Vol 4, No 4 (2012)

The article (the conclusion; for the beginning see ## 12-13) investigates the artistic peculiarities of A. Zvyagintsev's new film “Elena” which stands apart from all his preceding work. In a sense, the film demonstrates the director’s rejection of the previously found pattern associated with Zvyagintsev’s style. The analysis is done from two points of view: the philosophy of the film (the anthropological aspect) and in terms of the identity.

The author shares her impressions on recent Russian films and analyses the visual tendencies in modern films.

The article investigates the dialectics of the relationship between the character of the film based on comic strips and his mask as an essential attribute of the genre, the characters of which are mainly reduced to external evidence. Since comic strips have nowadays become the multicultural phenomenon, it is viable to analyze the matter on the example of the three films by directors from different countries. These are typical examples of the main types of the forenamed dialectics. Each of them therefore fits well in its peculiar way into the modern social-psychological and social-political context, indicating the applicability of the genre.

The author analyzes the spontaneous demonstration of the ideas of philosophical dialogism in the films of Krzysztof Kieslowski. She investigates the evolution of the creative thinking of the director depicting the state of feelings of the present-day people. The deep insight into the individual’s intricate spiritual quest leads Kieslowski of the late period to the conclusions consonant with the philosophical ideas of Post-Christianity.

The phenomenon of the genesis of the new drama and new theatrical direction in France of the 1950s is investigated in the article. Also is given the characteristic of the first “ Waiting for Godot” set staged by Roger Blin. The new scenic admission, presenting innovative character of Beckett’s play is commented on in the text.

The article explains the importance and the urgency of realizing the active government policy in the cultural sphere. The current problems of its functioning are discussed and the possible solutions are formulated. The program-target approach and social-oriented budgeting are recommended as the priority methods in realization of goal-setting development.

The article surveys the approaches to working out the model of the films’ commercial success described in literature. The suggested classifications of different predictors make it possible to form an overall idea of the tendencies in this field of research. Nowadays, the list of prognostic variables has been enlarged considerably: apart from such traditional predictors as budget, marketing and promotion scale, stars, awards, etc., there are new ones particularly connected with social networks.

The author substantiates the innovative trend in the revival and development of Russian film production on the basis of the sociological analysis of the problem as far as the marketability and ways of its recovery within the frames of the state film policy are concerned. Since the solution of the peripheral issues depends on the still unsolved general questions the article preliminarily worked up at the State Institute of Arts Studies explores the historical and theoretical aspects of the problem.

The author studies the problem of the competitive recovery of Russian TV channels and the new ways of achieving commercial success. The Public Limited Company “Channel 1” and the Russian State Television and Radio Broadcasting Company produce and feature similar audio-visual production, have the same market shares and rates of growth, but substantially different competitive edges. Why? The author gives a thorough analysis of the leading media brands, methods of the TV business protection in particular situations and the factors that can influence the management process.