| 期 |
标题 |
文件 |
| 卷 13, 编号 3(49) (2021) |
The Сoncept of Sound Expression in Viktor Kosakovsky’s Documentaries |
(Rus)
|
|
Koneva M.
|
| 卷 13, 编号 3(49) (2021) |
Mythologeme as a Means of Artistic Expression in Contemporary Russian Cinema |
(Rus)
|
|
Marusenkov V.
|
| 卷 13, 编号 2(48) (2021) |
Compositional Objectives of Academic Drawing |
(Rus)
|
|
Sveshnikov A.
|
| 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) |
The Perception of a Contemporary in Non-fiction Films |
(Rus)
|
|
Shtandke A.
|
| 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 12, 编号 4 (2020) |
The Expressive Function of Color in Modern Non-Fiction Films |
(Rus)
|
|
Shtandke A.
|
| 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) |
B.M.Nemensky’s “Berlin Sketches” and the Traditions of Russian Fine Art |
(Rus)
|
|
Kleymenova O.
|
| 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 3 (2020) |
Evolution of Stunt Episodes in Fiction Films about the Great Patriotic War |
(Rus)
|
|
Danilov D.
|
| 卷 12, 编号 3 (2020) |
Techniques for Representing the Author in Alexander Sokurov’s films |
(Rus)
|
|
Klimenko N.
|
| 卷 12, 编号 2 (2020) |
Vlog: Literary Tradition and Political Strategies |
(Rus)
|
|
Druzhinin A.
|
| 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) |
Grotesque as a Formative Method in the Drama of a Feature Film |
(Rus)
|
|
Babina A.
|
| 卷 12, 编号 1 (2020) |
The emergence of a holistic artistic image |
(Rus)
|
|
Sveshnikov A.
|
| 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) |
Modern Social Problems in the Works of Novice Documentary Filmmakers |
(Rus)
|
|
Shtandke A.
|
| 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) |
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 3 (2019) |
Self-Media as a Model for Monetization of Knowledge Code |
(Rus)
|
|
Urazova S.
|
| 卷 11, 编号 3 (2019) |
Methods of using the type expressiveness of the actor in the cinema of “new sincerity” |
(Rus)
|
|
Kuznetsova M.
|
| 卷 11, 编号 3 (2019) |
The role and basic aspects of ‘‘the montage of attractions’’ in Russian cinema |
(Rus)
|
|
Gulyaeva Y.
|
| 卷 11, 编号 3 (2019) |
The film star — the phenomenon of a parasocial relation |
(Rus)
|
|
Zhabskiy M., Novoselova F., Tarasov К.
|
| 卷 11, 编号 2 (2019) |
The image of prince Myshkin in Russian cinema |
(Rus)
|
|
Ryabokon’ A.
|
| 卷 11, 编号 2 (2019) |
The sound world of the alienated film character |
(Rus)
|
|
Rusinova E.
|
| 卷 11, 编号 2 (2019) |
Framing as a method of creating a film's metaphorical context |
(Rus)
|
|
Korobko R.
|
| 卷 11, 编号 2 (2019) |
Actual problems of the composition of the artistic image |
(Rus)
|
|
Sveshnikov A.
|
| 卷 11, 编号 1 (2019) |
Mass scenes as a way of manipulating the consciousness of the viewer |
(Rus)
|
|
Arysheva A.
|
| 卷 11, 编号 1 (2019) |
VR technologies in docudrama |
(Rus)
|
|
Stezhko N.
|
| 卷 10, 编号 4 (2018) |
Composition as a Method of Communication in the Teaching of Fine Arts |
(Rus)
|
|
Sveshnikov A.
|
| 卷 10, 编号 4 (2018) |
Riddle as a Structural Element of the Quest Genre |
(Rus)
|
|
Yankovskiy A.
|
| 卷 10, 编号 4 (2018) |
Involuntary Behavior of Gogol’s Heroes |
(Rus)
|
|
Mildon V.
|
| 卷 10, 编号 4 (2018) |
Transformation of the Archaic Myth and the Discourse of Power in Alexander Sokurov’s “Moloch” |
(Rus)
|
|
Vinogradov V.
|
| 卷 10, 编号 3 (2018) |
Characteristics of Traditional Aesthetics in the Film Music of the Far East Countries |
(Rus)
|
|
Sergeeva T.
|
| 卷 10, 编号 3 (2018) |
Stunt Trickery as an Effective Spectacle Means of Artistic Expressiveness |
(Rus)
|
|
Danilov D.
|
| 卷 10, 编号 3 (2018) |
The Doppelgänger Motif in the “New Sincerity” Cinema |
(Rus)
|
|
Kuznetsova M.
|
| 卷 10, 编号 2 (2018) |
Aesthetics of Interactivity: Between Game and Film. To Watch or to Play? |
(Rus)
|
|
Novikov V.
|
| 卷 10, 编号 1 (2018) |
Grief as a Cognitive Metaphore in “Manchester by the Sea” |
(Rus)
|
|
Tsyrkun N.
|
| 卷 10, 编号 1 (2018) |
Aesthetics of Interactivity: Between Game and Film. To Watch or to Play? |
(Rus)
|
|
Novikov V.
|
| 卷 10, 编号 1 (2018) |
Contribution of Artists Teaching at the Russian Federation S.A. Gerasimov Institute of Cinematography into Formation and Development of the Fine Arts in Mongolia in 20th century |
(Rus)
|
|
Melekhova X.
|
| 卷 9, 编号 4 (2017) |
Film Reconstruction of the Past as a Method of Understanding Reality |
(Rus)
|
|
Marusenkov V.
|
| 卷 9, 编号 4 (2017) |
Metaphor in Cinema: Specifics of its Creation and Perception |
(Rus)
|
|
Poznin V.
|
| 卷 9, 编号 4 (2017) |
Criteria of Composition of Documentaries about Nature |
(Rus)
|
|
Berkova N.
|
| 卷 9, 编号 4 (2017) |
Hearing and Speech Voice Expressiveness of the Actor |
(Rus)
|
|
Avtushenko I.
|
| 卷 9, 编号 3 (2017) |
Keynote Narration and Theory of Distance: Analysis of the Seasons |
(Rus)
|
|
Fedotkin S.
|
| 卷 9, 编号 3 (2017) |
Screen Imagery as Reflected through Mythologems |
(Rus)
|
|
Marusenkov V.
|
| 卷 9, 编号 2 (2017) |
Compensatory Happy Ending as a Typological Group of a Film Finale |
(Rus)
|
|
Shevtsov V.
|
| 卷 9, 编号 1 (2017) |
Dynamics of Corporality and Static Models of Space in Thriller Dramaturgy |
(Rus)
|
|
Kozlova S.
|
| 卷 9, 编号 1 (2017) |
Music as a Part of the Theatrical Game of the Movie |
(Rus)
|
|
Mikheeva Y.
|
| 卷 8, 编号 4 (2016) |
Traits of Mystery (miracle play), Tragedy and Commedia Dell'Arte in a Fairy-Opera-Film |
(Rus)
|
|
Kropova D.
|
| 卷 8, 编号 4 (2016) |
“Provincial” Cinema on Global Orbits |
(Rus)
|
|
Kirillova N.
|
| 卷 8, 编号 3 (2016) |
Kaleidoscope Aesthetics in Visual Media |
(Rus)
|
|
Romakina M.
|
| 卷 8, 编号 2 (2016) |
Modernist Cinema of Andrey Tarkovsky |
(Rus)
|
|
Fedotkin S.
|
| 卷 8, 编号 2 (2016) |
Kaleidoscope Aesthetics in Visual Media |
(Rus)
|
|
Romakina M.
|
| 卷 8, 编号 1 (2016) |
Directing “Mixed” Forms. Dialogue of Classical Traditions and Modern Creative Practice |
(Rus)
|
|
Yekimova A.
|
| 卷 8, 编号 1 (2016) |
Lost in Translation: Songs in Foreign Films |
(Rus)
|
|
Parfentyeva Y.
|
| 卷 8, 编号 1 (2016) |
Landscape as a Leitmotif of a Film |
(Rus)
|
|
Shakhovskaya N.
|
| 卷 7, 编号 4 (2015) |
Interpretation of the Soviet Thaw (Ottepel’) Period in Contemporary Cinema |
(Rus)
|
|
Ziborova O.
|
| 卷 7, 编号 4 (2015) |
Screening Zurbagan: On Use of Animation in Russian Feature Cinema |
(Rus)
|
|
Sputnitskaya N.
|
| 卷 7, 编号 3 (2015) |
Conversation Direction in Russian Contemporary Documentaries |
(Rus)
|
|
Trukhina A.
|
| 卷 7, 编号 3 (2015) |
Feature Film Quotation in a Documentary Portrait: a Functional-Semantic Aspect |
(Rus)
|
|
Pronin A.
|
| 卷 7, 编号 3 (2015) |
Video Art: Significant Absence of Editing as an Artistic Tool |
(Rus)
|
|
Staruseva-Persheyeva A.
|
| 卷 7, 编号 2 (2015) |
From Greek Tragedy To Opera-Film |
(Rus)
|
|
Kropova D.
|
| 卷 7, 编号 2 (2015) |
Sound Editing in Screen Works |
(Rus)
|
|
Efimova N.
|
| 卷 7, 编号 1 (2015) |
Reflection as an Audiovisual Form of Thinking in Alexander Sokurov's Work |
(Rus)
|
|
Mikheyeva Y.
|
| 卷 6, 编号 4 (2014) |
The Art of Opera: Variability of Artistic Languages of Screen Forms |
(Rus)
|
|
Mesyanzhinova A.
|
| 卷 6, 编号 4 (2014) |
Strategies of Audiovisual Translation |
(Rus)
|
|
Bakulev G.
|
| 卷 6, 编号 4 (2014) |
Character’s Imagery in Russian Animation of 1990s |
(Rus)
|
|
Prikhod’ko V.
|
| 卷 6, 编号 3 (2014) |
Theatre and Document: Opposition or Integration? |
(Rus)
|
|
Prozhiko G.
|
| 卷 6, 编号 3 (2014) |
Dynamics of Opera Screen Forms: Theoretical Aspects |
(Rus)
|
|
Masyandjinova A.
|
| 卷 6, 编号 3 (2014) |
Cinematic Nature of English Pre-Raphaelites’ Painting |
(Rus)
|
|
Bernatonite A.
|
| 卷 6, 编号 2 (2014) |
Impact of Technology on Screen Aesthetics |
(Rus)
|
|
Poznin V.
|
| 卷 6, 编号 2 (2014) |
Screen Version of «Charlie and the Chocolate Factory» as an Example of Literary Work's Visualization |
(Rus)
|
|
Yermilova N.
|
| 卷 6, 编号 2 (2014) |
Graphic Trends in New Russian Cinema |
(Rus)
|
|
Eliseeva E.
|
| 卷 6, 编号 1 (2014) |
«The White Guard» on TV: fascinated by masscult mythology |
(Rus)
|
|
Ilchenko S.
|
| 卷 6, 编号 1 (2014) |
Fractal graphic as digital objectless art |
(Rus)
|
|
Nekrasov D.
|
| 卷 5, 编号 4 (2013) |
C.G. Jung on the Nature of Artistic Image |
(Rus)
|
|
Sveshnikov A.
|
| 卷 5, 编号 3 (2013) |
“Phasing” and Artistic Repetition in Eisenstein’s Theory and Practice |
(Rus)
|
|
Burov A.
|
| 卷 5, 编号 2 (2013) |
Screen image. Aftereffect |
(Rus)
|
|
Poznin V.
|
| 卷 5, 编号 1 (2013) |
Peculiarities of flash Animation |
(Rus)
|
|
Trapeznikova Y.
|
| 卷 4, 编号 4 (2012) |
A Hero and His Mask in Strip Cartoons |
(Rus)
|
|
Tsyrkun N.
|
| 卷 4, 编号 4 (2012) |
Phenomenon of the System Repetition in Photography as an Alternative to Film |
(Rus)
|
|
Burov A.
|
| 卷 4, 编号 2-3 (2012) |
The Role of Memory in the Perception of the Screen Image |
(Rus)
|
|
Poznin V.
|
| 卷 4, 编号 2-3 (2012) |
The Actor’s Perception of the Partner’s Speech |
(Rus)
|
|
Avtushenko I.
|
| 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 4, 编号 2-3 (2012) |
Cliplike Montage and Illusory World |
(Rus)
|
|
Utilova N.
|
| 卷 4, 编号 1 (2012) |
On the Forth Dimension in Animation. Synthetic Peculiarities of Puppet Cartoon Screenwriting |
(Rus)
|
|
Fomina V.
|
| 卷 4, 编号 1 (2012) |
On Creating a Virtual Character (analysis of«Mouchette.org» site) |
(Rus)
|
|
Yugai I.
|
| 卷 3, 编号 4 (2011) |
Basic Aspects of the Development of Systematic Repetition in Fine Art |
(Rus)
|
|
Burov A.
|
| 卷 3, 编号 4 (2011) |
Professional and Non-Professional Actors as Cultural Agents in the films of Renita and Yuriy Grigoryev |
(Rus)
|
|
Pishita Y.
|
| 卷 3, 编号 3 (2011) |
The Line in Neo-Modernism Geometrical Abstraction |
(Rus)
|
|
Burov A.
|
| 卷 3, 编号 3 (2011) |
Synthesis of Cultures and Mythological Patterns in the film Holidays of the Childhood |
(Rus)
|
|
Pishita Y.
|
| 卷 3, 编号 2 (2011) |
Space in Art and Cinema |
(Rus)
|
|
Sedlovskiy A.
|
| 卷 3, 编号 2 (2011) |
Still Life in the Space of the Film |
(Rus)
|
|
Gvozdeva Y.
|
| 卷 3, 编号 1 (2011) |
Maupassant's "Boule de Suif" in Soviet Translation |
(Rus)
|
|
Rostotskaya M.
|
| 卷 3, 编号 1 (2011) |
The conflict of the "Inner" and "Outer" Person as Film Art's Archetypal Theme |
(Rus)
|
|
Perelshtein R.
|
| 卷 2, 编号 4 (2010) |
A Film Director in Search of the Genre |
(Rus)
|
|
Maslennikov I., Maslennikov I.
|
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