| 期 |
标题 |
文件 |
| 卷 10, 编号 3 (2018) |
Editors article |
(Rus)
|
|
Editors j.
|
| 卷 10, 编号 2 (2018) |
Editorial article |
(Rus)
|
|
edition J.
|
| 卷 10, 编号 1 (2018) |
Editorial article |
(Rus)
|
|
edition J.
|
| 卷 9, 编号 4 (2017) |
Editorial article |
(Rus)
|
|
edition J.
|
| 卷 11, 编号 4 (2019) |
CILECT as the Project of a World Film School: Origins, Specifics, Development |
(Rus)
|
|
Malyshev V.
|
| 卷 11, 编号 4 (2019) |
Sergei Eisenstein’s Ideas in the Context of Contemporary Cinema. Stereo Film and Stereo Sound |
(Rus)
|
|
Rusinova E.
|
| 卷 11, 编号 4 (2019) |
Pyotr Chardynin’s The Idiot as a Phenomenon of Creative Reinterpretation of Dostoevsky’s Novel |
(Rus)
|
|
Ryabokon’ A.
|
| 卷 11, 编号 4 (2019) |
The Russian Intelligentsia: Taming Nihilism in the Stalin Period |
(Rus)
|
|
Vinogradov V.
|
| 卷 11, 编号 4 (2019) |
On the Problem of the Discourse Analysis of Literary Texts |
(Rus)
|
|
Klyueva L.
|
| 卷 11, 编号 4 (2019) |
The Mystery of Lexical Coincidences in the Works of Yuri Tynianov and Osip Mandelstam |
(Rus)
|
|
Milydon V.
|
| 卷 11, 编号 4 (2019) |
The Existential World of Kira Muratova |
(Rus)
|
|
Kirillova N.
|
| 卷 11, 编号 4 (2019) |
In a holiday atmosphere |
(Rus)
|
|
edition J.
|
| 卷 11, 编号 4 (2019) |
Multimedia Learning Model: Adapting an Image in a Screen Work |
(Rus)
|
|
YAremenko E.
|
| 卷 11, 编号 4 (2019) |
Modern Art History As a Human Science in a Situation of Cultural Turn |
(Rus)
|
|
Khrenov N.
|
| 卷 11, 编号 4 (2019) |
Agnes’ Self-Reflection in Ingmar Bergman’s Cries and Whispers |
(Rus)
|
|
Solovyeva M.
|
| 卷 11, 编号 4 (2019) |
Cooperation between the Russian Animation Industry and Asian Partners |
(Rus)
|
|
Krivulya N.
|
| 卷 11, 编号 4 (2019) |
Directing Department: First Steps |
(Rus)
|
|
Vinogradov V.
|
| 卷 11, 编号 4 (2019) |
Alma Mater of domestic cameramen |
(Rus)
|
|
Onipenko M.
|
| 卷 11, 编号 4 (2019) |
Editorial article |
(Rus)
|
|
edition j.
|
| 卷 12, 编号 1 (2020) |
A screen version of the story of Salinger translated into Farsi |
(Rus)
|
|
Grigoreva N.
|
| 卷 12, 编号 1 (2020) |
Russian Сinema: Modest Charm of a Hollow Character? |
(Rus)
|
|
Maryevskaya N.
|
| 卷 12, 编号 1 (2020) |
Historical time and the image of the house in A. Sokurov’s work |
(Rus)
|
|
Klimenko N.
|
| 卷 12, 编号 1 (2020) |
Modern Social Problems in the Works of Novice Documentary Filmmakers |
(Rus)
|
|
Shtandke A.
|
| 卷 12, 编号 1 (2020) |
The struggle for the Far East in the interpretation of the Vasilyev brothers |
(Rus)
|
|
Rostotskaya M.
|
| 卷 12, 编号 1 (2020) |
Stopover? Non-fiction movies in the first decade after the millennium |
(Rus)
|
|
Prozhiko G.
|
| 卷 12, 编号 1 (2020) |
Dramaturgy of the character of the tempter devil in the movie |
(Rus)
|
|
Batova M.
|
| 卷 12, 编号 1 (2020) |
The emergence of a holistic artistic image |
(Rus)
|
|
Sveshnikov A.
|
| 卷 12, 编号 1 (2020) |
Modern art history as a human science in a situation of cultural turn |
(Rus)
|
|
Khrenov N.
|
| 卷 12, 编号 1 (2020) |
Transmedia Storytelling: A Feature of the Digital Media World |
(Rus)
|
|
Bakulev G.
|
| 卷 12, 编号 1 (2020) |
Techniques for compositional filling the space of a television frame |
(Rus)
|
|
Shabalin V.
|
| 卷 12, 编号 2 (2020) |
Conflict of Artificial and Living Body in Cinema the Theme of Fear and its Overcoming |
(Rus)
|
|
Kozlova S.
|
| 卷 12, 编号 2 (2020) |
Visual Discourses of Social Policy in TV Practice |
(Rus)
|
|
Berezhnaya M.
|
| 卷 12, 编号 1 (2020) |
Editorial' article |
(Rus)
|
|
Editorial office j.
|
| 卷 12, 编号 1 (2020) |
L |
(Rus)
|
|
Editorial a.
|
| 卷 12, 编号 1 (2020) |
L |
(Rus)
|
|
Editorial a.
|
| 卷 12, 编号 1 (2020) |
Recommendations to authors |
(Rus)
|
|
Editorial office a.
|
| 卷 12, 编号 1 (2020) |
Cinema of the XXI century: youth forum |
(Rus)
|
|
Editorial office a.
|
| 卷 12, 编号 2 (2020) |
The Image and Sound of War in the Films “The Ascent” and “Come and See” |
(Rus)
|
|
Prozorovskaya I.
|
| 卷 12, 编号 2 (2020) |
A Study of the Film ‘‘Andrei Rublyov’’: from the Perspective of Neoplatonism and Ideology of Dionysius the Areopagite |
(Rus)
|
|
Park Young Eun (.
|
| 卷 12, 编号 2 (2020) |
Reconstruction of the Past in the Reality of Screen Imagery |
(Rus)
|
|
Marusenkov V.
|
| 卷 12, 编号 2 (2020) |
Grotesque as a Formative Method in the Drama of a Feature Film |
(Rus)
|
|
Babina A.
|
| 卷 12, 编号 2 (2020) |
Vlog: Literary Tradition and Political Strategies |
(Rus)
|
|
Druzhinin A.
|
| 卷 12, 编号 2 (2020) |
A Cultural Modification of Ibsen's Play “A Doll's House” for Iranian Screen |
(Rus)
|
|
Grigoreva N.
|
| 卷 12, 编号 2 (2020) |
Mediatization as a Mode of Being in the Light of Self-Isolation |
(Rus)
|
|
Urazova S.
|
| 卷 12, 编号 2 (2020) |
Modern Art History As a Human Science in a Situation of Cultural Turn |
(Rus)
|
|
KHrenov N.
|
| 卷 12, 编号 2 (2020) |
Palestine in Foreign Cinema |
(Rus)
|
|
Nassar A.
|
| 卷 12, 编号 3 (2020) |
Cinema Magic: Mask and Myth |
(Rus)
|
|
Kirillova N.
|
| 卷 11, 编号 3 (2019) |
VGIK LIBRARY |
(Rus)
|
|
Editorial a.
|
| 卷 10, 编号 4 (2018) |
Library VGIK |
(Rus)
|
|
Editorial office a.
|
| 卷 10, 编号 4 (2018) |
Library VGIK |
(Rus)
|
|
Editorial office a.
|
| 卷 10, 编号 4 (2018) |
Summary |
(Rus)
|
|
Editorial office a.
|
| 卷 10, 编号 4 (2018) |
Recommendations to authors |
(Rus)
|
|
Editorial office a.
|
| 卷 10, 编号 4 (2018) |
Library VGIK |
(Rus)
|
|
Editorial office a.
|
| 卷 12, 编号 3 (2020) |
The Film “Stalker” by A.A.Tarkovsky as a Manifestation of F.M.Dostoevsky’s World Outlook |
(Rus)
|
|
Park Young Eun ..
|
| 卷 12, 编号 3 (2020) |
Techniques for Representing the Author in Alexander Sokurov’s films |
(Rus)
|
|
Klimenko N.
|
| 卷 13, 编号 1 (2021) |
“The Devil’s Cinema”: from Jean Epstein’s Theory to Robert Eggers’ Films |
(Rus)
|
|
Shevchenko-Rosliakova A.
|
| 卷 12, 编号 3 (2020) |
Short Film: Genre Originality of Debuts |
(Rus)
|
|
ZHdankina G., SHipulina N.
|
| 卷 12, 编号 2 (2020) |
No one is forgotten, nothing is forgotten… |
(Rus)
|
|
Editorial office a.
|
| 卷 12, 编号 2 (2020) |
Summary |
(Rus)
|
|
Editorial office a.
|
| 卷 12, 编号 2 (2020) |
To Give Hope or To Succumb to Depression? Understanding of Life in Contemporary Russian Cinema |
(Rus)
|
|
Malyshev V.
|
| 卷 12, 编号 3 (2020) |
Evolution of Stunt Episodes in Fiction Films about the Great Patriotic War |
(Rus)
|
|
Danilov D.
|
| 卷 12, 编号 3 (2020) |
The Intelligentsia: Taming Nihilism. From “Thaw” to “Perestroika” |
(Rus)
|
|
Vinogradov V.
|
| 卷 13, 编号 1 (2021) |
Convergent Audience: Research Approaches |
(Rus)
|
|
Bakulev G.
|
| 卷 12, 编号 3 (2020) |
Modern Forms of Capturing Reality in the Format of Video Hosting |
(Rus)
|
|
Shtandke A.
|
| 卷 12, 编号 3 (2020) |
S.Eisenstein. Aggression of Discourse: Theoretical Justification |
(Rus)
|
|
Klyueva L.
|
| 卷 12, 编号 3 (2020) |
Is Aesthetics a Metatheory in Relation to Art Criticism? |
(Rus)
|
|
Nikitina I.
|
| 卷 12, 编号 3 (2020) |
Animated Documentary: Problems of Classifying the Hybrid Forms of Post-Digital Culture |
(Rus)
|
|
Krivulya N.
|
| 卷 12, 编号 4 (2020) |
From a Screen Document to a Poetic Image. Making Sense |
(Rus)
|
|
Prozhiko G.
|
| 卷 12, 编号 3 (2020) |
Library VGIK |
(Rus)
|
|
Editorial a.
|
| 卷 12, 编号 3 (2020) |
Summary |
(Rus)
|
|
Editorial a.
|
| 卷 12, 编号 3 (2020) |
Recommendations for authors |
(Rus)
|
|
Editorial a.
|
| 卷 12, 编号 3 (2020) |
40th International Student Festival of VGIK |
(Rus)
|
|
Editorial a.
|
| 卷 12, 编号 3 (2020) |
VGIK festival: virtual recognition |
(Rus)
|
|
Editorial a.
|
| 卷 12, 编号 4 (2020) |
B.M.Nemensky’s “Berlin Sketches” and the Traditions of Russian Fine Art |
(Rus)
|
|
Kleymenova O.
|
| 卷 12, 编号 4 (2020) |
The Expressive Function of Color in Modern Non-Fiction Films |
(Rus)
|
|
Shtandke A.
|
| 卷 12, 编号 4 (2020) |
TV Speech: the Polycode Nature of Verbal Inclusions |
(Rus)
|
|
Kemarskaya I.
|
| 卷 12, 编号 4 (2020) |
A Character in the Space of Leisure. An Essay on Dramatic Composition of Film |
(Rus)
|
|
Marievskaya N.
|
| 卷 12, 编号 4 (2020) |
Sound Space of M.Garrone’s Films: from Fiction to Reality |
(Rus)
|
|
Sorokina J.
|
| 卷 12, 编号 4 (2020) |
Initiation by Fear as a Model of Soviet Film Tales of the 1960s |
(Rus)
|
|
Zernova P.
|
| 卷 12, 编号 4 (2020) |
The Image of War in the Cinema of the 60s. Knights without Past and Future |
(Rus)
|
|
Ianushko A.
|
| 卷 12, 编号 4 (2020) |
The Concept of Latent Dramaturgy in Contemporary Iranian Cinema |
(Rus)
|
|
Chirkina M.
|
| 卷 12, 编号 4 (2020) |
Composition of a Series of Artist's Works as an Emergent System |
(Rus)
|
|
Sveshnikov A.
|
| 卷 12, 编号 4 (2020) |
On the eve of the New Year holidays |
(Rus)
|
|
Editorial office a.
|
| 卷 12, 编号 4 (2020) |
Summary |
(Rus)
|
|
Editorial office a.
|
| 卷 12, 编号 4 (2020) |
Recommendations for the authors |
(Rus)
|
|
Editorial office a.
|
| 卷 12, 编号 4 (2020) |
The Library VGIK |
(Rus)
|
|
Editorial office a.
|
| 卷 12, 编号 4 (2020) |
The Library VGIK |
(Rus)
|
|
Editorial office a.
|
| 卷 12, 编号 4 (2020) |
The Library VGIK |
(Rus)
|
|
Editorial office a.
|
| 卷 12, 编号 4 (2020) |
The Library VGIK |
(Rus)
|
|
Editorial office a.
|
| 卷 13, 编号 1 (2021) |
The Price of Going out to the Movies — the History and the Contemporaneousness |
(Rus)
|
|
Zhabskiy M., Tarasov K.
|
| 卷 13, 编号 1 (2021) |
Free Citation: Limits and Opportunities |
(Rus)
|
|
Zvegintseva E.
|
| 卷 13, 编号 1 (2021) |
Media Image of the Screen as Representation of Sociocultural Reality |
(Rus)
|
|
Volkov S.
|
| 卷 13, 编号 1 (2021) |
Folklore Traditions of the Sverdlovsk Animation School |
(Rus)
|
|
Tomilov Y.
|
| 卷 13, 编号 1 (2021) |
VR-technologies in Animation |
(Rus)
|
|
Yarovaya N.
|
| 卷 13, 编号 2(48) (2021) |
Contemporary TV Series: Narrative and Genre Metamorphoses |
(Rus)
|
|
Parkhomenko Y.
|
| 卷 13, 编号 1 (2021) |
Drama Features оf Documentary: Movie, TV Film, Streaming Platform |
(Rus)
|
|
Trusevich E.
|
| 卷 13, 编号 1 (2021) |
The Evolution of the Concept of the Victory in Russian Documentary Cinema |
(Rus)
|
|
Prozhiko G.
|
| 卷 13, 编号 1 (2021) |
Screenlife vs. Classic Cinema |
(Rus)
|
|
Shimokhin B.
|
| 卷 13, 编号 2(48) (2021) |
The Intertextuality of the Sound Space in Dmitry Volkostrelov’s productions |
(Rus)
|
|
Oseeva Y.
|
| 卷 13, 编号 2(48) (2021) |
Labyrinth Structure: the Complexity of Plot Construction as a Problem in the Theory of Drama |
(Rus)
|
|
Kasmynin A.
|
| 301 - 400 的 779 信息 |
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