| 期 |
标题 |
文件 |
| 卷 6, 编号 3 (2014) |
BIBLIOTEKA NII KINOISKUSSTVA |
(Rus)
|
|
- -.
|
| 卷 5, 编号 3 (2013) |
BIBLIOTEKA NII KINOISKUSSTVA |
(Rus)
|
|
- -.
|
| 卷 5, 编号 3 (2013) |
BIBLIOTEKA NII KINOISKUSSTVA |
(Rus)
|
|
- -.
|
| 卷 2, 编号 4 (2010) |
Bryan Forbes and Jack Clayton: Underestimated Spaces (British Cinema of the late 1950s-early 1960s) |
(Rus)
|
|
Zakrevskaya :., Zakrevskaya A.
|
| 卷 2, 编号 2 (2010) |
In Anticipation of Esthetic Revolution: Western Fiction and Documentary Film of 1940-1945 |
(Rus)
|
|
Utilov V., Utilov V.
|
| 卷 7, 编号 4 (2015) |
Focus - on Young Cinema |
(Rus)
|
|
- -.
|
| 卷 3, 编号 1 (2011) |
V Ermitazhe - Prado |
(Rus)
|
|
Riss V.
|
| 卷 5, 编号 4 (2013) |
At this point, close to the river... |
(Rus)
|
|
Chizhevskaya O.
|
| 卷 10, 编号 1 (2018) |
VGIK in the Dynamics of Creative Life |
(Rus)
|
|
- -.
|
| 卷 3, 编号 3 (2011) |
VGIK: 3-ya MEZhDUNARODNAYa LETNYaYa KINOShKOLA |
(Rus)
|
|
- -.
|
| 卷 6, 编号 4 (2014) |
VGIK: The Scientific Life in the Anniversary Year |
(Rus)
|
|
- -.
|
| 卷 6, 编号 4 (2014) |
VGIK: The Scientific Life in the Anniversary Year |
(Rus)
|
|
- -.
|
| 卷 4, 编号 1 (2012) |
Vekovoy yubiley otechestvennoy animatsii |
(Rus)
|
|
- -.
|
| 卷 5, 编号 1 (2013) |
The Great Kamchatka Expedition |
(Rus)
|
|
Golovnyov I.
|
| 卷 5, 编号 1 (2013) |
Vzdyblennaya real'nost' |
(Rus)
|
|
Marievskaya N.
|
| 卷 5, 编号 4 (2013) |
The Visible and Invisible Worlds in Louis Bunuel’s “Viridiana” |
(Rus)
|
|
Perelshtein R.
|
| 卷 4, 编号 2-3 (2012) |
The Non-Selection Virus. A. Zvyagintsev’s «Elena» in Terms of Identity Theory |
(Rus)
|
|
Kluyeva L.
|
| 卷 4, 编号 4 (2012) |
The Non-Selection Virus. A. Zvygintsev’s “Elena” in Terms of Identity theory |
(Rus)
|
|
Kluyeva L.
|
| 卷 1, 编号 1 (2009) |
Vliyanie kul'tury Drevnego Kitaya na sovremennyy kinematograf |
(Rus)
|
|
Shaturnaya Y.
|
| 卷 3, 编号 1 (2011) |
The Influence of Newest Audiovisual Technologies on the Audience |
(Rus)
|
|
Kosenkova N.
|
| 卷 4, 编号 4 (2012) |
The Influence of the Marketability Factors on the TV Company |
(Rus)
|
|
Yakusheva V.
|
| 卷 3, 编号 2 (2011) |
VOZVRAShchENIE |
(Rus)
|
|
Riss V.
|
| 卷 4, 编号 2-3 (2012) |
The War in Yury German’s Novel «Operation «Happy New Year!» and Alexey German’s Film «Trial on the Road» |
(Rus)
|
|
Sibirtseva Y.
|
| 卷 3, 编号 4 (2011) |
Vserossiyskiy festival' nauki |
(Rus)
|
|
- -.
|
| 卷 1, 编号 1 (2009) |
Choice of profession: the bases of producer's workmanship |
(Rus)
|
|
Chigevskaya O.
|
| 卷 4, 编号 4 (2012) |
A Hero and His Mask in Strip Cartoons |
(Rus)
|
|
Tsyrkun N.
|
| 卷 2, 编号 2 (2010) |
Gogol: Interpretational Paradoxes |
(Rus)
|
|
Rostotskaya M., Rostotskaya M.
|
| 卷 8, 编号 1 (2016) |
The Year of Russian Cinema |
(Rus)
|
|
- -.
|
| 卷 5, 编号 1 (2013) |
State backing of non-fiction film |
(Rus)
|
|
Malkova L.
|
| 卷 2, 编号 2 (2010) |
Dada on Screen. "The Bride Stripped Bare By Her Bachelors, Even" by M. Duchamp in R. Clair's "Entr'acte" |
(Rus)
|
|
Vinogradov V., Vinogradov V.
|
| 卷 8, 编号 2 (2016) |
Tribute to the Teacher |
(Rus)
|
|
- -.
|
| 卷 8, 编号 3 (2016) |
Convocation. Freshies' Day |
(Rus)
|
|
- -.
|
| 卷 7, 编号 3 (2015) |
Freshman Day. At the crossroads of history and modernity |
(Rus)
|
|
- -.
|
| 卷 3, 编号 2 (2011) |
Giotto: Open Cubes, Shallow Depths and Specific Repetition |
(Rus)
|
|
Burov A.
|
| 卷 2, 编号 2 (2010) |
DiaMatrix. Eclectic Glance on the Historiosophy of the Soviet Cinema of the 1930-1940s |
(Rus)
|
|
Apostolov A., Apostolov A.
|
| 卷 2, 编号 4 (2010) |
The Development of Female Characters in Central Asian Cinema |
(Rus)
|
|
Abikeeva G., Abikeeva G.
|
| 卷 2, 编号 2 (2010) |
A Long Story about a Big Set for a Short Episode |
(Rus)
|
|
Tolkachev A., Tolkachov A.
|
| 卷 11, 编号 2 (2019) |
VGIK Days in the Republic of Serbia |
(Rus)
|
|
Editorial E.
|
| 卷 4, 编号 1 (2012) |
Dom kino. Ekspozitsiya studentov VGIKa |
(Rus)
|
|
- -.
|
| 卷 7, 编号 2 (2015) |
Roads of the War. On the 70th anniversary of the Great Victory |
(Rus)
|
|
- -.
|
| 卷 2, 编号 3 (2010) |
Dramatic Peculiarities of Ecological film |
(Rus)
|
|
Trusevich Y.
|
| 卷 5, 编号 1 (2013) |
European Film Avant-Garde: phenomenological interpretation of reality |
(Rus)
|
|
Lyubovich M.
|
| 卷 4, 编号 1 (2012) |
Sitcom Genre Features |
(Rus)
|
|
Belenkiy Y.
|
| 卷 6, 编号 2 (2014) |
Hot summer MMKF'2014 |
(Rus)
|
|
- -.
|
| 卷 11, 编号 2 (2019) |
The sound world of the alienated film character |
(Rus)
|
|
Rusinova E.
|
| 卷 4, 编号 1 (2012) |
Mirror and its Semiotic Modifications in Culture |
(Rus)
|
|
Kljueva L.
|
| 卷 2, 编号 4 (2010) |
The Mirror Shield: the Camera as anInstrument of Civil Defence |
(Rus)
|
|
Naveskin R., Naveskin R.
|
| 卷 4, 编号 4 (2012) |
Ideas of the Philosophical Ideallogism and Kieslowski’s “Pyramid” |
(Rus)
|
|
Mikheeva Y.
|
| 卷 2, 编号 1 (2010) |
History of the Portrait |
(Rus)
|
|
Trankvillitskiy Y., Trankvillitsky Y.
|
| 卷 1, 编号 1 (2009) |
Alteration of perception of the screen image - actual trend analysis |
(Rus)
|
|
Kosenkova N.
|
| 卷 5, 编号 2 (2013) |
Izobrazitel'noe reshenie v fil'me «Muzhchina i zhenshchina» |
(Rus)
|
|
Artemov V.
|
| 卷 3, 编号 3 (2011) |
The Individual and Contemporary in Yuliy Raizman's Late Work |
(Rus)
|
|
Sopin A.
|
| 卷 5, 编号 1 (2013) |
Art and politics |
(Rus)
|
|
Nikitina I.
|
| 卷 2, 编号 3 (2010) |
Film Art in the System of Forming a Stage Identity Model |
(Rus)
|
|
Kolotayev V.
|
| 卷 4, 编号 2-3 (2012) |
Art between Scylla and Charybdis Panel Discussion: «Paradoxes of Modern Artistic Culture» |
(Rus)
|
|
- -.
|
| 卷 4, 编号 2-3 (2012) |
Historic and Cultural Background of the «Belye Stolby» Festival of Archive Films |
(Rus)
|
|
Malyshev V.
|
| 卷 1, 编号 1 (2009) |
Historical time in a film structure |
(Rus)
|
|
Marievskaya N.
|
| 卷 2, 编号 1 (2010) |
Historical time in a film structure(end, beginning in № 1) |
(Rus)
|
|
Marievskaya N., Marievskaya N.
|
| 卷 2, 编号 4 (2010) |
I.F. Maslennikov: "The cinema of emotion forms the spiritual and sensual perception of life" |
(Rus)
|
|
Urazovoy S., Urazova S.
|
| 卷 4, 编号 2-3 (2012) |
Iyun'skaya kinomaniya |
(Rus)
|
|
- -.
|
| 卷 2, 编号 3 (2010) |
On the methodology of the study of ontology in the concept of cinema Andre Bazin |
(Rus)
|
|
Schtein S.
|
| 卷 3, 编号 1 (2011) |
To the Problem of Research Methods |
(Rus)
|
|
Gerashenko L.
|
| 卷 4, 编号 4 (2012) |
To the Issue of Modernization of the Cultural Sphere State Regulations |
(Rus)
|
|
Molchanov I., Molchanova N.
|
| 卷 3, 编号 4 (2011) |
To the problem of correlation between a screen adaptation and its literary source |
(Rus)
|
|
Simonova S.
|
| 卷 3, 编号 2 (2011) |
To the Semiotics of the Mirror and Reflectivity |
(Rus)
|
|
Kljueva L.
|
| 卷 4, 编号 1 (2012) |
Cable and Satellite: “Non-Fiction” Content |
(Rus)
|
|
Belenkiy Y.
|
| 卷 5, 编号 2 (2013) |
Can “Native” Cinema Be Marketable |
(Rus)
|
|
Zhabskiy M.
|
| 卷 5, 编号 1 (2013) |
Can “Native” Cinema Be Marketable |
(Rus)
|
|
Zhabskiy M.
|
| 卷 4, 编号 4 (2012) |
Can “Native” Cinema Be Marketable |
(Rus)
|
|
Zhabskiy M.
|
| 卷 5, 编号 4 (2013) |
C.G. Jung on the Nature of Artistic Image |
(Rus)
|
|
Sveshnikov A.
|
| 卷 5, 编号 1 (2013) |
Kiki de Montparnasse and Ivan Mozzhukhin |
(Rus)
|
|
Dolmatovskaya G.
|
| 卷 5, 编号 2 (2013) |
M.Night Shyamalan’s Ups and Downs |
(Rus)
|
|
Zvegintseva I.
|
| 卷 4, 编号 2-3 (2012) |
«Terra Incognita» Cinema |
(Rus)
|
|
Zvegintseva I.
|
| 卷 1, 编号 1 (2009) |
Cinema of Bulgaria at the turn of century |
(Rus)
|
|
Utilov V.
|
| 卷 3, 编号 3 (2011) |
Cinema in the Phase of Private Interest |
(Rus)
|
|
Zakharov D.
|
| 卷 4, 编号 2-3 (2012) |
Cinema and Advertising: Enemies or Allies? |
(Rus)
|
|
Zvegintseva I.
|
| 卷 5, 编号 2 (2013) |
American cinema of the Great Depression. The «Social Restlessness Phase» |
(Rus)
|
|
Zakharov D.
|
| 卷 3, 编号 2 (2011) |
The Iranian Cinema of the 20th Century (1900-1980) |
(Rus)
|
|
Mirakhorli A.
|
| 卷 5, 编号 3 (2013) |
Film Distribution and Exhibition in Pre-Revolutionary Russia (1896-1907) |
(Rus)
|
|
Kosinova M.
|
| 卷 2, 编号 4 (2010) |
A Film Director in Search of the Genre |
(Rus)
|
|
Maslennikov I., Maslennikov I.
|
| 卷 4, 编号 2-3 (2012) |
Classic and Hellenistic Greece |
(Rus)
|
|
Pondopulo G.
|
| 卷 2, 编号 4 (2010) |
Classic Imagery. Pre-Socrates Philosophy, Socrates and Plato's "Advent" |
(Rus)
|
|
Burov A., Burov A.
|
| 卷 4, 编号 2-3 (2012) |
Cliplike Montage and Illusory World |
(Rus)
|
|
Utilova N.
|
| 卷 1, 编号 1 (2009) |
KNIGI RUKOPISI ZNANIYa |
(Rus)
|
|
- -.
|
| 卷 9, 编号 3 (2017) |
BOOKSHELF |
(Rus)
|
|
- -.
|
| 卷 2, 编号 1 (2010) |
When the Time Stops |
(Rus)
|
|
Chizhevskaya O., Chigevskaja O.
|
| 卷 2, 编号 3 (2010) |
The Convergent and Integration Aspects of Mass Media Evolution in the Information Age |
(Rus)
|
|
Urazova S.
|
| 卷 4, 编号 1 (2012) |
A Competitive Model of Commercial TV Broadcasting |
(Rus)
|
|
Urazova S.
|
| 卷 3, 编号 1 (2011) |
The conflict of the "Inner" and "Outer" Person as Film Art's Archetypal Theme |
(Rus)
|
|
Perelshtein R.
|
| 卷 5, 编号 4 (2013) |
Computer Graphics Efficiency Criteria |
(Rus)
|
|
Soshnikova I.
|
| 卷 4, 编号 2-3 (2012) |
Personal Critical Points in Soviet Cinema: from «Ilyich Gate» to «Flights in Dreams and in Reality» |
(Rus)
|
|
Bezenkova M.
|
| 卷 6, 编号 4 (2014) |
VGIK: Who are you, the future filmmaker? |
(Rus)
|
|
- -.
|
| 卷 4, 编号 2-3 (2012) |
Who Is the Subject, and Who Is the Actor of Culture? |
(Rus)
|
|
Neretin O.
|
| 卷 5, 编号 3 (2013) |
Aesthetic Analysis of the Show as a Concept |
(Rus)
|
|
Vanchenko T.
|
| 卷 9, 编号 3 (2017) |
Summer Time is a Time Creativity |
(Rus)
|
|
- -.
|
| 卷 3, 编号 3 (2011) |
The Line in Neo-Modernism Geometrical Abstraction |
(Rus)
|
|
Burov A.
|
| 卷 5, 编号 2 (2013) |
Magic Realism of André Delvaux |
(Rus)
|
|
Zakrevskaya A.
|
| 卷 4, 编号 2-3 (2012) |
Madrid, province, Barcelona. Geography as a Phenomenological Object of Cinema |
(Rus)
|
|
Reizen O.
|
| 卷 5, 编号 2 (2013) |
Medialogiya kak nauchnaya distsiplina |
(Rus)
|
|
Urazova S.
|
| 卷 6, 编号 3 (2014) |
Mission Possible: We are shooting Russia! |
(Rus)
|
|
- -.
|
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