Vestnik VGIK I Journal of Film Arts and Film StudiesVestnik VGIK I Journal of Film Arts and Film Studies2074-08322713-2471Eco-vector1776810.17816/VGIK113152-157EditorialSUMMARY | PRESENTATION OF AUTHORS131120191131521571411201914112019Copyright © 2019, Editorial Board J.2019<p>Brief presentation of authors and contents of articles of the current issue</p><h2 style="text-align: justify;">FILM THEORY AND FILM HISTORY | AUDIOVISUAL ARTS</h2>
<p style="text-align: justify;"><span style="color: #003366;"><strong>Sergei Eisenstein's Ideas in the Context of Modern Cinema Art. Audiovisual Counterpoint</strong></span></p>
<p style="text-align: justify;">UDC 791.43/45</p>
<p style="text-align: justify;"><em>Summary:</em> The article treats one of the mostsignificant theoretical notions introduced bySergey Eisenstein: the audiovisual counterpointin historical and modern contexts. Theauthor defines the relevance of Eisensteinideas for modern theories, film art and filmproduction.</p>
<p style="text-align: justify;"><em>Key words:</em> Sergei Eisenstein, audiovisualcounterpoint, Zaiavka, sound design of thefilm, film music, artistic image in cinema.</p>
<p style="text-align: justify;">Author: <strong>Elena A. Rusinova</strong>, PhD in Arts, AssociateProfessor, Head of the Department ofSound Engineering, Vice-Rector for InternationalRelations and Scientific Work, VGIK.</p>
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<p style="text-align: justify;"><span style="color: #003366;"><strong>Methodological Aspects of Studying the History of Soviet Cinema in the 1930s</strong></span></p>
<p style="text-align: justify;">UDC 791.036(47+57)</p>
<p style="text-align: justify;"><em>Summary:</em> The article is based on the introductionthe manuscript History of Soviet Cinemaby Nikholay M.Iezuitovs (18991941) one of the fathers of Russian cinema studies.Turning to archive sources made it possibleto educe the basic methodological criteria offilm history as an academic discipline in N.Iezuitovconception formed in the 1930s whichmade a certain contribution to developing themethods and principles of film history.</p>
<p style="text-align: justify;"><em>Key words:</em> history of national cinema, periodization of Soviet film history, history of film studies, methodology of film history, film education, historiography.</p>
<p style="text-align: justify;">Author: <strong>Sultan I. Usuvaliev</strong>, Post-GraduateStudent, VGIK.</p>
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<h2 style="text-align: justify;">FILM LANGUAGE AND TIME | IMAGE GENESIS</h2>
<p style="text-align: justify;"><strong><span style="color: #003366;">The Canons of Capturing Reality in the Documentary Cinema of the 1960s</span></strong></p>
<p style="text-align: justify;">UDC 778.5.03.03с(09)1960</p>
<p style="text-align: justify;"><em>Summary:</em> The article traces the main plasticand dynamic expressive means which determinethe genre diversity in the documentarycinema of 1960s. The author also reveals newiconic elements in the style of the films madein that period that molded an invariable imageof the Thaw documentaries.</p>
<p style="text-align: justify;"><em>Key words:</em> canon, documentary cinema,1960s, chronicle, documentary, Soviet documentarycinema, aesthetic canon, author'smodel of reality.</p>
<p style="text-align: justify;">Author: <strong>Maria V. Bezenkova</strong>, PhD in Arts,Associate Professor, Film Studies Department,Sergei Gerasimov All-Russian State Instituteof Cinematography (VGIK).</p>
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<p style="text-align: justify;"><span style="color: #003366;"><strong>The Evolution of Visual Instruments of VR Cinema</strong></span></p>
<p style="text-align: justify;">UDC 791</p>
<p style="text-align: justify;"><em>Summary:</em> The article is devoted to the phenomenonof VR cinema, its expressive system:its genesis, specificity and structure areresearched into. The author surveys the factorsdefining the development the VR cinemaartistic method, analyses typical set-ups,describes the mechanisms of their synthesisand asserts the main principles of VR cinemassingularity.</p>
<p style="text-align: justify;"><em>Key words:</em> virtual reality, VR films, immersivevideo, 360 degrees, mise en scne.</p>
<p style="text-align: justify;">Authors: <strong>Aleksei V. Matkin</strong>, Post-GraduateStudent, Department of Film Studies, SergeiGerasimov All-Russian State Institute of Cinematography.</p>
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<h2 style="text-align: justify;">PERFORMANCE | THE ART OF PRESENTATION</h2>
<p style="text-align: justify;"><span style="color: #003366;"><strong>The Film Star the Phenomenon of a Parasocial Relation</strong></span></p>
<p style="text-align: justify;">UDC 778.5.01.067.2</p>
<p style="text-align: justify;"><em>Summary:</em> The article focuses on the essenceof the movie star phenomenon and his or herparasocial relationship with the fan base. Theauthor gives empirical reasons for the role ofthe movie star as a factor of cultural and ideologicalimpact and the marketability of Russianand American films in domestic market.</p>
<p style="text-align: justify;"><em>Key words:</em> relationship social and parasocial,cinema, actor, mass media, potential cinemaaudience, theatrical film, film star, culturalideologicalimpact, competitiveness.</p>
<p style="text-align: justify;">Authors: <strong>Mikhail I. Zhabskiy</strong>, Doctor at Sociology,Leading Researcher, Research Sector,FGBOU DPO Academy of Media Industry;<strong>Faina V. Novoselova</strong>, Research Fellow at theResearch Institute of Film Art (VGIK) in theperiod of 20122018, currently a resident ofIceland;<strong>Кirill А. Tarasov</strong>, Doctor of Culturology, Professorat the Moscow State Institute of InternationalRelations (University) of the Ministry ofForeign Affairs of Russian Federation.</p>
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<p style="text-align: justify;"><span style="color: #003366;"><strong>Methods of Using the Type Expressiveness of the Actor in the Cinema of New Sincerity</strong></span></p>
<p style="text-align: justify;">UDC 778.5.04.071.2</p>
<p style="text-align: justify;"><em>Summary:</em> The article investigates the actingtechniques of type expressiveness in the filmsof new sincerity, validates such terms as type,mask, model which prove the authenticityof the performers state in the screen whilethe use of social clichs invariably leads to thecharacters insincerity.</p>
<p style="text-align: justify;"><em>Key words:</em> actor, type, model, mask, filmprotagonist, cinema of new sincerity, LevKuleshov, Sergei Eisenstein.</p>
<p style="text-align: justify;">Author: <strong>Maria O. Kuznetsova</strong>, Post-GraduateStudent, Sergei Gerasimov All-Russian StateInstitute of Cinematography.</p>
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<p style="text-align: justify;"><span style="color: #003366;"><strong>The Role and Basic Aspects of the Montage of Attractions in Russian Cinema</strong></span></p>
<p style="text-align: justify;">UDC 791.32</p>
<p style="text-align: justify;"><em>Summary:</em> The article explores the montageof attractions in Russian cinema. This phenomenonis examined in the historical contextbased on the principles of Sergey Eisensteinstheory. Special attention is given to the artisticquest of Mikhail Romm and Alexander Mitta.The author reveals the core aspects of attractioncharacteristic of the cinema of variousperiods and styles.</p>
<p style="text-align: justify;"><em>Key words:</em> Sergei Eisenstein, montage ofattractions, attraction, Mikhail Romm, AlexanderMitta, avant-garde, genre, aesthetic.</p>
<p style="text-align: justify;">Author: <strong>Yana V. Gulyaeva</strong>, Post-GraduateStudent, Sergei Gerasimov All-Russian StateInstitute of Cinematography.</p>
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<p style="text-align: justify;"><span style="color: #003366;"><strong>Self-media as a Model for Monetization of Knowledge Code</strong></span></p>
<p style="text-align: justify;">UDC 06.81.23</p>
<p style="text-align: justify;"><em>Summary:</em> The accelerated development of informationand communication technologies,their convergence and integration, open upgreat opportunities for social actors to expressthemselves, motivating amateur artists to producemedia products. The article discusses theprinciples of the functioning of a new type ofmedia model in individual entrepreneurship,called "self-media", which is developing inChina, analyzes its advantages and disadvantageswhen testing innovative business models.</p>
<p style="text-align: justify;"><em>Key words:</em> digital technologies, convergenceand integration, self-media, individual entrepreneurship,information reliability.</p>
<p style="text-align: justify;">Author: <strong>Svetlana L. Urazova</strong>, Dr.Sc. of Philology,Associate Professor, Editor-in-Chief ofthe academic journal Vestnik VGIK, SergeiGerasimov All-Russian State Institute of Cinematography.</p>
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<h2 style="text-align: justify;">SCREEN CULTURE | CULTUROLOGY. PHILOSOPHY</h2>
<p style="text-align: justify;"><span style="color: #003366;"><strong>Modern Art History As a Human Science in a Situation of Cultural Turn</strong></span></p>
<p style="text-align: justify;">UDC 7.01</p>
<p style="text-align: justify;"><em>Summary:</em> The article (Part 3, for the beginningsee Issues 1 (39) and 2 (40), 2019) discusses avital problem of modern art studies connectedwith the relationship between art history andtheory. The study subject of art theory as asubdiscipline of cultural studies, unlike that ofart history, has not been determined yet. Tracingthe processes taking place at the time oflinguistic and cultural turns in the humanities,the article dwells on the subject of art theoryand justifies the idea of this subdisciplines significancein transitional eras.</p>
<p style="text-align: justify;"><em>Key words:</em> art theory, humanities, methodologicalshift, linguistic turn, formalism, sociologism,positivism, culturological approach,sign, symbol, semiotics, sociology, theory andhistory of art culture, poststructuralism, cyclicallogic of history.</p>
<p style="text-align: justify;">Author: <strong>Nicolai A. Khrenov</strong>, Doctor of Sciences(Philosophy), Professor, Section of MediaArtistic Problems, State institute of CulturalStudies.</p>
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<p style="text-align: justify;"><strong><span style="color: #003366;">Contemporary Approach to the Understanding of the Notion of Beautiful as an Aesthetic Category</span></strong></p>
<p style="text-align: justify;">UDC 1.18</p>
<p style="text-align: justify;"><em>Summary:</em> The author proceeds from thepremise of modern aesthetics that the notionof beautiful is no longer a fundamental categoryof modern art and modern philosophyof art. The article proposes a new approach tothe definition and interpretation of the beautifuland the main principles of the analysis ofthe beautiful.</p>
<p style="text-align: justify;"><em>Key words:</em> categories of aesthetics, beautiful,art, art criticism, philosophy of art, aesthetics.</p>
<p style="text-align: justify;">Author: <strong>Irina P. Nikitina</strong>, Doctor of Sciences(Philosophy), Sergei Gerasimov All-RussianState Institute of Cinematography.</p>
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<p style="text-align: justify;"><span style="color: #003366;"><strong>Sound in the Films of Michael Haneke from the Perspective of Phenomenological Aesthetics</strong></span></p>
<p style="text-align: justify;">UDC 791.43/45</p>
<p style="text-align: justify;"><em>Summary:</em> The article analyses the specifictraits of sound design in Michael Hanekesfilms in terms of phenomenological aesthetics.This approach allows the author to analysethe sound peculiarities of the films where theuse of music, dialogue and Foleys surpass conventionaltechniques forming a multilayeredsemantic interstructural and intertextual links.</p>
<p style="text-align: justify;"><em>Key words:</em> sound design of the film, MichaelHaneke, phenomenological aesthetics, auteurcinema, film music</p>
<p style="text-align: justify;">Author: <strong>Julia V. Mikheeva</strong>, Doctor of ArtStudies, Professor, Department of Sound Engineering,Sergei Gerasimov All-Russian StateInstitute of Cinematography.</p>
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<p style="text-align: justify;"><span style="color: #003366;"><strong>The Story of One Crime: in Life, in Literature and in Cinema</strong></span></p>
<p style="text-align: justify;">UDC 778.5I (New Zealand)</p>
<p style="text-align: justify;"><em>Summary:</em> Film critics and film-goers have been watching closely the work of the famous New Zealand director Peter Jackson for years as even his early films, primarily Heavenly Creatures, based on a real crime, could notbut impress the audience by its sophisticatedtheme and superb direction. The article givesa deep insight into the film giving the realdetails of this terrible murder in a small NewZealand town. Frank notes in the diary of oneof the murderesses helped solve this tragedy.</p>
<p style="text-align: justify;"><em>Key words:</em> New Zealand, crime, art house,commercial cinema, tragedy.</p>
<p style="text-align: justify;">Author: <strong>Irina A. Zvegintseva</strong> , Dr. Sc. (ArtStudies), Sergei Gerasimov All-Russian StateInstitute of Cinematography.</p>
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<p>* For further discussions please contact the authors on:<a href="mailto:editor@vestnik-vgik.com">editor@vestnik-vgik.com</a></p>
<p> Translated by The Laboratory of the Foreign Cinema, VGIK.</p>