Summary

  • Authors: Editorial office a.1
  • Affiliations:
    1. Федеральное государственное бюджетное образовательное учреждение высшего образования «Всероссийский государственный институт кинематографии имени С.А.Герасимова» (ВГИК)
  • Issue: Vol 12, No 2(44) (2020)
  • Pages: 152-157
  • Section: SUMMARY | PRESENTATION OF AUTHORS
  • URL: https://vestnik-vgik.com/2074-0832/article/view/44211
  • DOI: https://doi.org/10.17816/VGIK44211
  • Cite item

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FILM THEORY AND FILM HISTORY | AUDIOVISUAL ARTS

To Give Hope or To Succumb to Depression? Understanding of Life in Contemporary Russian Cinema

UDC 778.5(09)+778.5.01(014)

Summary: Discussing Soviet and Russian films made in 1930–2010, the author raises the problem of their impact on the worldview of Russian society He analyzes key artistic elements (protagonists, types of denouement, and visual solutions) of a number of contemporary Russian films and comes to the conclusion that a significant part of the Russian film production of the last five years is characterized by depressive motifs and, therefore, forms a one-sided negative impression of today's reality and prospects for the future.

Key words: depressive motifs in cinema, lifeaffirming essence of cinema, contemporary Russian cinema, “Perestroika” cinema, auteur cinema, contemporary film protagonists, happy ending

Author: Vladimir S. Malyshev, Doctor of Arts, Professor, PhD in Economics, Full Member of the Russian Academy of Education, President of the Association of Educational Institutions in Arts and Culture, Acting Rector of the Sergei Gerasimov All-Russian State Institute of Cinematography.

 

The Image and Sound of War in the Films “The Ascent” and “Come and See”

UDC 778.5.04.071:78

Summary: In the days of the 75th anniversary of the Victory in the Great Patriotic War, it is worth looking into war dramas made in the Soviet era. The article examines the authenticity in portraying the tragic events captured in the films "The Ascent" (1976) and "Come and See" (1985). The dramatic and artistic solutions found by the directors of these films, supplemented by the expressiveness of the speech, sound effects and music score, gave such a deep insight into the tragedy of the war, that this visual image is still retained in the memory of the present-day audience.

Key words: Soviet cinema, war drama, Word War II, music in film, sound design, audiovisual image of the film.

Author: Irina V. Prozorovskaya, Student of film studies (4th year, class of Kirill Razlogov, Dr. Sc. of Arts, Professor), Russian Institute of Cinematography named after S.A.Gerasimov.

 

FILM LANGUAGE AND TIME | IMAGE GENESIS

A Study of the Film “Andrei Rublyov”: from the Perspective of Neoplatonism and Ideology of Dionysius the Areopagite

UDC 778.5с/р«Андрей Рублев»+778.5(092)1«Тарковский»

Summary: Andrei Tarkovsky's film Andrei Rublev (1971; the first version is The Passion for Andrei, 1966) is presented in the article from an unusual perspective: it draws a parallel between the fate of the great Russian icon painter in its cinematic version and some philosophical concepts of Dionysius the Areopagite, which influenced the development of the spiritual culture of Russian Orthodoxy. To get to the top of holiness and apprehend the truth, it is necessary to go through humiliation and descent, sin, a vow of silence and return to the heights of the spirit. According to the author of the article, these for neo-Platonic ideas are emphasized by the director in the key episodes of Andrei Rublev's life.

Key words: Andrey Tarkovsky, “Andrey Rublyov”, philosophy of Dionysius the Areopagite, Neoplatonism, Absolut, matter and spirit.

Author: Park Young Eun, Prof. Ph.D Asia-Pacific Research Center (APRC), Hanyang University, Republic of Korea.

 

Reconstruction of the Past in the Reality of Screen Imagery

UDC 778.5.04.072.094

Summary: The article deals with the reconstruction of past events in the artistic space of the film. Based on the analysis of the film language in The Night Porter (directed by L.Kavani), the author traces the stages of forming artistic imagery through the recreation of the past, reveals the mechanisms of building the basic model that creates the ideas about the present in the imagination and consciousness of viewers, confirms the thesis that the artistic imagery of the film is fixed in the mind of the viewer, and their indirectly acquired experience influences the decisions thee make.

Key words: reconstruction of the past, a socio-cultural paradigm, cinema, language of cinema, art space.

Author: Vyacheslav V. Marusenkov, Ph.D of Art History, Dean of the Screenwriting and Cinematography Faculty, Associate Professor of the Department of Film Studies at VGIK.

 

PERFORMANCE | THE ART OF PRESENTATION

Grotesque as a Formative Method in the Drama of a Feature Film

UDC 778.5.04.072

Summary: Using the example of American films Beetlejuice, It and It-2, the article considers grotesque as a formative device in drama and investigates its difference from quantitative tropes — litotes and hyperbole — as well as tropes with the absence of a transgressive element — allegory and metaphor. The author analyzes the emotional mechanisms of the grotesque, laying the target guidelines for the viewer's perception of a work of film art.

Key words: grotesque, comic, terrible, transgression, ambivalence, semantic border

Author: Anastasiya E. Babina, Ph.D-Student of Russian Institute of Cinematography named after S.A.Gerasimov.

 

Conflict of Artificial and Living Body in Cinema the Theme of Fear and its Overcoming

UDC 778.5.04.072:8.01-252

Summary: The article is devoted to the problem of building a conflict between a human and an artificial man-made creature in cinematic works. The degree of the influence of the fear motive arising in a human character when interacting with a machine character, which affects the main strategies of the plot, is analyzed.

Key words: digital body, anthropomorphic, “uncanny valley” effect, story, cinematic work.

Author: Svetlana S. Kozlova, Post-graduate student, Department of drama movie VGIK, teacher of scriptwriting ISI and RSU A.N.Kosygin.

 

Vlog: Literary Tradition and Political Strategies

UDC 7.011+32.019.51

Summary: The article analyzes video blogs in the context of the development of communication between the author and the viewer. The analysis revealed the main properties of a successful video blog (trust, sincerity, reduced communication distance, cyclicality) and cultural codes presented in traditional literary forms such as diary, writing, memoirs, confession. A number of features of the video blog are used in political communications to solve manipulative problems.

Key words: vlog, complicity culture, diary, memoirs, confession, letters, political manipulation.

Author: Andrey M. Druzhinin, Ph.D in Philosophy, Senior Researcher, Research Sector, Academy of Media Industry.

 

SCREEN CULTURE | CULTUROLOGY. PHILOSOPHY

Modern Art History As a Human Science in a Situation of Cultural Turn

UDC 7.01

Summary: The article (Part 6, for the beginning see Issues 1(39), 2019; 2(40), 2019; 3(41), 2019; 4(42), 2019, 1(43), 2020) discusses a vital problem of modern art studies connected with the relationship between art history and theory. The study subject of art theory as a sub-discipline of cultural studies, unlike that of art history, has not been determined yet. Tracing the processes taking place at the time of linguistic and cultural turns in the humanities, the article dwells on the subject of art theory and justifies the idea of this subdiscipline’s significance in transitional eras.

Key words: art history, subject of the theory of culture, humanitarian paradigm, depersonalization of the subject of art history, cultural anthropology, cultural determinism, popular culture, civilization, myth, folklore, language.

Author: Nicolai A. Khrenov, Doctor of Sciences (Philosophy), Professor, Section of Media Artistic Problems, State institute of Cultural Studies.

 

WORLD CINEMA | ANALYSIS

A Cultural Modification of Ibsen's Play “A Doll's House” for Iranian Screen

UDC 791.43-24

Summary: The article studies approaches to creating screen versions in Iranian cinema. The author analyses strategies of the cultural adaptation of H.Ibsen’s play “A Doll’s House” (1879) practiced by the Iranian director Dariush Mehrjui when working on his film “Sarah” (1993). The comparison between the original and the screen version demonstrates that the author managed to update the themes of the literary classics and introduce them into the social and cultural Iranian atmosphere of the 1990s.

Key words: Iranian cinema, Dariush Mehrjui, cultural adaptations, screen adaptations, Iranian woman, feminism in Iran.

Author: Natalya G. Grigorieva, Ph.D (Arts), Associate Professor, Russian Institute of Cinematography named after S.A.Gerasimov.

 

Palestine in Foreign Cinema

UDC 791.43.45

Summary: The article reveals certain aspects of presenting Palestinian issues in world cinema through the study of corresponding films by directors from Western Europe, America and the former socialist countries. An attempt is made to classify existing cinematic approaches to representing the conflict. The author explains the difficulties encountered by certain directors during the shooting and distribution of their films. The main reason is the disparity between points of view on the events in the region which results from the influence of wide-spread ideas and stereotypes.

Key words: Palestine, conflict, propaganda, stereotypes.

Author: Nassar Ali Nemer, VGIK Applicant, Lecturer at the Ibn Khaldun Film School in Arrab (Israel).

 

TELEVISION | DIGITAL ENVIRONMENT

Visual Discourses of Social Policy in TV Practice

UDC 654.197

Summary: The article presents ways of personification and visualization of social content discourses as exemplified by the TV coverage of the pension reform in the Russian Federation in 2018. The visualized personal experience is used as an argument and determines filters through which reality is perceived.

Key words: television, visualization, personification, pension reform, visual discourse.

Author: Marina A. Berezhnaya, Doctor of Philology, Associate Professor, Department of TV and Radio Journalism of the Institute “Higher School of Journalism and Mass Communications” of St. Petersburg State University.

 

Mediatization as a Mode of Being in the Light of Self-Isolation

UDC 19.21.91

Summary: Against the background of negative tendencies, resulting from the COVID-19 pandemic and the self-isolation of people, which took its toll on the social and economic development of countries, we register a growing interest of different age groups of population in testing digital technologies and contemporary media platforms. The article looks at the changes that have taken place in 2020 on the media market, it substantiates the role of mediatization of society in everyday life, the need for humanitarian knowledge.

Key words: metacommunications, mediatization, digitisation, visualization, globalization, transhumanities.

Author: Svetlana L. Urazova, Dr. Sc. in Philology, Associate Professor, editor-in-chief of the scientific journal “Vestnik VGIK”, All-Russian State Institute of Cinematography named after S.A.Gerasimov.

 

 

For further discussions please contact the authors on: vestnik-vgik@vgik.info

About the authors

article Editorial office

Федеральное государственное бюджетное образовательное учреждение высшего образования «Всероссийский государственный институт кинематографии имени С.А.Герасимова» (ВГИК)

Author for correspondence.
Email: vestnik-vgik@vgik.info

Russian Federation, 129226 Россия, Москва, ул. Вильгельма Пика, д. 3

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