| 期 |
标题 |
文件 |
| 卷 13, 编号 3(49) (2021) |
Alexander Dovzhenko. Poetic Space of Immortality |
(Rus)
|
|
Vinogradov V.
|
| 卷 13, 编号 3(49) (2021) |
On the Essence and Relevance of the Work on Semantic Oppositions in Creative Writing |
(Rus)
|
|
Klyueva L.
|
| 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.
|
| 卷 13, 编号 2(48) (2021) |
Paradoxes of Deconstruction in Postmodern Aesthetics and Art Cinema |
(Rus)
|
|
Klyueva L.
|
| 卷 13, 编号 1 (2021) |
The Evolution of the Concept of the Victory in Russian Documentary Cinema |
(Rus)
|
|
Prozhiko G.
|
| 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) |
Cinema Magic: Mask and Myth |
(Rus)
|
|
Kirillova N.
|
| 卷 12, 编号 3 (2020) |
S.Eisenstein. Aggression of Discourse: Theoretical Justification |
(Rus)
|
|
Klyueva L.
|
| 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) |
To Give Hope or To Succumb to Depression? Understanding of Life in Contemporary Russian Cinema |
(Rus)
|
|
Malyshev V.
|
| 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) |
The struggle for the Far East in the interpretation of the Vasilyev brothers |
(Rus)
|
|
Rostotskaya M.
|
| 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 3 (2019) |
Sergei Eisenstein's ideas in the context of modern cinema art. Audiovisual counterpoint |
(Rus)
|
|
Rusinova E.
|
| 卷 11, 编号 3 (2019) |
Methodological aspects of studying the history of Soviet cinema in the 1930s |
(Rus)
|
|
Usuvaliev S.
|
| 卷 11, 编号 2 (2019) |
The environment of the cinematic spectacle. The architecture of the early Russian movie theaters |
(Rus)
|
|
Anisimov A.
|
| 卷 11, 编号 2 (2019) |
Russian Documentary at the Turn of the 21st Century |
(Rus)
|
|
Prozhiko G.
|
| 卷 11, 编号 1 (2019) |
Cinematic media in digital culture |
(Rus)
|
|
Bakulev G.
|
| 卷 11, 编号 1 (2019) |
电视屏幕上的游乐设施: 交通线游戏的规则 |
(Eng)
(Rus)
|
|
Rusinova E.
|
| 卷 11, 编号 1 (2019) |
Between ideology and literature: the discussion of screenplays in the USSR in the 1930s |
(Rus)
|
|
Goncharenko A.
|
| 卷 10, 编号 4 (2018) |
世界影坛杰作对制片人创造性世界观的影响 |
(Eng)
(简体中)
(Rus)
|
|
Malyshev V.
|
| 卷 10, 编号 3 (2018) |
Vladimir Mayakovsky as a Film Actor: a “Star” or an Amateur? |
(Rus)
|
|
Pronin A.
|
| 卷 10, 编号 3 (2018) |
Sound as a Sign and Artistic Symbol in Film |
(Rus)
|
|
Rusinova E.
|
| 卷 10, 编号 3 (2018) |
The Way of Genre in Cinema Documentary |
(Rus)
(简体中)
|
|
Prozhiko G.
|
| 卷 10, 编号 2 (2018) |
Film Art Against Avant-Garde? On the Onthology of Artistic Means |
(Rus)
|
|
Yakimovich A.
|
| 卷 10, 编号 2 (2018) |
The Product of Film Industry - a Cultural Good in Commodity Form |
(Rus)
|
|
Zhabsky M.
|
| 卷 10, 编号 1 (2018) |
The Birth of Cinema in the Russian Empire and Film Censorship |
(Rus)
|
|
Drubek N.
|
| 卷 9, 编号 4 (2017) |
The Birth of Cinema in the Russian Empire and Film Censorship |
(Rus)
|
|
Drubek N.
|
| 卷 9, 编号 3 (2017) |
Ethnographic Cinema: the Image of the Other |
(Rus)
|
|
Prozhiko G.
|
| 卷 9, 编号 3 (2017) |
Ideological Environment and Aesthetics in Fantastic Films of Russia and USA in 1950s |
(Rus)
|
|
Sputnitskaya N.
|
| 卷 9, 编号 2 (2017) |
Gender Analysis of the Film “The Poet and the Fallen Soul” |
(Rus)
|
|
Smagina S.
|
| 卷 9, 编号 2 (2017) |
“Cine-Eye”: the Concept of Conventionality in Dziga Vertov’s Documentaries |
(Rus)
|
|
Mylnikov D.
|
| 卷 9, 编号 2 (2017) |
Censorship Machine in the Soviet Cinema of the 1920s |
(Rus)
|
|
Nasrtdinova A.
|
| 卷 9, 编号 2 (2017) |
The Demand for Russian Cinema |
(Rus)
|
|
Zhabskiy M.
|
| 卷 9, 编号 1 (2017) |
Cinema and Globalization |
(Rus)
|
|
Zhabskiy M.
|
| 卷 8, 编号 4 (2016) |
Newsreel: Is Its Revival Possible? |
(Rus)
|
|
Malkova L.
|
| 卷 8, 编号 4 (2016) |
The Key Art Strategies of “Soyuzmultfilm” in 1944-1946 Years |
(Rus)
|
|
Sputnitskaya N.
|
| 卷 8, 编号 4 (2016) |
Education Genres Animated Poster in the Second Half of the 20th Century |
(Rus)
|
|
Krivulya N.
|
| 卷 8, 编号 3 (2016) |
Soviet Puppet Cinema of the 1930s: from Avant-Garde to Mainstream |
(Rus)
|
|
Sputnitskaya N.
|
| 卷 8, 编号 3 (2016) |
Development of the Animated Poster in the First Half of the XX century |
(Rus)
|
|
Krivulya N.
|
| 卷 8, 编号 2 (2016) |
Animated Poster: Its Origins, Specificity and Peculiarity |
(Rus)
|
|
Krivulya N.
|
| 卷 8, 编号 2 (2016) |
Structural Analysis of Film Characters |
(Rus)
|
|
Boyko M.
|
| 卷 8, 编号 1 (2016) |
The 60s. Half a Century Later. Nostalgia |
(Rus)
|
|
Prozhiko G.
|
| 卷 7, 编号 4 (2015) |
Toward the Sociological Rationalization of State Film Policy |
(Rus)
|
|
Zhabskiy M.
|
| 卷 7, 编号 4 (2015) |
The 60s. Half a Century Later. Nostalgia |
(Rus)
|
|
Prozhiko G.
|
| 卷 7, 编号 3 (2015) |
State-Owned Photo-Cinematic Joint-Stock Company Sovkino (1924-1930): History and Purposes of Creation |
(Rus)
|
|
Zhdanova V.
|
| 卷 7, 编号 3 (2015) |
Functional Duality of Cinema |
(Rus)
|
|
Ushkarev A.
|
| 卷 7, 编号 2 (2015) |
Eisenstein’s Aesthetics in Semiotic Perspective |
(Rus)
|
|
Khrenov N.
|
| 卷 7, 编号 2 (2015) |
From Theory to Methodology of Cinema |
(Rus)
|
|
Schtein S.
|
| 卷 7, 编号 1 (2015) |
S.M. Eisenstein’s Aesthetics in Semiotic Perspective |
(Rus)
|
|
Khrenov N.
|
| 卷 7, 编号 1 (2015) |
From Theory to Methodology of Cinema |
(Rus)
|
|
Schtein S.
|
| 卷 7, 编号 1 (2015) |
The First Men on Venus: Space Travels in Russian Cinema of the 1930-1960s |
(Rus)
|
|
Sputnitskaya N.
|
| 卷 6, 编号 4 (2014) |
Film Studies As a Normative Academic Discipline |
(Rus)
|
|
Nikitina I., Ivin A.
|
| 卷 6, 编号 3 (2014) |
State Guardianship of Cinema: The Issue of Goal-Setting |
(Rus)
|
|
Zhabsky M.
|
| 卷 6, 编号 2 (2014) |
Cinema Policy of Simple Solutions |
(Rus)
|
|
Zhabsky M.
|
| 卷 6, 编号 1 (2014) |
Soviet cinema as a state budget’s contributor. Distribution in the 1930s |
(Rus)
|
|
Kosinova M.
|
| 卷 6, 编号 1 (2014) |
“Moscow text” in Russian cinema in the 1920s-1940s |
(Rus)
|
|
Boyarshinova N.
|
| 卷 5, 编号 4 (2013) |
Alternative Forms of Film Distribution and Exhibition in the USSR in the 1920's |
(Rus)
|
|
Kosinova M.
|
| 卷 5, 编号 4 (2013) |
Soviet Film Expeditions of the 1930's through the Eyes of Greater Tokyo Inhabitants |
(Rus)
|
|
Fyodorova A.
|
| 卷 5, 编号 3 (2013) |
Film Distribution and Exhibition in Pre-Revolutionary Russia (1896-1907) |
(Rus)
|
|
Kosinova M.
|
| 卷 5, 编号 3 (2013) |
The Myth of the Authenticity of the Wartime Newsreels |
(Rus)
|
|
Prozhiko G.
|
| 卷 5, 编号 2 (2013) |
Film as Text. Some Aspects of Text Analysis |
(Rus)
|
|
Kluyeva L.
|
| 卷 5, 编号 2 (2013) |
American cinema of the Great Depression. The «Social Restlessness Phase» |
(Rus)
|
|
Zakharov D.
|
| 卷 5, 编号 1 (2013) |
Does cinema remain the driving force of screen culture? |
(Rus)
|
|
Kirillova N.
|
| 卷 4, 编号 4 (2012) |
The Non-Selection Virus. A. Zvygintsev’s “Elena” in Terms of Identity theory |
(Rus)
|
|
Kluyeva L.
|
| 卷 4, 编号 2-3 (2012) |
Sociocultural Functions of Film Libraries and Archives |
(Rus)
|
|
Malyshev V.
|
| 卷 4, 编号 2-3 (2012) |
World War Two in the Cinema of the Late 1950s |
(Rus)
|
|
Zaitseva L.
|
| 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 2-3 (2012) |
Personal Critical Points in Soviet Cinema: from «Ilyich Gate» to «Flights in Dreams and in Reality» |
(Rus)
|
|
Bezenkova M.
|
| 卷 4, 编号 1 (2012) |
Moral Aspects of Russian PreRevolutionary Cinema. Yakov Protazanov |
(Rus)
|
|
Rostotskaya M.
|
| 卷 4, 编号 1 (2012) |
Mirror and its Semiotic Modifications in Culture |
(Rus)
|
|
Kljueva L.
|
| 卷 3, 编号 4 (2011) |
Moral Aspects of Russian PreRevolutionary Cinema |
(Rus)
|
|
Rostotskaya M.
|
| 卷 3, 编号 4 (2011) |
The Significance of Myth in the Work of Andrey Zvyagintsev |
(Rus)
|
|
Kljueva L.
|
| 卷 3, 编号 3 (2011) |
Observing the Observer, or the Poetics of Deconstruction. Based on New York, I Love You by A. Zvyagintsev |
(Rus)
|
|
Kljueva L.
|
| 卷 3, 编号 2 (2011) |
To the Semiotics of the Mirror and Reflectivity |
(Rus)
|
|
Kljueva L.
|
| 卷 3, 编号 1 (2011) |
A. Zvyagintsev's «The Banishment» and the Tradition of Transcendental Cinema |
(Rus)
|
|
Kljueva L.
|
| 卷 2, 编号 4 (2010) |
A. Zvyagintsev's «The Banishment» and the Tradition of Transcendental Cinema |
(Rus)
|
|
Klyueva L., Kljueva L.
|
| 卷 2, 编号 3 (2010) |
Film Art in the System of Forming a Stage Identity Model |
(Rus)
|
|
Kolotayev V.
|
| 卷 2, 编号 2 (2010) |
The Unknown Cinema of the War and Victory |
(Rus)
|
|
Grashchenkova I., Grashchenkova I.
|
| 卷 2, 编号 2 (2010) |
Second World War Film Chronicle |
(Rus)
|
|
Prozhiko G., Prozhiko G.
|
| 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 2, 编号 1 (2010) |
Historical time in a film structure(end, beginning in № 1) |
(Rus)
|
|
Marievskaya N., Marievskaya N.
|
| 卷 2, 编号 1 (2010) |
Aki Kaurismaki: Two Films in Close-up(to the history of "New Finnish Cinema") |
(Rus)
|
|
Turitsyn V., Turitsyn V.
|
| 卷 1, 编号 1 (2009) |
Postmodernism as Myths Generating Practice |
(Rus)
|
|
Mankovskaya N.
|
| 卷 1, 编号 1 (2009) |
Historical time in a film structure |
(Rus)
|
|
Marievskaya N.
|
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