Vol 7, No 4 (2015)

The article encompasses the idea that the policy for the national cinema is reasonable due to its intelligence. To rationalize its current state means, above all, to strengthen its knowledge content, to make a profound use of the sociological and other scientific knowledge about the dynamic image of the film world and its hidden laws.

The article examines the role and significance of counter-communicative mechanisms in modern cinema. A detailed analysis of the strategy of de-automatization of artistic structure in Andrei Tarkovsky’s “The Mirror” is presented to support the article.

The article analyses modern films and TV series about the generation of the 60-s, as well as looking into the causes that made directors appeal to that historical period, and the relevancy of the issues of the past in the modern days.

The article attempts to study the idea of FAITH in the context of philosophy, its interpretation in the work of art in perspective of time. The changes in interpretation are associated to social shifts, a paradigm change, when the take being begins to prevail over the spiritual; and the increased significance of science. So the need for God as a mean to explain the Universe becomes more and more negligible as the materialist concept of world takes hold.

The article concludes the early stages of methodology of “phenomenological interpretation of reality” in its forming in the context of the European avant-garde cinema. The subject to analysis is the dichotomy of “fiction” and “non-fiction” aesthetics in the documentary stylistics and poetic consciousness, based on the films of Dmitry Kirsanov, Joris Ivens, and Luchino Visconti.

The article analyses the issues of television format and its dramatic foundation. Unlike film, a television spectacle is, above all, reproducible: in its core lays a replicated plot structure, which is filled with new content in each new episode of the series. The need for establishing of a steady communication with TV audience demands special rules, instruments and plot devices, enclosed in a professional term “television format”. Consistent modelling of predetermined reactions of the audience is in the core of the format’s dramatic structure. The format is seen outside the specific subject-matter; as a dynamic system: as a number of multi-level codes.

Naomi Kawase is one of the most renown female Japanese director, awarded by the Cannes Film Festival more than once. She works alternately in fiction and documentary film, not drawing a distinct line between the two. Her favored themes are birth and death, the union of man and nature; the most distinctive feature of her style is technical minimalism. The region of Nara, Kawase’s home - is almost always the location for her films.