Vol 3, No 4 (2011)

CHRONICLE IN DETAIL | CURRENT EVENTS
Vserossiyskiy festival' nauki
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Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):6-6
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THEORY AND HISTORY OF CINEMA | AUDIOVISUAL ARTS
Moral Aspects of Russian PreRevolutionary Cinema
Rostotskaya M.A.
Abstract
Yevgeniy Bauer was an outstanding exponent of the refined mass culture that began to penetrate into spiritual life at the beginning of the 20th century. The article investigates the moral conflicts and patterns that lay behind Bauer’s films and reflected the ethical guidelines of the mass audience in Pre-Revolutionary Russia
Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):8-17
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The Significance of Myth in the Work of Andrey Zvyagintsev
Kljueva L.B.
Abstract
The subject-matter of the article is the mythological layers in A. Zvyagintsev’s films “The Return” and “The Banishment” and their effect on the artistic structure and processes of the audience’s perception
Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):18-35
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ХРОНИКА В ДЕТАЛЯХ | ДИСКУССИОННЫЙ КЛУБ
Pervaya mezhdunarodnaya nauchnoprakticheskaya konferentsiya «Geroy v dramaturgii sovremennogo fil'ma»
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Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):36-36
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FILM LANGUAGE AND TIME | IMAGE GENESIS
The Poetic Cinema of the Post-Cultural Era
Yeliseyeva Y.A.
Abstract
The article analyses the perception of the poetic cinema visual images as exemplified by Russian films made in various decades. The author shows the changes in the expressive manner used by the filmmakers of the end of the 20th century and the beginning of the 21st century
Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):38-48
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PERFORMANCE | ART OF PRESENTATION
Basic Aspects of the Development of Systematic Repetition in Fine Art
Burov A.M.
Abstract
The article explores the main stages of the emergence of phrasism, a systematic esthetic repetition through a grating pattern. The author differentiates between the repetition in visual art (visual phrase) and post-visual art (post-visual phrase) and analyses the evolution of both
Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):50-64
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Professional and Non-Professional Actors as Cultural Agents in the films of Renita and Yuriy Grigoryev
Pishita Y.M.
Abstract
The article investigates the problem of casting professional and non-professional actors as bearers of culture. It also analyses the methods of directing non professionals, of plunging them into the material and creating spiritual links between the performers. The Grigoryevs’ experience of adapting “The Karamazoff Brothers” by F. Dostoyevsky and V. Shukshin’s prose is considered
Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):65-72
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SCREEN CULTURE | CULTURAL STUDIES. PHILOSOPHY
Liberty as a Cultural Value
Mezhuyev V.M.
Abstract
What is liberty, does a modern human being consider this category an exceptional value - these are vital philosophic problems dating back to most ancient times. How does a free person think? What is his way of life? How does the awareness of one’s freedom influence a creative individual and what role does culture play in all this? And, finally, what do we mean by the term “eternal values”? The author tries to find the answers to all these questions
Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):74-81
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Alfred Schnittke and the End of Russian Classic Music
Mikheyeva Y.V.
Abstract
The article surveys the ideological and cultural situation in Russian music in the 1970s. It was the period when the most important traits of Alfred Schnittke’s work became apparent, which marked his transition from the images and themes of the Russian “Grand Style” to more complicated sound structures of modern music. Having inherited the intellectual and ethical traditions from Shostakovich, Schnittke brought to music a new perception of reality including a different understanding of a person’s state of mind. Thus, Schnittke’s film scores did not only reflect the shift of modern artistic paradigms, but became a form of philosophic self-consciousness in the context of post-modernist global changes. Schnittke’s music opened the stage of “indirect statement” in film music, which enriched and transformed the meaning of the screen image
Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):82-93
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READING-ROOM | BOOK SHELF
BIBLIOTEKA VGIK
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Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):94-94
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FILM BUSINESS | MANAGEMENT STRATEGY AND TACTICS
The factors of competitive ability of national film industries
Zhabskiy M.I.
Abstract
Why does one country dominate in European film space while many others are on the edge of total loss of cinematic independence, but some, being strongly dependant, nevertheless try to stand up for themselves and sometimes succeed? Using statistical material, the article prepared by the State Institute of Art Studies highlights the deep objective and subjective factors determining the outcome of the of the rivalry between national film industries.
Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):96-110
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The Search of New Distribution Patterns in Digital Media Environment
Bakulev G.P.
Abstract
Digital technologies and the Internet in particular are causing deep changes in film industry. The development of the VoD service is enhancing the tendency for digitalization and disintermediation. Consequently, there is a considerable cost reduction in the value chain. In the long term future there can be a radical revision of the existing system of distribution “windows”. To understand the principles of the on-line distribution the author tries to estimate the impact of new media technologies on film distribution and the strategy of its main participants
Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):111-117
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ЧИТАЛЬНЫЙ ЗАЛ | КНИЖНАЯ ПОЛКА
BIBLIOTEKA VGIK
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Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):118-118
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TELEVISION | DIGITAL ENVIRONMENT
Homo Informaticus as a Personality Type. The Conflict of Spectacular and Real on the Screen
Urazova S.L.
Abstract
The evolution of informational culture which can be treated as media culture due to the development of audiovisual technologies, puts a number of questions brought about by the emergence of a new personality type, homo informaticus (informational man). The article (Conclusion. For the beginning: see Issue # 9) covers the conflict between the nature of television with its tendency for spectacularity and the informational requirements of the modern society which demands an authentic presentation of the world
Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):120-132
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SCIENCE LABORATORY | YOUNG SCIENTISTS’ RESEARCH
To the problem of correlation between a screen adaptation and its literary source
Simonova S.A.
Abstract
Screen adaptations hold a very important place within the paradigm of cinema. Yet, film theorists and literary critics are unanimous neither about the criteria of comparison of screen versions to their literary sources, nor about appropriateness of such a comparison. Thus, some researches tend to analyze the fidelity to the original, while others disregard this notion altogether. The article shows and analyzes different points of view on the issue, and describes the criteria of the choice of a literary source for adaptation
Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):134-142
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“My Friend Ivan Lapshin” as a Screen Adaptation
Sibirtseva Y.I.
Abstract
The article is devoted to the analysis of the film “My Friend Ivan Lapshin” as the adaptation of Yu. German’s story “Lapshin” and examines the methods of translation from the language of literature to that of cinema. In the author’s opinion, it is due to this translation from one esthetic system into another that the figure of the Narrator emerges
Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):143-152
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DISCUSSION CLUB | UPDATED CONTEXT
Sovremennaya estetika. Mezhdu naukoy i iskusstvom
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Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):153-155
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RECOMMENDATIONS AUTHORS
REKOMENDATsII AVTORAM
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Vestnik VGIK I Journal of Film Arts and Film Studies. 2011;3(4):160-162
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