Vol 9, No 2, 2017

The article proposes a conceptual model representing the sociodynamics of the Russian audience’s demand for national films. The problem of its deliberate regulation based on the statistic data is examined. Statistic data bear sociological evidence of such demand.

Dziga Vertov was a director-innovator who not only developed but also conceptualized the specifics of documentaries. tte article examines the reasons for the motion-picture image conventionality in Vertov’s films as well as the major aspects of his film theory proceeding from the objective laws of visual perception. Such perspective provides a new approach to Vertov’s principle of transforming reality into motion-picture image.

The article analyzes the camerawork in Andrei Tarkovsky’s “The Mirror”. It defines the status of the narrator, and the so-called “subjectivity” of the camera. By means of uncommon angles the peeping effect is created as if someone were keeping an eye on the characters. Special emphasis is given to the typology of the characters’ look into the camera. Examples are taken from “The Mirror” and other Tarkovsky’s films.

This extension of the author’s previous article “udiovisual Means of Creating Metadiegetic Space in Cinema” (see “Vestnik VGIK” #1 (31), 2017) is a historic survey of the sound design techniques which make it possible to use musical expressive means for designating the film’s subjective space (metadiegesis) and separating the metadiegesis from diegesis by means of music.

The article investigates a vast group of film finales which can be classified as “compensatory happy ends’’. While occupying different positions on the emotional scale these endings represent the same logical structure: compensation. The author gives extensive examples to illustrate the diversity of narrative solutions provided by the use of such endings.

The subject matter of the treatise is desktop films, a young but gradually gaining popularity format whose elements can be encountered in films of various genres. The author debates if this technology, which suggests using a different visual esthetics, has any potential, what elements this technology is based on and how it transforms the idea of a human being reflected in virtual reality.

The article explores the balance of the two basic cultural constructs - individualism and collectivism - and the way it is represented in the American cinema of 2015-2016 as exemplified by a number of films set in the past, present and future. The author comes to the conclusion that in the face of a global peril the idea of individual moral responsibility inevitably leads to the role of collectivism as the essential survival condition.

The article is devoted to the influence of economic, social, communicative and marketing factors on the audience and gives a cross-cultural analysis of consuming entertainment services including cinema attendance. Dwelling on the development of such film market segments as on-line cinemas, paid movie streaming, downloading films, games, music, etc.. which broaden the consumers’ choice and demonstrate the power of theatrical distribution competitors, the authors justify the use of marketing techniques (social network promotion, branding and co-branding programs, etc.) for enhancing the audience’s commitment and loyalty.