Vol 3, No 4 (2011)

The subject-matter of the article is the mythological layers in A. Zvyagintsev’s films “The Return” and “The Banishment” and their effect on the artistic structure and processes of the audience’s perception

The article investigates the problem of casting professional and non-professional actors as bearers of culture. It also analyses the methods of directing non professionals, of plunging them into the material and creating spiritual links between the performers. The Grigoryevs’ experience of adapting “The Karamazoff Brothers” by F. Dostoyevsky and V. Shukshin’s prose is considered

The article surveys the ideological and cultural situation in Russian music in the 1970s. It was the period when the most important traits of Alfred Schnittke’s work became apparent, which marked his transition from the images and themes of the Russian “Grand Style” to more complicated sound structures of modern music. Having inherited the intellectual and ethical traditions from Shostakovich, Schnittke brought to music a new perception of reality including a different understanding of a person’s state of mind. Thus, Schnittke’s film scores did not only reflect the shift of modern artistic paradigms, but became a form of philosophic self-consciousness in the context of post-modernist global changes. Schnittke’s music opened the stage of “indirect statement” in film music, which enriched and transformed the meaning of the screen image

Digital technologies and the Internet in particular are causing deep changes in film industry. The development of the VoD service is enhancing the tendency for digitalization and disintermediation. Consequently, there is a considerable cost reduction in the value chain. In the long term future there can be a radical revision of the existing system of distribution “windows”. To understand the principles of the on-line distribution the author tries to estimate the impact of new media technologies on film distribution and the strategy of its main participants

The article is devoted to the analysis of the film “My Friend Ivan Lapshin” as the adaptation of Yu. German’s story “Lapshin” and examines the methods of translation from the language of literature to that of cinema. In the author’s opinion, it is due to this translation from one esthetic system into another that the figure of the Narrator emerges