Stunt trickery as an effective spectacle means of artistic expressiveness
Danilov D.I.
Methodological aspects of studying the history of Soviet cinema in the 1930s
Usuvaliev S.I.
The sound space of the city as a reflection of ‘‘the spirit of the times’’ and the inner world of the film hero
Rusinova E.A.
The Image and Sound of War in the Films “The Ascent” and “Come and See”
Prozorovskaya I.
The Influence of World Cinema Masterpieces on the Creative Worldview of the Filmmaker
Malyshev V.S.
The Birth of Cinema in the Russian Empire and Film Censorship
Drubek N.
Sergei Eisenstein's ideas in the context of modern cinema art. Audiovisual counterpoint
Rusinova E.A.
The Film “Stalker” by A.A.Tarkovsky as a Manifestation of F.M.Dostoevsky’s World Outlook
Park Young Eun ..
The struggle for the Far East in the interpretation of the Vasilyev brothers
Rostotskaya M.A.
Evolution of Stunt Episodes in Fiction Films about the Great Patriotic War
Danilov D.I.
Sound in the films of Michael Haneke from the perspective of phenomenological aesthetics
Mikheeva J.V.
Trends of the Song Genre Development in the Soviet/Russian Cinema in 1930-1960s years
Parfentyeva E.N.
The film star — the phenomenon of a parasocial relation
Zhabskiy M.I., Novoselova F.V., Tarasov К.А.
The Expressive Function of Color in Modern Non-Fiction Films
Shtandke A.
Drama Features оf Documentary: Movie, TV Film, Streaming Platform
Trusevich E.
The Product of Film Industry - a Cultural Good in Commodity Form
Zhabsky M.I.
Contribution of Artists Teaching at the Russian Federation S.A. Gerasimov Institute of Cinematography into Formation and Development of the Fine Arts in Mongolia in 20th century
Melekhova X.A.
Vladimir Mayakovsky as a Film Actor: a “Star” or an Amateur?
Pronin A.A.
Folklore Traditions of the Sverdlovsk Animation School
Tomilov Y.
Modern Forms of Capturing Reality in the Format of Video Hosting
Shtandke A.
To Give Hope or To Succumb to Depression? Understanding of Life in Contemporary Russian Cinema
Malyshev V.
The sound world of the alienated film character
Rusinova E.A.
Characteristics of Traditional Aesthetics in the Film Music of the Far East Countries
Sergeeva T.S.
Short Film: Genre Originality of Debuts
ZHdankina G., SHipulina N.
Cinematic media in digital culture
Bakulev G.P.
The Image of the Provinces in the Russian Cinema of the 2000s As a Focus of Civil Identity
Mikheeva Y.V.
Methods of using the type expressiveness of the actor in the cinema of “new sincerity”
Kuznetsova M.O.
Stopover? Non-fiction movies in the first decade after the millennium
Prozhiko G.S.
“The Devil’s Cinema”: from Jean Epstein’s Theory to Robert Eggers’ Films
Shevchenko-Rosliakova A.
The Birth of Cinema in the Russian Empire and Film Censorship
Drubek N.
Cinema and Globalization
Zhabskiy M.I.
The Influence of Cultural Traditions on Sound Design Techniques in Japanese Cinema. Sound Effects and Music
Rusinova E.A., Habchuk E.M.
The Aspects of Body in American Film Noir (1941-1955)
Orozbaev K.N.
Film Art Against Avant-Garde? On the Onthology of Artistic Means
Yakimovich A.K.
Reflection as an Audiovisual Form of Thinking in Alexander Sokurov's Work
Mikheyeva Y.V.
The Impact of Creative Content on the Modification of the Film Exhibition Structure in Russia
Bezenkova M.V.
Modern Social Problems in the Works of Novice Documentary Filmmakers
Shtandke A.A.
Co-production in Current International Film Industry. Major Trends
Chudakova A.V.
The Influence of Traditions of Culture on the Techniques of Sound Directing in Japanese Cinema. Speech and Pause
Rusinova E.A., Khabchuk E.M.
From a Screen Document to a Poetic Image. Making Sense
Prozhiko G.
Historic and Cultural Background of the «Belye Stolby» Festival of Archive Films
Malyshev V.S.
Prospects for Professional Training of Producers in the Context of the Development of Film Business in Russia
Sidorenko V.I.
Russian Documentary at the Turn of the 21st Century
Prozhiko G.S.
Financing Cinema Production as a High-Risk Activity
Molchanova N.P.
Sociocultural Functions of Film Libraries and Archives
Malyshev V.S.
Music as a Part of the Theatrical Game of the Movie
Mikheeva Y.V.
Primary Cinema Sources of American Noir
Orozbaev K.N.
Can “Native” Cinema Be Marketable
Zhabskiy M.I.
Cooperation between the Russian Animation Industry and Asian Partners
Krivulya N.
Screen Metamorphoses of Ivan Pyryev
Kirillova N.B.
Movie Distribution Categories in Russia: Sample of Statistical Analysis
Ivanov O.V., Astakhova N.V., Ivanov D.O.
Structural Analysis of Film Characters
Boyko M.E.
1992-2012. Attempts at Privatization of Film Studios
Ziborova O.P.
Documentary Footage in the TV Film Portrait: Methods and Techniques of Mastering
Pronin A.A.
Music in the Metadigetic Space of the Motion Picture
Rusinova E.A.
Style “Noir” in Classical and Contemporary Art History
Orozbaev K.N.
Censorship Machine in the Soviet Cinema of the 1920s
Nasrtdinova A.R.
Lost in Translation: Songs in Foreign Films
Parfentyeva Y.N.
On The Matter of Market in Cinema
Zhabskiy M.I.
Can “Native” Cinema Be Marketable
Zhabskiy M.I.
A Criminal as the Main Movie Character, or Old Themes and New Solutions
Zvegintseva I.A.
Branding as a Factor of Competitiveness of the “Lenfilm” Studio
Pankratova M.I.
Impact of Technology on Screen Aesthetics
Poznin V.F.
Cinema of Bulgaria at the turn of century
Utilov V.A.
Cinema Policy of Simple Solutions
Zhabsky M.I.
Second World War Film Chronicle
Prozhiko G.S., Prozhiko G.S.
Can “Native” Cinema Be Marketable
Zhabskiy M.I.
Artistic Ambitions of Screen Document at the Turn of the Century
Prozhiko G.S.
Artistic Ambitions of Screen Document at the Turn of the Century
Prozhiko G.S.
The Image of Femme Fatale in German Films of the 1920s as Evidence of the Process of Society Renewal
Smagina S.A.
The Silent Era in Australian Cinema
Zvegintseva I.A.
On prerequisites for developing artistic time theory
Marievskaja N.E.
The Influence of Frank Wedekind’s Work on the German Cinema of the Early XX Century
Smagina S.A.
Sound as a Sign and Artistic Symbol in Film
Rusinova E.A.
The Analysis of Artistic Time in the Theory of Film Dramaturgy
Marievskaya N.Y.
Mythological Time. The Image of the Past in Grigoriy Chukhray’s «Ballad of a Soldier»
Bezenkova M.V.
Feature Film Quotation in a Documentary Portrait: a Functional-Semantic Aspect
Pronin A.A.
Ideological Environment and Aesthetics in Fantastic Films of Russia and USA in 1950s
Sputnitskaya N.Y.
Professional and Non-Professional Actors as Cultural Agents in the films of Renita and Yuriy Grigoryev
Pishita Y.M.
Crime Teenpic as a Subgenre of American Cinema
Zharikova V.V.
Specifics of Imaginative Approach in the US Documentary of 1960-2000s
Kazyutchits M.F.
From Theory to Methodology of Cinema
Schtein S.Y.
The Key Art Strategies of “Soyuzmultfilm” in 1944-1946 Years
Sputnitskaya N.Y.
Representation of Youth in Soviet Cinema of the 1950s
Zharikova V.V.
Metaphor in Cinema: Specifics of its Creation and Perception
Poznin V.F.
Cinema and Advertising: Enemies or Allies?
Zvegintseva I.A.
Silence of the Author: Semantics of Muting in Cinema
Mikheyeva Y.V.
The Influence of the Painting Tradition on Derek Jarman’s Films
Denisova I.V.
The Theme of Apocalypse in Australian Cinema
Zvegintseva I.A.
The Images of China on Russian Screen. A Glance from the Audience
Andreyev A.L., Andreyev I.A.
Evolution of Dramaturgy of Fiction Popular Science Films
Kolodinskiy M.N.
Film Reconstruction of the Past as a Method of Understanding Reality
Marusenkov V.V.
The factors of competitive ability of national film industries
Zhabskiy M.I.
Cinematic Nature of English Pre-Raphaelites’ Painting
Bernatonite A.V.
Interpretation of the Soviet Thaw (Ottepel’) Period in Contemporary Cinema
Ziborova O.P.
The Techniques of Visual and Audial Distinction between Diegesis and Metadiegesis in a Motion Picture
Rusinova E.A.
The Iranian Cinema of the 20th Century (1900-1980)
Mirakhorli A.
On the Approaches to the Formation of the Artistic Time Theory: M.M. Bakhtin, G. Deleuze
Marievskaya N.Y.
Emotional Influence on the Viewer in Contemporary American Cinema
Vital F.Y.
Violence in Films: Three Preconditions for the Mimetic Effect
Tarasov K.A.
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