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On the Essence and Relevance of the Work on Semantic Oppositions in Creative Writing

UDC 778.05

Summary: The article examines one of significant aspects of artistic text analysis promoted by Yuri Lotman: introduction of semiotic oppositions. The author seeks to research into this resource and its potential based on the advantages of using oppositions for answering many questions posed by a particular cinematic text, no matter what type, genre or style it belongs to. In other words, this is about universal units and analytical mechanisms.

Key words: opposition, general semantic field of the text, intelligibility, hierarchy of spaces, hierarchy of boundaries, hierarchy of semantic oppositions.

Author: Ludmila B. Klyueva, Doctor of Arts, Professor at the Department of Film Studies, Faculty of Screenwriting and Film Studies, VGIK.


Alexander Dovzhenko. Poetic Space of Immortality

UDC 778.5.04/с

Summary: The article discusses the theme of death and rebirth in the works of A.Dovzhenko, with prime focus on his films “Earth” and “Shchors”. It deals with the typology of death and the myth of resurrection which becomes an important element of Dovzhenko’s philosophy of life. The director’s mindset is put here in film research, philosophic and aesthetical perspectives.

Key words: film art, immortalism, thanatology, A.Dovzhenko, “Earth”, resurrection, death.

Author: Vladimir V. Vinogradov, Doctor of Arts, Professor at the Department of Film Studies at VGIK, Head of the Analytics Department at the Information Analysis Centre for the Development of Film Education VGIK.



Dziga Vertov's Work in terms of Kazimir Malevich: Dynamic Abstraction in the Film “Man with a Movie Camera”

UDC 791.43/.45»

Summary: In the 1920s Kazimir Malevich, a notable Russian and Soviet avant-garde artist and art theorist, the father of Suprematism wrote several articles on cinema giving particular attention to Dziga Vertov’s creative thinking and his film “Man with a Movie Camera”. The paper provides insight into some motives evidenced in the conception and the composition of Vertov’s film and indicative of transition from non-fiction film art to non-objective kinetic art and representation of the true reality, in terms of Malevich.

Key words: Dziga Vertov, Kazimir Malevich, cinema aesthetics, Soviet avant-garde, editing.

Author: Kirill L. Goryachok, researcher at the Media Art Problems Department, State Institute of Art Studies (SIAS).


The Concept of Self-Sacrifice in the Philosophy of Andrei Tarkovsky’s Work

UDC 008

Summary: The article analyzes the fundamentals of the moral philosophy of Andrei Tarkovsky whose films are recognized as masterpieces of screen culture. The subject under study is the idea of self-sacrifice in Tarkovsky’s works as a distinctive “code” of his spiritual heritage. Creator of an original artistic world, Tarkovsky dwelled upon such vital philosophical categories as “man’s spiritual life”, “faith and faithlessness”, “problems of conscience”, “life and death”, “selfsacrifice” etc. This is evidenced not only by his screen works but also archives, diaries and theoretical studies.

Key words: Andrey Tarkovsky, screen culture, moral philosophy, idea of selfsacrifice, the archetypal image.

Author: Natalia B. Kirillova, Doctor of Cultural Studies, Professor, Head of the Cultural Studies and Sociocultural Activity Department at the Ural Federal University named after the first President of Russia B.N.Yeltsin, Honored Art Worker of the Russian Federation.



Mythologeme as a Means of Artistic Expression in Contemporary Russian Cinema

UDC 778.

Summary: Through the example of “The Collector”, film written and directed by Alexei Krasovsky the paper examines the audience response to current film premieres appealing to all ranks of viewers. A fairly wide resonance is mainly provided by the massive scale of the film art and the urgency of problems touched upon in the film. Skillful use of instruments of cinematic expression involves the viewer into the film events making him feel like a coauthor of the film.

Key words: myth, mythologeme, cinematograph, film language, artistic time continuum, mass viewing.

Author: Vyacheslav V. Marusenkov, PhD in Art History, Associate Professor, Dean of the Faculty of Screenwriting and Film Studies, S.A.Gerasimov All-Russian State Institute of Cinematography.


The Сoncept of Sound Expression in Viktor Kosakovsky’s Documentaries

UDC 778.505:78

Summary: Modern techniques of sound expression in feature documentaries are still understudied. Exploring the sound design in four documentaries by Victor Kosakovsky: “The Belovs”, “Hush!”, “Aquarela” and “Gunda” the paper highlights his pioneer sound practices as part of his personal style of representing the film footage.

Key words: sound theme, audiovisual counterpoint, immersive sound, music score/

Author: Maria N. Koneva, First-year PhD student at the All-Russian State Institute of Cinematography named after S.A.Gerasimov (VGIK), Associate Professor of the Sound Engineering department at the St.Petersburg State Institute of Cinema and Television (SPb-GIKiT); sound engineer of the drama “Theater on Liteiny”.



Is Film Philosophy Possible and What Aspects of Cinema May Become its Subject?

UDC 778.5.01

Summary: Continuation of the article (for the beginning please refer to № 2(48), 2021) dwelling on cinema as medium of a new insight into time which can no longer be measured by space as was formerly the case in the history of philosophy and art. In this regard H. Bergson’s views on cinema have been redefined. The paper also proceeds with reconstructing the history of philosophic introspection, in particular regarding the film theory and various attempts to apply in film research concepts of other humanities including philosophy.

Key words: film philosophy, film theory, time, space, H.Bergson, G.Deleuze, S.Eisenstein.

Authors: Nikolai A. Khrenov, Doctor of Science in Philosophy, Professor, Head of the Section of the Artistic Problems in Media, Department of Media and Popular Arts, State Research Institute for Art Studies;

Andrei N. Khrenov, PhD in Cultural Studies, Leading researcher, Research Section, Academy of Media Industry.


The Victimizer-Victim Conflict as Represented in the Foreign Post-War Cinematograph

UDC 791.43/.45

Summary: The article explores topics of the victimizer-victim conflict represented by the filmmakers as part of the World War II events. It interprets the relation between the victim and the victimizer in terms of social post-war reflections, which offers scope for vast dramaturgical variety and exposes the destructive persistence of this paradox still fraught with peril in today’s society.

Key words: victimizer, victim, crime, punishment, tyranny of power, dictatorial regimes, the character’s choice.

Author: Maria R. Chirkina, Member of the Screen Writers Guild at the Russian Federation Filmmakers’ Union, Lecturer at the S.A.Gerasimov All-Russian State Institute of Cinematography.



Fluctuations in the Media Market in an Era of Communication Abundance

UDC 316.77: 001.12/.18

Summary: The accelerated development of innovative technologies raises the issue of assessing the state of the media market, taking into account its current transformations. However, it is difficult to identify the nature of the changes in the media sphere without reference to hindsight as the starting point of the transformation. The article substantiates a number of transformational factors that have become landmarks amid the fluctuations of the media market, resulting in its fundamental modification.

Key words: digital transformation, communication abundance, media market, media turnaround, media system, media communications, media consumer.

Author: Svetlana L. Urazova, Doctor of Philology, Associate Professor, Editor-in-Chief of the scientific journal «Vestnik VGIK», Russian State University of Cinematography (VGIK).



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S.A.Gerasimov Russian State Institute of Cinematography (VGIK)

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Russian Federation, 3, Wilhelm Pik street, 129226 Moscow, Russia


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