Evolution of Stunt Episodes in Fiction Films about the Great Patriotic War
Danilov D.I.
The Film “Stalker” by A.A.Tarkovsky as a Manifestation of F.M.Dostoevsky’s World Outlook
Park Young Eun ..
Historical time and the image of the house in A. Sokurov’s work
Klimenko N.V.
The Image of War in the Cinema of the 60s. Knights without Past and Future
Ianushko A.V.
Entrepreneur as a hero of Russian cinema in the first half of the 1990s: the adoption of a new stereotype
Karavaev D.L.
Sergei Eisenstein's ideas in the context of modern cinema art. Audiovisual counterpoint
Rusinova E.A.
Techniques for compositional filling the space of a television frame
Shabalin V.V.
Composition as a Method of Communication in the Teaching of Fine Arts
Sveshnikov A.V.
“The Devil’s Cinema”: from Jean Epstein’s Theory to Robert Eggers’ Films
Shevchenko-Rosliakova A.
From a Screen Document to a Poetic Image. Making Sense
Prozhiko G.
The Image and Sound of War in the Films “The Ascent” and “Come and See”
Prozorovskaya I.
The Media Image as a Motivator for the Humanization of Society
Vazhenina O.A.
Visual Picture of the World in the Reflection of Modern Media
Utilova N.I.
Visual picture of the world in the reflection of modern media
Utilova N.I.
Artistic features of Russian TV serials about the Great Patriotic War
Shergova K.A., Muradov A.B.
The image of prince Myshkin in Russian cinema
Ryabokon’ A.V.
The sound world of the alienated film character
Rusinova E.A.
Landscape as a Leitmotif of a Film
Shakhovskaya N.A.
Maurice Maeterlinck’s Philosophy of Art
Mankovskaya N.B.
Early Antique Imagery
Burov A.M.
Impact of Technology on Screen Aesthetics
Poznin V.F.
Way of Genre in Cinema Documentary
Prozhiko G.S.
Sound as a Sign and Artistic Symbol in Film
Rusinova E.A.
Propaganda: Unity of Polemic Forms and Documentary Images in Russian TV
Malkova L.Y.
The Problem of Artistic Form and the Objectives of Fine Arts Pedagogy
Sveshnikov A.V.
The Problem of Artistic Form and the Objectives of Fine Arts Pedagogy
Sveshnikov A.V.
“Cine-Eye”: the Concept of Conventionality in Dziga Vertov’s Documentaries
Mylnikov D.Y.
Mirror and its Semiotic Modifications in Culture
Kljueva L.B.
Magic Realism of André Delvaux
Zakrevskaya A.A.
Planning Element as a Narrative Method in Moulding of Audiovisual Imagery in Documentaries
Koneva M.N.
Theatre and Document: Opposition or Integration?
Prozhiko G.S.
Artistic and symbolic meaning of Alexander Sokurov’s tetralogy (philosophical and aesthetic study)
Bychkov V.V.
Alteration of perception of the screen image - actual trend analysis
Kosenkova N.G.
The Role of Memory in the Perception of the Screen Image
Poznin V.F.
The Image of Home in Cinema
Reizen O.K.
Bryan Forbes and Jack Clayton: Underestimated Spaces (British Cinema of the late 1950s-early 1960s)
Zakrevskaya :.A., Zakrevskaya A.A.
Artistic and Aesthetical Aspects of the Systematic Change in the First Half of the 20th Century
Burov A.M.
Classic Imagery. Pre-Socrates Philosophy, Socrates and Plato's "Advent"
Burov A.M., Burov A.M.
The Parable in the Work of World Film Masters
Tugushi S.A.
Phenomenon of the System Repetition in Photography as an Alternative to Film
Burov A.M.
Hellenistic Reform. Epicureanism and Image Deviations
Burov A.M.
Giotto: Open Cubes, Shallow Depths and Specific Repetition
Burov A.M.
To the Semiotics of the Mirror and Reflectivity
Kljueva L.B.
Language, Speech and Image in Analysing Artistic Forms
Mikheyeva Y.V.
Madrid, province, Barcelona. Geography as a Phenomenological Object of Cinema
Reizen O.K.
1 - 45 of 45 Items

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