Vol 2, No 3 (2010)

The article examines the processes of forming stage identity models in the artistic space of cinema that possesses a modeling function, the ability to create new identity types, to influence the formation of a personality and change social relations. A screen art work both reflects the inner identity changes and offers the culture subjects some plausible behavior models for self-identifying in everyday life. By analyzing a number of ilms the author singles out four stages of identity development and deines their main characteristics. The structure and process of identity formation are treated as the result of interaction with culture. The configuration of identity depends on the prevalent cultural system. The notions "Culture 1" and "Culture 2" are revised and such concepts as "product culture" and "conlict culture" are introduced.

The article deals with the early antique period of image functioning (Geometric art, Archaic Greece, Physis Philosophy, Pythagoras). The author reviews the main image strategies of the time, the key one being overcoming the featureless imagery and creating model image constructions, i.e. the initial stage in the history of image development (from Geometrics to the invention of photography in the early 1900s). The softening of linear configurations and shaping of large mental images parallel to ixed style forms make it possible to see the emergence of the exemplary image.

(Conclusion. For beginning see Issue #3-4)The article is devoted to an important topic: the semantics of color in ilms and its relection in the costume. It also touches upon the problem of visual perception and forming diferent color systems. Digital technologies open widest opportunities in the ield of ilm production, but the ofered rich color palette is used very poorly. It is worth reminding that color is one of ilm's main expressive means and should be treated with proper attention.

The article dwells upon the specificity of the cinema's ontological aspects research in Andre Bazin's concept. Taking into account the revealed characteristics of the subject matter, the author suggests using the G.P.Schedrovitsky's system-activity approach as the methodological strategy.

The article is devoted to three films made by Jean Cocteau - Le Sang d'un poиte, Orphйe, Le Testament d'Orphйe, that form a trilogy of a kind. The author analyses the main image system of the trilogy in Apollonic and Dyonisic terms and comes to certain typological conclusions about Cocteau's mythology. Beside exploring the "modern" myth of Poet and Death, the article describes the cultural context around each of the mentioned ilms

The present investigation was held within the framework of the research project "Russian Film Competitiveness" commissioned by the RF Ministry of Culture (supervised by M.I. Zhabsky, Ph. D in Sociology). The project's aim was to make a complex (economic, artistic and sociological) analysis of Russian cinema competitiveness factors in the home market, to work out practical recommendations to governmental institutions and private companies for raising the competitive capacity of Russian films, to create the methods of the audience's demand monitoring and form a data base for medium-term forecasting

Digital technologies (computer, broadcasting, telecommunication) make a marked impact on media market causing mass media to reform. In reclaiming digital multimedia environment mass media begin to rearrange themselves both structurally and in terms of introducing new management methods in order to create and proliferate a multivariate content. The emerging tendency encourages journalists to revise their professional approaches to creating an information product. The assembly-line type of creativity becomes dominant, and acquiring universal professional skills allows journalists to work in all known media spheres. The article investigates the convergent and integration aspects of mass media evolution at the stage of information society formation

The digital special effects industry is constantly developing and searching new expressive means. The article explores the ambiguous relationship between virtual reality and cinema. The new milieu is an instrument of film creators, on the one hand, and the film's protagonist, on the other. Virtual space, artificial environment and digital technologies have become part of the "living" reality without our noticing it, and we are its virtual element. (Conclusion, for beginning see Issue # 3-4).

The notion "Ecological Film" is being quite frequently used by film scholars today, especially when it comes to documentary films or тction films using animals as actors. In both cases the film's creators turn to the theme of Nature, which makes it possible to treat this category of screen production as a separate art form. The article covers the artistic motivations making the world's best documental filmmakers (Verner Herzog, Godfrey Reggio, etc.) turn to this theme, and the dramatic methods characteristic of ecological film.