels the myth. This conceptual uncertainty attracts readers and audience. In her research Bykova pays special attention to the language of cinema that helps to reveal the images of the main heroes and symbolic message of the novel. The main research methods include comparative history and analytical methods. The comparative analysis of different cinematographic versions of the novel allows to trace back the dynamic processes that were going on in the art of cinema. For the first time in the academic literature the author analyzes artistic features of film versions of Francis Fitzerald's novel The Great Gatsby. The author also analyzes processes related to the evolution of the language of cinema and expressive means that allow to create diversified artistic images of the main heroes. The author discusses features of the composition, colour symbolism, basic montage techniques and compare them to new technologies applied to video recording and processing.

Keywords: montage techniques, foreshortening, composition, adaptation, language of cinema, artistic image, artistic technique, cinematography, art of cinema, Francis Fitzgerald

DOI: 10.7256/2454-0625.2021.4.35584

Abstract: This article is dedicated to examination of works of the film directors of the Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s. Based on the archival documents presented in the Central Archive of Literature and Art of Saint Petersburg, the author analyzes the work of the film studio: carries out classification of filmography by formal-semantic criterion, as well as determines the key processes typical to this time period. The following main trends are highlighted: natural science, technical-propagandistic, historical-revolutionary, military-patriotic, social life, history of art and culture. Special attention is given to the films that cover the topics, which have not previously been included in the field of popular science cinematography. The novelty of this research lies in classification of the thematic trends of the Leningrad film studio as an integral artistic system, as well as in comparison of the plots of popular science film texts by each direction over the two decades. As a result, the author identified the main trends, which broadened the thematic field in the work of the studio, as well as fundamentally changed the representations on the goals and tasks of popular science cinematography. The key object of popular science cinematography is being shifted during the Perestroika period. Emphasis is place not on science and technological achievements, but human and society. Film directors through their works conveyed the attitude of society towards science, raising the questions of transformation of ethics and morality in the context of scientific and technological revolution. The idea of the harm of scientific achievements and responsibility of the scholars before society is being advanced. Without any doubt, the works of the Leningrad film directors broadened the ideological-artistic range by offering the own vision of specificity of the Soviet popular science cinematography.

Keywords: historical-revolutionary subject, technical propaganda, natural science subject, educational cinema, popular science cinema, popularization of science, military-patriotic subject, history of culture, social subject, science film

DOI: 10.7256/2454-0625.2018.6.26463

Abstract: The subject of the research is the changing image of the USSR / Russia as it has been reflected by the popular media franchise about James Bond during the period since 1962 till 2015. In his research Osipov traces back the intensity, viability and particularities of using Soviet / Russian themes over 50 years in terms of developing relations between the USSR / Russia and the West including political, social, cultural and other features. Osipov describes different periods of mentioning the Soviet Union / Russia in the movies about James Bond, with a different degree of the depth and criticism of the USSR / Russia image. This interdisciplinary research is devoted to the analysis of the global cultural phenomenon in terms of the political history of the second half of the 20th - beginning of the 21st century. The research is based on the initiative of Russian government to use the 'soft power' that uses quite a limited number of formats. The author pays attention to the success of the multimedia franchise format used by the Western pop culture. Bondiana is viewed as an example of a successful franchise with the political message. By analysing the image of the USSR / Russia in the movies about James Bond, the author of the article has managed to describe the mechanisms of the successful franchise and what image it offered. The author has also assessed the degree of its stereotype/originality. The author concludes that despite the opinion of Soviet film criticism, Bondiana did not create a negative image but was more included to a neutral or even positive image of the USSR. The negative image of Russia of the 90s was objectively founded. Then the image of Russia was replaced with the image of the world terrorism. The interest in Soviet / Russian themes falls on the second hlf of the 70s - mid 80s and mid 90s which was directly related to the political processes ongoing in the world back in those times.

Keywords: détente, Ian Fleming, ideology, media franchise, movie industry, James Bond, cold war, image of Russia, soft power, mass culture

DOI: 10.7256/2454-0625.2020.1.30366

Abstract: This article is written within the framework of the topic “The Image of Lenin in Art Cinematography of Russia of the XX – XXI centuries”. The author explores the period at the turn of eras, from collapse of the Soviet Union in 1991 until the appearance of a new state of the Russian Federation on the world map. In the focus of attention are two films made in 1992, which subject to travesty the cult image of Lenin created by the founders of artistic Leniniana on stage and screen. Since the films were made at the turn of historical eras, there are attributes of a new artistic way of thinking – postmodernism, which are also analyzed in the article. The goal of this work lies in proving on the materials of films “Comedy of the Strict Regime” and “Village of Khlyupovo Separates from the Union” that the stylistic method of travesty is applied by cinematographers of post-Soviet period for debunking and ridiculing the cult image of Lenin created by the founders of secular Leniniana. The novelty of research is defined by the fact that these films have not been previously viewed from such perceptive. The article may serve as the foundation for future research on post-Soviet Leniniana. The author comes to the conclusion that it is not the persona of V. I. Ulyanov-Lenin to be debunked and ridiculed, but the image created by the masters of Soviet Leniniana. In ideological aspect, both films fall into the category of “iconoclastic”; the authors refer to the core problem of postmodernism – liberation of a person from totalitarian system, and display it in the ironic way.

Keywords: Vladimir Studennikov, Viktor Sukhorukov, genre, travesty, composition, cinema, leniniana, Lenin, Anatoly Vekhotko, Michael Grigoriev

Abstract: The article describes some aspects of Sergei Eisenstein’s film theory viewed from the point of view of the film-modernism conception. Most of the attention is focused on a very important problem in Eisenstein’s esthetics: the problem of conflict relations between image and concept in the audience reception of a film. Ways of activating of the audience conception thinking which is structured by the scientists as a method of creation of an image accompanied by its alienation, is compared with the irrational and rational forms of film modernistic opposition to the totally narrative film realism.

Keywords: cultural studies, image, concept and myth, film modernism, film realism, alienation, audience reception, institutionalization, irrationalism and rationalism, philosophy of life, Marxism.

DOI: 10.7256/2454-0625.2017.10.24469

Abstract: The article is devoted to the role of mass media and cinematographic art in distribution of fashion around the region. The rationale of the research is caused by the fact that the majority of researches devoted to fashion in Russia are based on data collected in big cities while processes of fashion distribution has specific features in regions. The authors of this research analyze how fashion was perceived by young people of the Brezhnev years depending on their social features such as level of education and place of living. As an example, the authors analyze a collection of costumes from the French movie of 1970 'Man Orchestra' that had a great influence on distribution of fashionable clothes of thoes times. The authors of the research has applied the interdisciplinary approach that combines methods of art history analysis of fashionable clothes shown in movies, diachronic approach in cultural studies, and sociological survey (focus group interview). The conclusion is that perception of fashion in mass media and cinematograph was quite different in rural and urban areas and depended on the level of education among other factors. The authors underline that fashionable clothes allowed to satisfy one's need in personal freedom back in 1960 - 1980's and foreign mass media (newspapers and cinematograph) provided numerous examples of how to achieve it.

Keywords: city, Indian film, european cinema, Soviet cinema, Soviet television, Brezhnev era, mass media, fashion, village, Man Orchestra

DOI: 10.7256/2454-0625.2018.9.27465

Abstract: The subject of this article is the phenomenon of the quest genre popular in media culture and cultural life of megacities. The origin of this genre is associated with literary and cinematic traditions but modern video games have begun to have the opposite effect on cinema. The “quest” genre in cinema today is an imitation of video games or direct borrowing of the plots and principles of the drama of computer games. The analysis of material on this aspect undertaken by the author is relevant in the context of the general trend of modern culture, virtualization of man and society. The researcher has applied the cultural research method that includ description, comparison, analysis, as well as hermeneutic approach. The main conclusions of the study are the following. As the genre of art and game, quest is in demand both in the gaming industry and in screen culture. The quest dramaturgy is built on the principles of an adventure novel and involves such basic archetypes as a model of confined space and the desire to cross the border as well as the tragic motives that are neutralized by the idea of a happy ending. In addition, this process is becoming part of the general trend of virtualization of man and society which many scientists consider to be the stage preceding the emergence of “post-human” as a representative of the new anthropology.

Keywords: media, video games, modern cinema, dystopia, adventure, computer games, quest, search, game, escapade

DOI: 10.7256/2454-0625.2023.10.39993

Abstract: The subject of research of this article is the work of German expressionist directors. The relevance of this study is due to the fact that expressionists had a great influence on the entire cinema in the field of light and shadow discovery. In Soviet science, this issue received little attention. Researchers are currently addressing the topic of expressionism, but the issue of light-shadow ratio is not well understood. The purpose of the study is to show the importance of the discovery of German expressionists in the field of light and shadow, their influence on world cinema, as well as the influence of Soviet directors on German expressionists in the field of editing. The novelty of this study is to study the ratio of light and shadow in expressionists, as well as to identify the influence of Soviet directors on German expressionists in the field of editing. These aspects remain poorly understood. This study uses an integrated approach. Comparative, phenomenological, intertextual methods are used in their combination and complementarity. The main conclusions of this study are about the discovery of German expressionists in the field of light and shadow, their influence on world cinema, as well as the influence of Soviet directors on German expressionists. Films performed in the tradition of expressionists often have commercial success.

Keywords: Dziga Vertov, Sergey Eisenstein, Paul Leni, Paul Wegener, Fritz Lang, Friedrich Wilhelm Murnau, cinema, expressionism, Lotte Eisner, Siegfried Krakauer

DOI: 10.7256/2454-0625.2019.4.29059

Abstract: The article is devoted to the development of the image of Lenin in cinemaleniniana of Sergei Yutkevich and Yevgeny Gabrilovich. In his article Shelest analyzes the period since 1937 till 1987, from when the personality cult of Stalin was first created till the moment when it was dispelled and the cult of Lenin was revived for short time. The researcher focuses on the films 'Lenin in Poland' and 'Lenin in Paris'. He also touches upon the history of the creation of film 'Light Over Russia' as an example of the pressure that official ideology had on directors. The aim of this research is to describe the main stages of the development of Lenin's image in cinemalenianana of Yutkevich from the point of view of cultural and historical environment of the Soviet era. As a result of his research, Shelest has defined peculiarity of the structure and composition of films as well as their genre attribution. The researcher also traces back how the historical, mythological and subjective (director's) time correlate and what influence different periods of the Soviet reality had on the image of Lenin. The novelty of the research is caused by the author's attempt to take a loot at Yutkevich's films without ideological blinkers. The research results can be used as the basis for further research of Post-Soviet Leniniana. At the end of the article the author concludes that the artistic image of Lenin was formed at the crossing of two ideological waves, 'from the bottom', i.e. people's mind, as a religious archetype, and 'from above', as a political order. All that resulted in weakening of Lenin's cult in the long run.

Keywords: cinema of the Soviet Union, myth, counterpoint, alienation effect, defamiliarization, Yevgeny Gabrilovich, Sergei Yutkevich, leniniana, Lenin, composition

DOI: 10.7256/2454-0625.2022.11.36792

Abstract: The object of the study is the movie "One Hundred Days after Childhood", one of the most famous Soviet films of the mid-1970s, dedicated to school and schoolchildren (the so-called "school cinema"). The subject of the study is the cultural meanings new to this genre, broadcast by the film, the phenomena of Soviet culture that made this broadcast possible and significant for Soviet cinema, as well as the expressive means of the film, indicating changes in Soviet culture and, in particular, in pedagogical strategies compared with the early 1960s ("thaw era"). The purpose of the study was to identify the role played by this film in the development of the theme of the school in Soviet cinema, as well as to establish those trends in Soviet culture of the 1960s and 1970s that made this development possible. As the main research method, a theoretical and cultural analysis of the most significant elements of the plot was used, representing both the key ideas of the Soviet "school cinema" and the most significant phenomena for Soviet culture of the 1960s and 1970s. As a result of the study, the role of classical Russian literature in the education of the most significant human qualities of Soviet schoolchildren for the period under consideration was established. In addition, the very fact of the appearance of this film suggests that the model of socialization peculiar to the Soviet school up to the early 1960s has lost its relevance, and the new model was still in the formative stage.

Keywords: school cinema, soviet cinema, Russian literature, soviet everyday life, children in art, soviet pedagogy, soviet school, literature in cinema, cultural studies, soviet culture

DOI: 10.7256/2454-0625.2018.6.26582

Abstract: The subject of the research is the cinematographic language and artistic features of Vladimir Mirzoev's cinematographic novels 'Tutors', 'Dangerous Man', 'Paradise' from the piont of view of stylistics of the Absurdist drama of the Western European (Samuel Beckett and others) and Russian (Vladimir Nabokov and Alexander Vampilov and others) traditions. The authors of the article analyze the structure of narration, artistic world model and secondary semantization (symbolic detail) of what is reflected in picture, intertextuality (references to the images of the social unconscious) and archetypic constructs. The authors have used traditional methods of semiotics and structuralism, in particular, analysis of the artistic model of the novel as a frame consisting of complete and incomplete slots referring to artistic traditions, archetypes, and social traditional constructs. The novelty of the research is caused by the fact that the authors carry out a scientific analysis of modern cinematographic language using the methodology of Russian structuralism and semiotics, and reconstruction of messages from Vladimir Mirzoev's novel 'Dangerous Man'. The authors pay special attention to the artistic space, time, and novelistic techniques of constructing the film narrative, images of heroes, symbolic details (including colour, material texture in picture, and etc.), audio-visual counterpoint (including music and speech in picture), separation in 'plans'.

Keywords: sound-visual counterpoint, world model, narratology, symbolic detail, intertextuality, archetype, cinema novel, structuralism, semiotics, cinematic drama of the absurd

DOI: 10.7256/2454-0625.2017.7.22254

Abstract: The subject of the research is Dziga Vertov's, Jean Vigo's and Michelangelo Antonioni's creativity which is rather well studied botj in Russia and abroad. The author pays special attention to such poorly studied aspect as Dziga Vertov's influence on Jean Vigo and Michelangelo Antonioni's creativity. The author confirms their continuity by analysing various sources, both literary and cinematographic. Much attention is also paid how creativity of Jean Vigo and Michelangelo Antonioni relate to French and Italian traditions of cinema. In this research the comparative method is applied to the analysis of communications between directors. Also the phenomenological method is applied. The novelty of this research is caused by the fact that the author describes communication between Dziga Vertov, Jean Vigo and Michelangelo Antonioni applying the integrated approach to the analysis of screen pieces. The conclusion is drawn on what practices of Dziga Vertov were the most valuable to the western cinematograph, and also about Michelangelo Antonioni's innovation.

Keywords: Nikolay Hrenov, Francis Fukuyama, Victor Shklovsky, Gilles Deleuze, Michelangelo Antonioni, Jean Vigo, Dziga Vertov, montage, shooting, plan episode

DOI: 10.7256/2454-0625.2022.8.37734

Abstract: The subject of this article is the work of A. Hitchcock and I. Bergman, which are well studied both in Russia and abroad. The relevance of this study is due to the fact that so far no attempt has been made among researchers to investigate the influence of A. Hitchcock's work on I. Bergman. The purpose of this study is a comparative analysis of the work of A. Hitchcock and I. Bergman, identifying similarities and differences, including in matters of religious faith; studying such a little-known aspect as the influence of A. Hitchcock on the work of I. Bergman. The author also pays attention to the consideration of the religious views of A. Hitchcock, to which the researchers paid little attention. This study uses an integrated approach, including a comparative method for analyzing the connections between directors, a phenomenological method, as well as a method of psychoanalysis in their combination and complementarity. The novelty of this research consists in identifying the links between directors, in applying an integrated approach to the analysis of their works. The conclusion is made about the religious views of A. Hitchcock and I. Bergman, their similarities and differences. Bergman's religious views underwent a long transformation throughout his life. Hitchcock's religious views were more conservative and stable, which affects the rhythm of his paintings.

Keywords: catholicism, christianity, Sigmund Freud, Slava Zizek, Nikolay Khrenov, Francois Truffaut, Ingmar Bergman, Alfred Hitchcock, protestantism, movie

Abstract: The article raises questions related to Sergey Prokofiev’s participation in cinematograpgh. Why did the composer work in cinema for such a short period fo time? What was his attitude to cinematograpgh in general? What were the main principles of creating his music for cinema? As examples of his music in movies, most people think of only Eisenstein’s movies Alexander Nevsky and Ivan Grozny. But he also wrote music for many other movies which still remain important examples of his epoch: Lieutenant Kizhe, Tonya, Kotovsky, Partizans in the Ukrainan Steppe and others.

Keywords: art history, Sergey Prokofiev, movie music, cutting, audio-visual counter point, theme, audio engineering, Sergey Eisenstein, Alexander Nevsky, Ivan Grozny.

Abstract: Hong Kong cinematograph is one of the least studied phenomena in Russian cultural studies. Its history is closely connected both with a Chinese traditional culture and the newest achievements of mass media during ХХ–ХХI centuries. Popular genre of police movie can be studied with the use of the method of typological analysis. The author of the article comes to a conclusion that the structure and artistic language of such movies have formulaicity that complies with a certain genre canon. The canon combines both the best achievements in Hong Kong cinematograph and new successful elements. This very important genre of Hong Kong cinematograph well reß ects Hong Kong modern society.

Keywords: cultural studies, foreign cinematograph, Hong Kong art, Chinese cinematograph, history of foreign cinematograph, genre movie, mass culture, canon, tradition.

Abstract: The article provides a detailed analysis of evolution of the linguistics and of cinematographic documentary and TV movies refl ecting the most important issue about a talent being recognized by the society. Based on the example of the movies shown during the International Movie Festival ‘Meetings in Siberia’ held in November 2011 in Omsk, the author describes style and composition techniques of the social brand repertory. The author also studies such aspects of development of the linguistic consciousness as occurrence of new genres, operator’s techniques and cutting features.

Keywords: cultural studies, language, cinematograph, social cinematograph and TV broadcasting, linguistic conscious ness, operator’s techniques, evolution of the cinematographic language, repertory, genres, cinemato graphic docu mentary, cutting.

Abstract: In the 20th century many classical artworks truly changed due to development of new technologies. A completely new form of art, screen music theatre, appeared, and today it offers many unique works such as fi lmed version of M. P. Mussogorsky’s ‘Pictures at an Exhibition’. The composer’s suite acquires a new form in fi lmed ballets by I. Heber, M. Pendleton and Ch. Dutoit as well as in cartoon ballets by I. Kovalevsky, O. Tezuka and A. Alekseeva. Film versions of ‘Pictures at an Exhibition’ are all original interpretations, in most cases quite typical for the post-Modernism ‘play with the text’.

Keywords: art history, transcription, interpretation, reinterpretation, derivation, M. P. Mussogorsky, suite, post-Modernism, music studies, cartoon animation.

DOI: 10.7256/2454-0625.2018.6.26540

Abstract: The subject of the research is the problem of using mythological plots with philosophical connotations in contemporary motion picture industry. The object of the research is the development of contemporary motion picture industry. The researcher analyzes how the phenomenon of Scandinavian myth is reflected and transformed in collective consciousness. Paulyus focuses on fatalization of Scandinavian myth which can be traced through the development of contemporary pop culture. The author of the article describes specific features of the aforesaid process based on the analysis of the Vikings TV series and demonstrates an active synthesis of historical and mythological plots building a special cultural landscape with rich philosophical connotations. The author bases his research on comparative historical and chronological research methods allowing to trace back an active application of the destructive stereotype of how Scandinavian culture is perceived, namely Scandinavian myth. The scientific novelty of the research is caused by the fact that the author appeals to the practical inclusion of this mythological concept into the realities of a contemporary multicultural tradition as a special factor of the development of a new historical cultural space that creates the phenomenon of instrumentalization of previous cultural historical practices that are being transformed in the global discourse. With that being said, the author has made the following conclusions: 1. Active use of a set of cliches that create Scandinavian myth as a specific cultural phenomenon is an essential part of contemporary motion picture industry. This phenomenon is based on the principle of fatalistic providence and demonstrates a cyclicity of existence. 2. This philosophical concept has already turned into an independent archetype of collective consciousness, has gone beyond the borders of the Scandinavian Peninsula and has comprised a multicultural phenomenon today.

Keywords: philosophical aspects, raids, instrumentalization, archetypal constructions, providentialism, scandinavian myth, cultural landscape, stereotype, fatalism, mythologism

DOI: 10.7256/2454-0625.2017.1.21640

Abstract: This paper contains a generalization of the author's reflections on the products of modern Yakut film-makers and the actual process of creation of film forms in the socio-cultural environment of the North-Eastern region of Russia. Being the factory of dreams and society introspection tool cinematograph fit in very well for organic self-reflection and self-identification of ethnic culture at the turn of the centuries. Complementarity of the cinema and ethnic culture is also dictated by the mechanism of mythologem translation which was and still remains a vivid cultural tool that still preserves the features of folklore, rituals and rites of the traditional epoch. The object of this article is a film production in the Republic of Sakha (Yakutia) over the last five years. The subject of this article is specific features of film forms combining synthesis of symbolic constructs of universal and local ethnic culture issues and consequently resulting features of the influence of this form on the ethnic culture. In the course of his research Pudov has carried out analysis of particular films regarding whether there are symbols of different nature and philosophical generalization of cultural processes in the region on the whole. The novelty of the research is caused by the fact that the author provides a philosophical evaluation of a totally new stage of the development of Yakutian cinematograph that had declared itself at both Russian and international levels. The author has made conclusions about causes of the ontological regional boom in filmmaking, its potentials in relation to self-identification and culture, and peculiarities of developing a new sociocode of regional culture.

Keywords: cinematograph, ethnic culture, ethnocultural modernization, symbolic ontologization, transmigration of symbols, being of ehtnicity, cinema, art, Yakutia, sociocultural transformation

DOI: 10.7256/2454-0625.2017.1.68566

Keywords: cinematograph, ethnic culture, ethnocultural modernization, symbolic ontologization, transmigration of symbols, being of ehtnicity, cinema, art, Yakutia, sociocultural transformation

DOI: 10.7256/2454-0625.2024.1.69444

Abstract: The article deals with the problem of the world–in–itself being closed to our perception due to the inevitability of human subjectivity in the process of cognition of the world. In the philosophy of positivism and speculativism, the thesis of the fundamental unknowability of reality allows us to deduce an entire aspect of the world that is inaccessible to perception by analytical methods. This part of the world, by virtue of its fundamental concealment, resists all rational cognition, but, nevertheless, it can manifest itself in a special way that has more in common with mystical experience than with objective cognition. The purpose of the article is to offer a figurative language of the cinema texts of the cosmic horror genre as a way to think of the world–in–itself, otherwise inaccessible to cognition. The analysis is based on the example of two texts – "Through the Horizon" (dir. Paul W. S. Anderson, 1997) and "Hell" (directed by D. Boyle, 2007). A systematic film analysis was chosen as the research method. Screen works are analyzed from the point of view of how the subject of this research is revealed through the structural elements of film production. The main conclusions of the study are the theses that screen works in the horror genre, in particular space horror, can be used as a way to think about an aspect of the world that is inaccessible to knowledge by rational methods. This is possible due to the fact that the fundamental concealment of the world–not–for–us, on the one hand, makes it inaccessible to traditional analysis, and on the other hand, brings it closer to mystical experience. Films of the cosmic horror genre, and especially those that are the successors of the so–called Lovecraftian tradition, use characteristic frightening imagery to evoke in the viewer a feeling of the otherworldly, mystical, to create the same feeling of the creepy that occurs when the world-not–for–us manifests itself. But besides the images, the very structure of the film's narrative and its means of expression work to direct the viewer's thought towards understanding this strange world hidden from us.

Keywords: Theory of culture, Film analysis, Cinema, Theology, Film-as-text, World-in-itself, Speculativism, Horror, Screen culture, Mass culture

Abstract: Interpretation of the theme of the road in modern European cinematograph is described based on the materials of German cinematograph of the 20th – 21st centuries. Traveling and movements are the traditional themes of cinematographic arts there. But each new interpretation of it proves that there are new views and opinions coming out. The author of the article discusses the question about new interpretations of the themes of traveling and road in modern cinematographic art.

Keywords: history of art, theory of art, cinematographic theory, cinematographic art of the 20th – 21st centuries, European cinematograph, modern German cinematograph, cinematograph of Germany of the 20th – 21st centuries, a trip to the history of art, the theme of the road in a movie, traveling in the cinematographic art.

Abstract: V. Mirzoev’s new movie ‘Boris Godunov’ is being analyzed by the means of the psycho-motive analysis allowing to fi nd the profound inter-textual motives both in a movie and the same-name tragedy written by A. S. Pushkin. According to the author of the article, the movie and the tragedy are in one postmodernistic time and space where there is neither past nor future. Pushkin infl uences Mirzoev just as Mirzoev infl uences Pushkin. The author’s analysis shows hidden identifi cations between heroes and ‘their prototypes in history’ in ‘the future’ of the post-modernistic discourse. However, it is admitted that a true achievement made by Mirzoev’s movie is an overcoming of post-modernism in search of new cinematographic esthetics in the 21st century.

Keywords: cultural studies, V. Mirzoev, A. S. Pushkin, motives, identifi cation, Boris Godunov, reality, inter text, psycho semiotics, cinema.

DOI: 10.7256/2454-0625.2017.4.18154

Abstract: Despite the common opinion, sequels and carry on films are not a new element of Russian cinematograph and existed earlier than the periods of ottepel or zastoy. Based on the example of the movie The Red Imps (1923) and its sequels directed by the film director Ivan Perestiani in the 1920's, the author of the present article analyzes the reasons why those films appeared as well as conditions of their release, their elements and response of the audience and critics. For the first time in the academic literature the author of the article analyzes all famous sequels of The Red Imps and their receptions based on the films themselves as well as press releases and advertising booklets. The main conclusion of the research is the statement that fulfilling an order of the Party to produce adveture films devoted to the Civil War that had ended just previously, Perestiani at the same time based his films on French and American TV series that were popular in Russian film lending service at that time. Sequels of The Red Imps were the response to both political and aesthetical requirements of that time. According to the author of the article, aesthetical requirements included producing sequels based on certain repeated elements and techniques such as well-known characters, orientation at simplier culture (wood prints), parodical nature, meta-textual references and the 'movie - in - a - movie' technique, and exotic elements purposefully creating the eclectic nature of the genre. That was what allowed the sequels to The Red Imps to satisfy interests of several segments of the cinematographic audience of the 1920s. Such analysis allows not only to extend our vision of the cinematograph of the 1920's (in particular, to see films of those times as a conglomerate of often contradictory 'class-related' and 'film release' requirements) but also to understand the reasons of success of Soviet sequels.

Keywords: multi-episode film, film lending service, meta-textuality, Ilan-dili, The Savur Grave, carry on films, sequel, The Red Imps, Ivan Perestiani, early Soviet cinema

DOI: 10.7256/2454-0625.2021.5.33404

Abstract: The subject of this research is the image of the USSR/Russia resembles in the popular animated TV series “The Simpsons” throughout the past 30 years, considering the method of translating information inserted in the media text, as well as the complexity/simplicity of decoding this information by the viewer, ambiguity/unambiguity of interpretations, etc. The TB series touched upon the following topics related to the USSR/Russia: immigration to the United States and life of the immigrants in the new homeland, the Cold War, Communism and anti-Communism, Russian culture, Russia as a rival of the United States. The author traces the dynamics, diversity, and specificity of covering Soviet/Russian theme for over 30 years in the context of the dynamics of relations between the Soviet Union/Russia and the West, including political, social, cultural, and other nuances. The author carries out a cross-disciplinary dedicated to the work of popular culture in the context of political history of the XX – early XX centuries. The novelty consists in revealing the main themes of the “Russian presence” in the TV series (based on the analysis of almost 700 episodes), and the way they are conveyed (leveling the established stereotypes or their debunking for the sake of countering manipulations with public sentiment). Impugning the statement that ideology of “The Simpsons” is purely neoliberal, the author draws a more complex and critical worldview of “The Simpsons” in with regards to American society. Russia holds a special place in this world due to complicated bilateral relations since the Cold War, which consequences are yet to be fully overcome. An ineradicable remnant of the Cold War is the link between Russia and Communism, in which “Communism” is a synonym of any dissenting view. Russia is also associated with a rich, although highbrow culture, unattractive to most of the ordinary citizens. The main satirical idea of “The Simpsons” is to emphasize the cultural dissonance, which intensifies the difficulties of mutual understanding based on political confrontation and remaining ideological prejudices.

Keywords: cultural stereotypes, Cold war, The Simpsons, image of Russia, TV series, animation, television, mass culture, satire, comedy

DOI: 10.7256/2454-0625.2024.4.70201

Abstract: The object of the study is the work of film director Alexander Petrovich Dovzhenko. The subject of research is the concept of "land" in the director's work, considered as a "garden," as an "earthly paradise". One of the main ideas of A. Dovzhenko's work is the glorification of the earth, "soil," which has already been indicated by many researchers. This tradition can be traced not only in "Earth," but also in other films by A. Dovzhenko ("Aerograd," "Shchors," "Michurin"), as well as in films created according to his scripts by director Yu. Solntseva ("Charmed Desna," "A Tale of Fiery Years"). The purpose of this study is to comprehend the worldview of A. Dovzhenko. The tasks of the study include: an analysis of the spatial organization of the director's works, a study of the significance of the concept of the earth, its connection with mythopoetics, with the folklore and religious origins of the figurative system. This study uses a comprehensive cultural approach, including comparative, dialectical, phenomenological and psychological methods. The novelty of this study is that the "garden" is considered as "a creative space," as "an earthly paradise." The main conclusion of this study is that "earth" as "garden," as "earthly paradise" is one of such spaces. The Bible garden is God's creation, "earthly paradise," is human creation. In Zvenigor, the land acts as a natural given. In the film "Earth," the garden as an "earthly paradise" appears as a creation of natural and human efforts. In "Ivan" and "Aerograd" "earthly paradise" appears as the city of the future. "Garden" in the work of A. Dovzhenko there is a "creative space" symbolizing an earthly paradise.

Keywords: editing, Victor Shklovsky, Semyon Freilich, Gilles Deleuze, Nikolay Khrenov, Vsevolod Pudovkin, Sergey Eisenstein, Alexander Dovzhenko, cinema, symbol

DOI: 10.7256/2454-0625.2024.4.70370

Abstract: This article is a study of such an original trend in art as "Afro-surrealism". The study contains an excursion into the history of this phenomenon, but special attention is paid to the special connection of the genre of Afro-surrealism with the realm of the otherworldly. The genre, being an offshoot of the general group of surrealist trends, tends to create images that cross the line of rational reality, in other words, Afro-surrealist works by their nature strive for knowledge of the otherworldly. Nevertheless, Afro-surrealism contains unique structural elements and techniques that make it possible to separate it from classical surrealism and make it a rich material for research. The purpose of the article is to examine the history of the genre, as well as some works in the genre of Afro–surrealism and, using their example, based on the "Manifesto of Afro-Surrealism" to identify special elements of language and demonstrate how they help to reveal the otherworldly reality of the work. The main research method in this article is a systematic film analysis. The special structural elements of the film language and their role in the isolation of the genre are the focus of the research. The results of the study can be considered the very fact of highlighting a cultural phenomenon, since this genre is quite young and unique for a group of authors belonging to the same cultural group. In this regard, the phenomenon is practically unknown and extremely poorly studied in the Russian-language scientific literature. In addition to analyzing the historical and theoretical foundations of the genre, this article identifies special elements of the language of works, thanks to which the view of the problem of the otherworldly acquires a special philosophical depth, turning into a question about the limits of knowledge and mystical experience. The article analyzes in detail some of the images created by the authors of the series "Atlanta", and also draws a parallel between this series and David Lynch's older surrealist work "Twin Peaks", which allows us to more specifically draw a line separating "classic" surrealism from Afro-surrealism.

Keywords: The manifesto, otherworldly, theory of art, popular culture, film analysis, movie-text, Afro-surrealism, surrealism, series, screen culture

DOI: 10.7256/2454-0625.2017.6.21659

Abstract: The subject of the research is Federico Fellini's creativity which is rather well-studied as in Russia, and abroad. The author pays attention to poorly studied aspects such as Federico Fellini's communication with the Italian cultural tradition, namely, with Dante Alighieri's creativity. Analyzing various sources, literary and cinematographic, the author confirms this continuity. Special attention is paid to the cinematographic work by Federico Fellini. The cinematographic space of Federico Fellini is considered as the "symbolical space" that opens new opportunities for the analysis of the film language. In her research Popova uses Yury Lotman's approach, that is the semiotics method, and also the psychoanalysis method, in particular, that of Karl Jung. The novelty of the research is caused by the fact that the author discovers the relationship between Federico Fellini and Dante Alighieri, applies the integrated approach to the analysis of the cinematographic work by Federico Fellini. The conclusion is drawn that application of the semiotics approach combined with psychoanalysis opens great opportunities for the analysis of the screen work.

Keywords: Carl Gustav Jung, Christian Metts, Mikhail Bakhtin, Nikolay Hrenov, Yury Lotman, Gilles Deles, Dante Alighieri, Federico Fellini, cinema, symbolical space

DOI: 10.7256/2454-0625.2023.12.43495

Abstract: Using the example of the domestic film adaptation of Leo Tolstoy's epic novel "War and Peace", the features of the sound component of the film are investigated. A comparative analysis of the author's text of the writer and his cinematic interpretation is carried out. A significant part of the article is devoted to the issues of sound engineering, the organization of the acoustic (noise) environment of the film. The problems of modern reconstruction of film classics, the difficulties of "translating" the original into a new digital format are also touched upon. The issues of preservation and popularization of the cinematic heritage of Russia are raised. The role of the regional film distribution system in promoting the national film classics, educating the younger generation of moviegoers is noted. The field of application of the research results is cultural studies, theory and practice of film studies, art criticism. The scientific novelty of the research consists in the analysis of the musical and sound continuum of Sergei Bondarchuk's film epic. For the first time, an attempt was made to study the features of not only the musical context of the film, but also the noise environment, the acoustic originality of colloquial speech. A detailed analysis of off-screen monologues, which play an important dramatic role in the film narrative, is carried out. Special attention is paid to the history of the national digital reconstruction of the epic "War and Peace", undertaken in the 1990s. The role of modern technologies, which allowed to preserve the musical and acoustic environment of the film, is noted. The question is also raised about the need to popularize a new digital version of the film adaptation of Leo Tolstoy's epic novel. The prospect of introducing a special course on the history of Russian cinema into the Russian education system is considered.

Keywords: cultural property, speech expressiveness, off-screen monologue, acoustic environment, sound engineering, music, sound-visual complex, film adaptation, cinema, education

DOI: 10.7256/2454-0625.2013.2.62493

Abstract: The article is devoted to a cinematographic masterpiece caused by an attempt of a film director Alexander Sokurov to use Goethe’s brilliant worktragedy ‘Faust’ –and to tell about the most nettlesome issues of XX century related to formation of masses, mass societies and, as a consequence, group leaders and dictators. Alexander Sokurov’s film is not a screen version of Goethe’s ‘Faust’ in the traditional meaning of the word. It should seem that using Goethe’s tragedy for sharing his thoughts on modern issues must lead to superficial and vulgar interpretation of a classical writing. But Sokurov’s idea to include his new film in what he called ‘tetralogy’, i.e. a group of films devoted to famous dictators of XX century (Vladimir Lenin, Adolf Hitler and Hirohito) allowed to get a better insight into Goethe’s plot and to understand why that Goethe had such a difficult time writing that tragedy. If we try to understand the primary intentions of Goethe, we can find out the beginning of the demonism complex in Western culture that very well explains the way we perceive political leaders of XX century.

Keywords: cultural studies, demonism, dictatorship, intertext, Faust’s culture, screen version, rationalism, postmodernism, transcendent, utopia and anti-utopia.

DOI: 10.7256/2454-0625.2016.2.18332

Abstract: The subject of the research is the screen sound as a component of audiovisal image in Japanese cinematograph. The author of the article discovers some capabilities and other features of audio information that influence the process of formation of artistic time continuum of a screen piece. The fact that the sound has a temporal characteristic in cinematograph and appears in the real-time environment of a recipient makes it possible to search for global dependencies between screen sound as a phenomenon and aspect of time in a sound image. Being part of Japanese aesthetic system, modern Japanese cinematograph has its peculiarities which allows to examine these factors thoroughly. The present research is based on the phenomenological approach to sound as the phenomenon of cinematograph reality as well as concepts of traditional Japanese aesthetics. The novelty of the research is caused by the fact that the author develops the system of dependencies between properties of a comprehensive sound solution of a piece of screen in terms of its connection with the chronotope. The given system of dependencies 'sound - artistic time continuum' has a universal nature and reveals new opportunities for audio expressivity in cinematograph.

Keywords: Japanese, contemporary, chronotope, time, artistic, sound, screen, cinematograph, phonography, aesthetics

DOI: 10.7256/2454-0625.2016.2.67608

Keywords: Japanese, contemporary, chronotope, time, artistic, sound, screen, cinematograph, phonography, aesthetics

DOI: 10.7256/2454-0625.2013.3.62832

Abstract: the article explores the experience of movie-making – both, theater cinema and television cinema which is dedicated to the Fatherland War of 1812, all the way from silent movies made in Europe and Russia (“Grenadier Rolan ” by L. Maggi, “1812” by V. Goncharov) to modern filming of “War and Peace” of L.N. Tolstoy and Russian commercial productions devoted to 200-th anniversary of the Fatherland War. The author analyzes the role of cinematographic arts in the War’s memorialization.

Keywords: history of arts, Fatherland War of 1812, historical movie, “Grenadier Rolan” by L. Maggi, screen version, memorialization, “War and Peace”, historic character, Alexander I, Napoleon I.

DOI: 10.7256/2454-0625.2016.3.17481

Abstract: The subject of the present research is the mythological subtexts that define how particular movies and films created in different periods are perceived by the audience. According to the author, these subtexts have a strong influence on mass consciousness of public, however, public is usually unaware of such influence. Among other things the content of mass reception includes out-of-cinematographic manifestations of collective unconscious. Mental projections of archetypic images which came into existence in different periods of cultural history and connected with utopian visions, myths, and religious symbols are coming to the fore. Noteworthy that projections on the city are precede the projections of collective unconscious on the cinema; they are transferred into the cinema later on. Finally, the cinema in principal makes a colossal intertext in which cultural history is reflected both in its axial and pre-axial aspects. The scope of analysis comes down to the projections which become realistic already at early stages of cinematography history. To define mythological and archetypical subtexts of cinematography reception, the author of the article has used methodology of such academic disciplines as receptive esthetics, psychoanalysis and analytical psychology. The main conclusions of the research are the following: a) the structure of the audience of early cinematograph was made up mostly of urban social groups which had folklore stereotypes in their consciousness; b) the city was perceived in accordance with the folklore stereotype of the festive revelry as a synonym for freedom; c) the aura around the city created by the mass consciousness defines many things including how cinematography is perceived. The author's contribution to the topic of cinematography reception is the recognition of the image of cinema containing the myth of the city. The novelty of the research is caused by the fact that the author of the article describes specific archetypes that exist in the mind of the audience (recipients) and become evident in the process of cinematography perception.

Keywords: rite, liminality, utopia, holiday, archetype, reception, folklore, myth, city, cinematography

DOI: 10.7256/2454-0625.2016.3.67825

Keywords: rite, liminality, utopia, holiday, archetype, reception, folklore, myth, city, cinematography

DOI: 10.7256/2454-0625.2013.4.9300

DOI: 10.7256/2454-0625.2013.4.63014

Abstract: the present article is devoted to comparative analysis of the two international film festivals that belong to one (conditional) class A but have completely different structures and priorities in the global motion-picture process. On one hand, the Cannes and Moscow International Film Festivals are very different from the point of view of their interior structure, on the other hand, they are close and interweaved in their art contents. The latter allows to use the method of art review in cultural research. Professional and business life is quite active both at Moscow and Cannes International Film Festivals. Experts in cinematography come all over the world. However, the Moscow Festival is oriented at the audience in the first place. The author of the article describes both general patterns of the festival activities and history of each festival as well as particular festival programs of 2013. Special attention is paid at the process of official selection of award winners, on one hand, and retrospectives on the other hand.

Keywords: cultural studies, art history, film festival, motion-picture process, film industry, awards, retrospectives, video art, cinema of Russia.

DOI: 10.7256/2454-0625.2016.4.17467

Abstract: In the article the author attempts to identify mythological implications that determine perception of particular films produced by various directors in different time periods. These implications have a strong influence on public consciousness but this impact does not comprehended. Among other things the content of mass reception of cinema includes out-of-cinematic manifestations of collective unconscious. Mental projections of images - archetypes which came into existence in different periods of cultural history and connected with utopian visions, myths, and religious symbols are becoming actual in it. Noteworthy that projections on the city precede the projections of collective unconscious on the cinema; the latter are transferred on the cinema later on. Finally, the cinema in principal makes a colossal intertextuality in which cultural history is reflected both in its axial and pre-axial aspects. The subject under analysis of the present article is the projections that become realistic already at early stages of the history of film. In his research of the perception of early cinematography (mostly Russian) Khrenov has applied methodologies of such psychological schools as psychoanaysis and analytical psychology as well as crowd psychology as it was introduced by Gustave Le Bon and Serge Moscovici. The main conclusions of the research are the following: a) the audience of the early cinematography had the layers of urban population that preserved folklore stereotypes in their minds; b) perception of the city occurs in accordance with the folklore stereotype of perceiving the city as a holiday; c) the aura produced by the public consciousness on the city is defined by the attitude of public on the cinema. The author's contribution to the research of cinema perception is his analysis of cinema as a city myth. According to the author, early cinematographic plots reproduce motives of the holiday myth. The novelty of the research is caused by the fact that the author defines specific archetypes that become actual in the process of cinema perception.

Keywords: city, myth, folklore, reception, archetype, holiday, utopia, liminality, rite, cinematography

DOI: 10.7256/2454-0625.2016.4.68083

Keywords: city, myth, folklore, reception, archetype, holiday, utopia, liminality, rite, cinematography

DOI: 10.7256/2454-0625.2016.4.19550

Abstract: Based on Mikhail Bulgakov’s literary heritage (both narrative and dramaturgical), the author of the article explores the problem of the screen adaptation of literary works. The author interprets screen adaptation as a “translation” of a given artwork between the two different art languages. This means that an interpretation of any literary source for screen purposes (both for the cinema and for TV) is a creative action that stands closer to a philosophical and cultural analysis that to a work of a copyist or an illustrator. The author also argues that interpretation of the classics may be also understood as a “dialogue of cultures” (using M. M. Bakhtin’s term); in this case – a dialogue between the print (book) culture and the screen (audio and visual) culture. Analyzing the problems of screen interpretation of Mikhail Bulgakov's works, the author bases her research on historical-comparative and interdisciplinary methods combining art history and cultural analysis with the method of the philological analysis of texts. The importance and novelty of the topic are caused not only by the growing role of screen (audio visual) culture as the phenomenon of the information epoch but also the increasing academic interest in the screen interpetation of literary works. 'Screen culture' is a broad term. It covers all screen forms of creativity: cinema, television, video, computer technologies, Internet, network art, etc. This is what makes the problem of the screen interpretation (film adaptation) of literary works (epic, poetic and dramaturgical) so important. Screen adaptation is nothing else but a 'translation' of an artwork from one art language to another. Analyzing the works of screen culture (films by A. Alov and V. Naumov, V. Basov and L. Gaidai, V. Bortko and Yu. Kara, S. Snezhkin, A. Efros etc.) that were based on the M. A. Bulgakov’s literary heritage, the author comes to the conclusion that the interpreter’s task is extraordinary difficult: using audio and visual images, he or she has to transmit not just the content, but the original idea, the “soul” of the literary work, at the same time bringing it closer to the contemporary perception of the artwork.

Keywords: political satire, tragicomedy, tragifarce, magic realism, macroworld of Mikhail Bulgakov, screen culture, screen adaptation, interpretation of the classics, dialogue of cultures, phantasmagoria

DOI: 10.7256/2454-0625.2016.4.68084

DOI: 10.7256/2454-0625.2016.5.16852

Abstract: The article is devoted to aesthetic evaluation of Andrey Zvyagintsev's film 'Leviathan'. Using rather provocative methods, the researcher proves the genre of the flim to be a classical ancient tragedy where a protagonist, Kolya, becomes a victim of fatal events represented by a Biblical monster Leviathan. Tokmachev finds a number of features bringing together the film's heroes with the heroes of ancient tragedies (plasticity and integrity of their images, no reflection towards their own actions, irrational behavior and amechania, i.e. inactivity in extreme situations). The film's plot resembles a tragedy, too, in particular, it has a great number of narrative mismatches and accidents (recognition and peripeties) as well as a fatal chain of irreversible events and misfortunes that fell on the shoulders of the innocent hero. The researcher believes that Andrey Zvyagintsev's film has got double layers. Classical ancient tragedy is 'disguised' as a burning drama, the conflict between a 'corrupted' mayor and an 'honest' businessman unfolding among sublime beauty of the Polar Region and plain charms of provincial towns. The author of the article notes that that external conflict literally split the audience into those who supported the film and those who opposed the film. The author proves that the aforesaid conflict was not the essence of the matter but just decoration and circumstances in which the existential tragedy unfolds. Andrey Zvyagintsev excludes the episode of 'Kolya's rebellion against the mayor' from the final version of the film. At the main moments the hero stays inactive being in the state of amechania. This means that his opponent is not personified. However, neither mayor nor church is guilty in Kolya's misfortunes. Nobody is guilty here. The author reminds that the logic of ancient tragedy is different from the logic of the Judeo-Christian myth because there are no cause-and-effect relationships expressed by the 'crime and punishment' formula. Going beyond the borders of the Judeo-Christian myth or even cause-and-effect relationships, Andrey Zvyagintsev 'stops the samsara wheel' and 'screws out' the hero from numerous 'dispositifs of power' in order to see it as a purpose but not means (Immanuel Kant's expression). This allows the audience to empathize the hero or even experience a catharsis but not shallow selfish feelings relating to the support of or opposition against political preferences. This relates Andrey Zvyagintsev to the best fiction of Russian philosophy and literature.

Keywords: ancient tragedy, dispositif of power, eyeless destiny, cause-and-effect relationship, movie, Kola Peninsula, Andrey Zvyagintsev (film director), aesthetics, Judeo-Christian myth, Leviathan

DOI: 10.7256/2454-0625.2016.5.68264

Abstract: The article is devoted to the creative work of one of the most influential and contradictory figures in the history of music, American experimental composer of the XXth century, musical theorist, writer, artist, pioneer of aleatoric (accidental) electro-acoustic music and unusual use of musical instroments and the founder of electronic music that is based on accident and uncertainty as the essential and shape-generating element, John Milton Cage (5 September 1912- 12 August 1992). One of the first instrumental actions using aleatory music and noises of nature was his composition 'Water Music' that was created in 1952 for two 'prepared' pianos with the radio, water containers, card pile, stick, and a stop watch and used the sound of water as the main element of composition. It was one of the compositions that made John Cage popular around the world. Through denying deeply established composition principles, Cage rethought and essentially predetermined the experimental practice of music, thus changing the course of modern music and forming a new concept of the after-war art of the XXth century. The author of the present article views the composer's experimental creativity as one of the most radical attempts in the history of music aimed at extending the borders of music and applying new materials for composing and playing music. In the course of the research the author has used the philosophical aesthetic research method. The research methodology is based on the interdisplinary definition of such concepts as the uncertainy principle, choas theory, stochastic (probable) procedures, 'accidental operations', etc. The given article is one of the first one to provide an in-depth research of one of the most unique experimental compositions of Cage 'Water Music' and cover the theoretical gap in Russian academic literature on musical art concerning the composer's versatile creativity and personality. The author of the research makes a thesis that Cage created his own creative method that is based on the principle of managed accident, unity of life, nature and art, invention of new materials and instruments for creating and performing music. Along with other numerous theoretical and instrumental innovations that led the composer to the radical extension of the sound space and, in fact, changed the subject of the music in general.

Keywords: American musical experimentalism, uncertainty principle, stochastic procedures, aleatory music, free musical form, noise music, philosophy of music

DOI: 10.7256/2454-0625.2016.5.17514

Abstract: In his article Khrenov attempts to define mythological subtexts that define how particular movies and films created in different periods are perceived by the audience. According to the author, these subtexts have a strong influence on mass consciousness of public, however, public is usually unaware of them. Among other things the content of mass reception includes out-of-cinematographic manifestations of collective unconscious. Mental projections of archetypic images which came into existence in different periods of cultural history and connected with utopian visions, myths, and religious symbols are coming to the fore. Noteworthy that projections on the city are precede the projections of collective unconscious on the cinema; they are transferred into the cinema later on. Finally, the cinema in principal makes a colossal intertext in which cultural history is reflected both in its axial and pre-axial aspects. The scope of analysis comes down to the projections which become realistic already at early stages of cinematography history. To define mythological, folklore and archetypical subtexts of cinematography reception, the author of the article has used methodology of such academic disciplines as receptive esthetics, cultural semiotics, sociology of art, crowd psychology, psychoanalysis and analytical psychology. The main conclusions of the research are the following: a) the structure of the audience of early cinematograph was made up mostly of urban social groups which had folklore stereotypes in their consciousness; b) the city was perceived in accordance with the folklore stereotype of the festive revelry; c) the folklore aura around the city projected by the yesterday's peasant- migrant defines many things including how cinematography is perceived by mass audience. The author's contribution to the topic of cinematography reception is the cinematography perception in terms of the myth of the city that existed in the nonindustrial culture. The novelty of the research is caused by the fact that the author of the article describes specific archetypes including religious archetypes that exist in the mind of the audience (recipients) and became evident in the process of cinematography perception in the 1900 - 1910s.

Keywords: myth, folklore, reception, archetype, holiday, utopia, liminality, rite, city, cinematography

DOI: 10.7256/2454-0625.2016.5.68265

Abstract: The research is focused on the analysis of the two understudied portraits of a religious figure, Hegumen of Novgorod Antoniev's Monastery of the 20s of the XXth century Vissarion painted by the Stalin Prize Winner Pyotr Konchalovsky. The purpose of the research is not only to provide an in-depth analysis of the portraits but also to extend the concept of Konchalovsky's creativity rather as a master of integral portait images created in the process of combination of the author's individual style and Russian national Christian tradition than an artist of color and shape. The researcher points out some specific interpretations of the aforesaid portraits by Soviet cultural experts. Starting from description of the historical background when those portraits were made, the author of the article also analyzes style, color, technology and composition and performs a comparative analysis of the two portaits. The author's contribution to the topic is the determination of the main role of the motive of the action in constructing an image of a clergy. The researcher compares the portraits to M. Nesterov's triptych 'Works of Sergius the Reverend'. As a result, Shokolo outlines the difference in searches for the spiritual ideal by modern artists. The researcher concludes that the artist deliberately created the integral image depicted in two mutually reinforcing genre paintings, thus achieving his goals through portrait. Konchalovsky depicts the clergy as a real man preaching eternal Christian values despite the tragic church crisis of the 20s. in conclusion the author describes a unique phenomenon of the artist's presenting his religious portraits at Soviet and international exhibitions.

Keywords: colour, spiritual ideal, Sergiy Radonezhsky, artistic image, Yurievsky temple, Vissarion- shoemaker, Russian painting, Pyotr Konchalovsky, portrait of the Russian clergy, the motive of the action

DOI: 10.7256/2454-0625.2014.6.13282

DOI: 10.7256/2454-0625.2014.6.65706

Abstract: The subject under research is the screen as a form-making principle in culture as well as particular forms of screen art. Even though there is a great variety of modern screens, gigantic and small, private and public, interactive and linear, dynamic and static ones, we can still easily recognize the screen form as it is. It is clearly distinctive from other visual phenomena. The screen can be recognized based on several features: it has the frame (visible border between the screen and other space), surface, it demonstrates the dialectics of the hidden and discovered and has the polyscreen feature. The latter takes us to a completely new of the analysis of screen, i.e. in terms of mediality. The screen is a particular case of mediality in which regard we can only partly reconstruct the ‘movement’ given at the moment of ‘change’. In her research the author uses the approaches of media studies as well as screen studies or screenology viewing screen as a medium, i.e. the combination of many conditions related to the features of a particular data storage device (but not limited to them) allowing to make information visible. The novelty of the research is in the fact that the author is the first one to apply to the concept of mediality to the phenomenon of screen. The author’s approach allows to explain the vision effect when the image is rendered through a particular screen. The author also raises a debating question about the material nature of medium (metaxu) and the relation between the material and mediality. The author has made a great contribution to the development of the performance concept of mediality (in other words, the concept of mediality as a practice). It is concluded that the screen is a particular case of mediality. It has no ontology or chronological certainty. In other words, the screen does not exist but ‘being established’.