Vol 10, No 3 (2018)
- Year: 2018
- Articles: 18
- URL: https://vestnik-vgik.com/2074-0832/issue/view/869
- DOI: https://doi.org/10.17816/VGIK103
Abstract
In a series of events in the creative life of VGIK it is worth highlighting two – the 10th International summer film school of VGIK in Krasnodar, dedicated to the 100th anniversary of the University, and-screenings of Iranian films in the framework of "Days of culture of Iran in Russia" in the walls of VGIK. These events reveal the facets of international cooperation of the University, testify to its organizational and creative potential, limitless humanistic possibilities inherent in the film and screen arts.
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Abstract
The article investigates Vladimir Mayakovsky’s activity as an actor. The author defines the characteristic features of the poet’s acting and assesses his artistic capabilities based on the analysis of the film ‘‘The Lady and the Hooligan’’ and accounts of his contemporaries.
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Abstract
The article searches into the significant and symbolic aspects of sound in creating the film’s audiovisual image. A system of sound meanings and the ways of their embodiment in film direction in view of the historic and esthetical stages of mastering sound in cinema is presented. The author argues that the necessity to turn to sound symbolism arises not so much from the story as from the director’s inner desire and is based on his esthetics, cultural experience and worldview.
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Abstract
The article attempts to survey the genres of documentary cinema, its vocabulary, the factors forming the key genre trends, their historic flexibility and modern issues as well as to analyze the basic problems of the screen document’s artistic structure, the dialectics of requirements for authenticity and expressiveness, the specific character of documentary imagery resulting in the polymorphy of its genre system.
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Abstract
The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisenstein’s theory of artistic thinking, his activity as a film director. The author explores the origin of Eisenstein’s interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.
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Abstract
The article is devoted to the mythologeme of asceticism, widespread in the domestic cinema of the 1930s and closely connected with the mythmaking of the Soviet system, the ideology of which was largely based on the moral principles of Christianity. Acting as the “apparatus of agitation”, the cinema of the “big style” created a new mythology, its cultural hero was an ascetic who orders chaos and ready for self-sacrifice for the sake of the common good. A distinctive feature of the “big style” was the so-called mythological triad: the party (invisibly present behind the scenes) - the mentor and the pupil (the teacher Sergeyev - the homeless Mustafa in the Road to Life, the secretary of the district committee - Sasha Sokolova in the Member of the Government, etc.) The pupil - in the past standing at the lowest level of the social hierarchy finds its “light way” by successfully realizing the main socialist message “who was nothing will become everything”. Ascetic is an innovator and an envoy of Soviet power, a mediator between her and the people, dictating to society a new moral code (Teacher, Member of the Government). Mass promotion of women as one of the most oppressed members of society to key positions occurred in the 1930s. At this time, the Cinderella archetype literally blossoms: the fate of a woman from the people becomes a living embodiment of the idea of a society of equal opportunities (Member of the Government, The Light Road, Volga-Volga, Jolly Fellows). While the official equality of citizens is declared at the state level, true equality and spiritual kinship of souls are achieved only through personal achievements for the benefit of the country. For a happy family life and successful self-fulfillment in the work collective, asceticism was an indispensable condition and a natural form of existence, prescribed “from above” by the norm of life. Thus, the idea of asceticism as the main principle of Christianity will become the basis of a new mythology, proposed by the Soviet power instead of the forbidden religion.
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Abstract
Revealing the role of esthetic space where the film director works and its significance for creating the audiovisual synthesis of the film, the article studies the inextricable connection of music with the traditional esthetics in the cinema of the Far East countries.
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Abstract
The article looks into the notions of film stunt and stunt technical skills as the most expressive and memorable means of an audiovisual production. On the whole, the stunt as a concept has undergone a considerable evolution adjusting itself to the screen narrative and forming its inventory of stunt performance. The term served as the basis for the emergence of the so called ‘stunt cinema’ which gained popularity and consumer demand. In modern film industry, stunt films are considered highly profitable.
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Abstract
The article substantiates the doppelgänger motif of in the ‘new sincerity’ cinema and searches into the conceptual diversi fication of this motif in a number of films as well as the ways of representation on the conceptual and narrative levels of using artistic expressive means.
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Abstract
The article deals with representation of female characters in the German cinema of the 1920s focusing on the femme fatale as the exponent of the spirit of the age and its numerous inner problems. Then and there, the femme fatale appears as a revolutionary image challenging the traditional life style. tte author analyses the most exemplary films with such a heroine: ‘Genuine, die Tragödie eines seltsamen Hauses’, ‘Dirnentragödie’ and ‘Asphalt’.
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Abstract
The article investigates a stage production organically combining choreography and screen art based on Chopin’s ‘Die Kameliendame’ choreographed by John Neumeier whose oeuvre has become a hallmark in modern ballet. tte author compares the stage version of ‘Die Kameliendame’ with its screen adaptation.
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Abstract
The article investigates the success of Australian TV series in many countries including Russia. Today, these are professionally made audiovisual works with well-constructed stories, talented casts and magnificent direction. ttey show the life of Australian society, revealing social problems and the reasons of the Green Continent’s prosperity, make one want to take a closer look at this country.
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Abstract
In the context of increasing digitalization of media-space, the analysis of broadcasting films on Russian leading TV channels is of intense interest. The article examines the specific character of movie broadcasting in general and the films preferred by Russian TV audience. The analysis is based on the viewing grids of 22 Russian channels in the July of 2018 taking into account the main data of film repertoire on TV and the preferences of the audience in accordance with the age categories.
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Abstract
The article validates the terms based on the notion of ‘reality’ that have started to be used in the media due to the implementation of digital technologies. Emphasis is laid on Virtual Reality (VR) and its types: Augmented Reality (AG) and Mixed Reality (MR). Дєіг application updates the approaches to the creation of film and TV productions, alters the immanent bond with the audience. tte terms are correlated with the concepts of ‘media reality’ and ‘screen reality’ introduced into scientific use. As a result, there emerges a multireality which affects the individual’s perception.
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Abstract
The academic journal Vestnik VGIK is the leading periodical publication of the All-Russian State Institute of Cinematography named after S. A. Gerasimov, who is the founder of the publication.
Recommendations to authors interested in publishing articles.
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