Vol 9, No 1 (2017)

Conditioned by globalization, the process of the planetary integration of humanity is contradictory. Ideally, globalization contains enormous positive possibilities for every society, it contributes to the true international ization of the cinema process therein. But as its actual results are determined with the mechanisms of the world film market monopolized by Hollywood, globalization predominantly takes the form of Americanization. Instead of the internalization of the cinematic life of specific societies, something opposite is occurring: its deinternationalization.

The article opening the cycle of publications Audiovisual Means of Creating Metadiegetic Space in Cinema’ systemizes means and technologies in sound direction that enable to create various spaces in a film as well as to convey the altered consciousness and the inner world of the character.

The article analyzes one of the most significant phenomena of Russian screen art of 2005-2010, namely - Kinotetar.doc, it shows its strongest traits and explains the reasons for its decay. It explores the impact of theatrical aesthetics on harsh social drama. It presents a detailed analysis of Valeria Germanica’s film “Everybody Dies But Me” considered a manifest of this trend.

The article analyzes the mechanism of building the conflict in screenwriting within confrontation “alive / dead” by means of dynamic of corporeality - from an “alive” corporeal world of the protagonist to a “dead” static model of the antagonist's world. The scheme of their interaction is based on examples of thriller films, as well as indie films which use the elements of this genre.

The article is devoted to the research of the director’s strategy of A.Tarkovsky in his film “The Mirror” analyzed through the “mirror references” principle as a structure-forming text base. The film structure is viewed as a “film of projections”. The main aim of the article is to single out means of “mirror reflections” and technologies of creating mirror references that give birth to a unique film structure.

The article investigates the system of expressive means in documentary cinema and TV programs formed by the Dew Associates, a group of American documentary filmmakers, focusing on the ‘Direct Cinema’ peculiarities including observation and montage. The artistic techniques found by the group laid the basis for solving a number of topical issues of modern art.

Tte article deals with the problems of art and culture functioning, analyses the game-changing tendencies in the financial leverage of economic entities and gives recommendations in enhancing the financial status of art and culture institutions.

Tte article searches into one of the classical theories of mass communication - getting uses and gratifications - which explains what attracts the audience to certain media and types of content. Describing the overarching classification of using media and consumer satisfaction, the author points out that the conception of getting uses and gratifications has proved most effective in studying the audience of the Internet, in general, and social media, in particular.