| 期 |
标题 |
文件 |
| 卷 7, 编号 2 (2015) |
Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries |
(Rus)
|
|
Kharitonova N.
|
| 卷 7, 编号 2 (2015) |
World War II in the Cinema of Green Continent |
(Rus)
|
|
Zvegintseva I.
|
| 卷 7, 编号 2 (2015) |
Pirjo Honkasalo’s World of Thoughts and Symbols in Russia: Sample of Statistical Analysis |
(Rus)
|
|
Ivannikova K.
|
| 卷 7, 编号 2 (2015) |
Propaganda: Unity of Polemic Forms and Documentary Images in Russian TV |
(Rus)
|
|
Malkova L.
|
| 卷 6, 编号 4 (2014) |
Film Studies As a Normative Academic Discipline |
(Rus)
|
|
Nikitina I., Ivin A.
|
| 卷 6, 编号 4 (2014) |
Time - Backwards: Mayakovsky Quotes Vertov |
(Rus)
|
|
Pronin A.
|
| 卷 6, 编号 4 (2014) |
Time and Essence. Study of Cinema Product Temporal Analysis |
(Rus)
|
|
Marievskaya N.
|
| 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 4 (2014) |
The Art of Opera: Variability of Artistic Languages of Screen Forms |
(Rus)
|
|
Mesyanzhinova A.
|
| 卷 6, 编号 4 (2014) |
Silver Age. Interference of the Russian and German Cultures |
(Rus)
|
|
Kharitonova N.
|
| 卷 6, 编号 4 (2014) |
Phenomenon of Political Biopic in the English-Language Cinema |
(Rus)
|
|
Morozova I.
|
| 卷 6, 编号 4 (2014) |
James Mangold is “a jewel of a man” in American Cinema |
(Rus)
|
|
Zvegintseva I.
|
| 卷 6, 编号 4 (2014) |
Video Art: “A White Cube” or “A Black Box”? |
(Rus)
|
|
Staruseva-Persheeva A.
|
| 卷 6, 编号 4 (2014) |
TV- Show: From the Audience Habits To Principles of Dramaturgy |
(Rus)
|
|
Kemarskaya I.
|
| 卷 7, 编号 2 (2015) |
Screen Communications As a Form of Socialization and Individualization |
(Rus)
|
|
Urazova S.
|
| 卷 6, 编号 4 (2014) |
Reconstruction As a Show In Contemporary Historical TV-research |
(Rus)
|
|
Ekimova A.
|
| 卷 6, 编号 3 (2014) |
State Guardianship of Cinema: The Issue of Goal-Setting |
(Rus)
|
|
Zhabsky M.
|
| 卷 6, 编号 3 (2014) |
BIBLIOTEKA VGIK |
(Rus)
|
|
- -.
|
| 卷 6, 编号 3 (2014) |
Points of Disequilibrium in Narrative Dynamics and Their Structure |
(Rus)
|
|
Marievskaya N.
|
| 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 2 (2014) |
Cinema Policy of Simple Solutions |
(Rus)
|
|
Zhabsky M.
|
| 卷 6, 编号 2 (2014) |
Screenplay as a Dynamic Process Model |
(Rus)
|
|
Marievskaya N.
|
| 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 2 (2014) |
Free Will and Existentialism of Death |
(Rus)
|
|
Barabash N.
|
| 卷 6, 编号 2 (2014) |
Problems of Presentation and Typology of Demonic and Monstrous Characters in Animation (for the beginning see Issue #19) |
(Rus)
|
|
Krivulya N.
|
| 卷 6, 编号 2 (2014) |
Superhero Cinema Comics: Gender Transposition |
(Rus)
|
|
Tsyrkun N.
|
| 卷 6, 编号 2 (2014) |
Both Screenwriter and Director |
(Rus)
|
|
Zvegintseva I.
|
| 卷 6, 编号 2 (2014) |
Methodology of Factoring's Implementation in Leasing's Scheme |
(Rus)
|
|
Zakharova E., Krivolutsky Y.
|
| 卷 6, 编号 3 (2014) |
Cinematic Nature of English Pre-Raphaelites’ Painting |
(Rus)
|
|
Bernatonite A.
|
| 卷 6, 编号 3 (2014) |
Artistic Thinking as a Characteristic Property of Creative Intellect |
(Rus)
|
|
Andreyev A.
|
| 卷 6, 编号 3 (2014) |
Impressionism as an Expression of Social Consciousness |
(Rus)
|
|
Kharitonova N.
|
| 卷 6, 编号 3 (2014) |
Silence of the Author: Semantics of Muting in Cinema |
(Rus)
|
|
Mikheyeva Y.
|
| 卷 6, 编号 3 (2014) |
Crime Teenpic as a Subgenre of American Cinema |
(Rus)
|
|
Zharikova V.
|
| 卷 6, 编号 3 (2014) |
Co-production in Current International Film Industry. Major Trends |
(Rus)
|
|
Chudakova A.
|
| 卷 6, 编号 3 (2014) |
Planning Element as a Narrative Method in Moulding of Audiovisual Imagery in Documentaries |
(Rus)
|
|
Koneva M.
|
| 卷 6, 编号 1 (2014) |
Culture Year in Russia |
(Rus)
|
|
- -.
|
| 卷 6, 编号 3 (2014) |
Collage Methods in Russian Animation Under Market Conditions |
(Rus)
|
|
Trapeznikova Y.
|
| 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 3 (2014) |
Creative Thinking as a Prelude to Creativity in Producing a Screen Product |
(Rus)
|
|
Urazova S.
|
| 卷 6, 编号 1 (2014) |
“Moscow text” in Russian cinema in the 1920s-1940s |
(Rus)
|
|
Boyarshinova N.
|
| 卷 6, 编号 1 (2014) |
From an Exploration of Demonism in Early Modern Era to an Awareness of the Political Catastrophes of the 20 th Century: Notes on “Faust” by Alexander Sokurov |
(Rus)
|
|
Khrenov N.
|
| 卷 6, 编号 1 (2014) |
On prerequisites for developing artistic time theory |
(Rus)
|
|
Marievskaja N.
|
| 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 6, 编号 1 (2014) |
On representation and typology of the demoniac and monstrous characters |
(Rus)
|
|
Krivulya N.
|
| 卷 6, 编号 1 (2014) |
The Silent Era in Australian Cinema |
(Rus)
|
|
Zvegintseva I.
|
| 卷 6, 编号 2 (2014) |
Television Impact on Children's Development: Experience of Positive Modeling |
(Rus)
|
|
Makhovskaya O., Marchenko F.
|
| 卷 6, 编号 2 (2014) |
Lighting a new generation form the lightscript |
(Rus)
|
|
Artemov V.
|
| 卷 6, 编号 2 (2014) |
TV - always and everywhere, for all and for everyone |
(Rus)
|
|
Urazova S.
|
| 卷 6, 编号 1 (2014) |
Mir Mamoru Osii: illyuziya ili real'nost'? |
(Rus)
|
|
Terakopyan M.
|
| 卷 6, 编号 1 (2014) |
Global criterion formation in producer’s decisions |
(Rus)
|
|
Krivolutskiy Y., Zakharova E.
|
| 卷 6, 编号 1 (2014) |
Game on TV as a form of effective communication |
(Rus)
|
|
Volkova I.
|
| 卷 6, 编号 1 (2014) |
Visualization of advertising media text on TV channels’ websites: creative technologies |
(Rus)
|
|
Lobodenko L.
|
| 卷 6, 编号 1 (2014) |
Absurd KING SIZE |
(Rus)
|
|
Mankovskaya N.
|
| 卷 6, 编号 1 (2014) |
I am - caricaturist |
(Rus)
|
|
Maslennikov I.
|
| 卷 1, 编号 1 (2009) |
VGIK v rusle traditsiy i innovatsiy |
(Rus)
|
|
Malyshev V.
|
| 卷 1, 编号 1 (2009) |
Godmother of Alexander Askoldov |
(Rus)
|
|
Perelstein R.
|
| 卷 11, 编号 1 (2019) |
"VGIK days" in Tajikistan |
(Rus)
|
|
Vestnik VGIK E.
|
| 卷 11, 编号 1 (2019) |
Cinematic media in digital culture |
(Rus)
|
|
Bakulev G.
|
| 卷 11, 编号 2 (2019) |
Russian Documentary at the Turn of the 21st Century |
(Rus)
|
|
Prozhiko G.
|
| 卷 11, 编号 2 (2019) |
VR Cinema. Virtual Spectacle as a Dream |
(Rus)
|
|
Novikov V.
|
| 卷 11, 编号 2 (2019) |
The ‘hero archetype’ in the neo-mythological context of contemporary screen culture |
(Rus)
|
|
Stroeva O.
|
| 卷 11, 编号 2 (2019) |
Existential problematics in the films of Pedro Costa |
(Rus)
|
|
Sandu V.
|
| 卷 11, 编号 2 (2019) |
Artistic features of Russian TV serials about the Great Patriotic War |
(Rus)
|
|
Shergova K., Muradov A.
|
| 卷 11, 编号 1 (2019) |
Between ideology and literature: the discussion of screenplays in the USSR in the 1930s |
(Rus)
|
|
Goncharenko A.
|
| 卷 11, 编号 1 (2019) |
Contemporary Russian cinema and its world contexts |
(Rus)
|
|
Reisen O.
|
| 卷 11, 编号 1 (2019) |
Entrepreneur as a hero of Russian cinema in the first half of the 1990s: the adoption of a new stereotype |
(Rus)
|
|
Karavaev D.
|
| 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 11, 编号 1 (2019) |
Modern art history as a human science in a situation of cultural turn |
(Rus)
|
|
Khrenov N.
|
| 卷 11, 编号 1 (2019) |
Australian cinema: transforming youth issues over time |
(Rus)
|
|
Zvegintseva I.
|
| 卷 11, 编号 1 (2019) |
Visual picture of the world in the reflection of modern media |
(Rus)
|
|
Utilova N.
|
| 卷 11, 编号 1 (2019) |
Attraction on TV: rules of communication game |
(简体中)
(Rus)
|
|
Kemarskaya I.
|
| 卷 11, 编号 1 (2019) |
To academic film science |
(Rus)
|
|
Vinogradov V.
|
| 卷 11, 编号 1 (2019) |
Screenplay theory: cinema is born in script |
(Rus)
|
|
Marievskaya N.
|
| 卷 11, 编号 1 (2019) |
Economics of film production in science and education |
(Rus)
|
|
Ogurchikov P., Sidorenko V.
|
| 卷 11, 编号 1 (2019) |
Faculty as a unique school of creative communication |
(Rus)
|
|
Golubev V.
|
| 卷 11, 编号 3 (2019) |
The canons of capturing reality in the documentary cinema of the 1960s |
(Rus)
|
|
Bezenkova M.
|
| 卷 11, 编号 2 (2019) |
SUMMARY | PRESENTATION OF AUTHORS |
(Rus)
|
|
Editorial Board J.
|
| 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 3 (2019) |
The evolution of visual instruments of VR cinema |
(Rus)
|
|
Matkin A.
|
| 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 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) |
Self-Media as a Model for Monetization of Knowledge Code |
(Rus)
|
|
Urazova S.
|
| 卷 11, 编号 3 (2019) |
Modern art history as a human science in a situation of cultural turn |
(Rus)
|
|
Khrenov N.
|
| 卷 11, 编号 3 (2019) |
Contemporary approach to the understanding of the notion of “beautiful” as an aesthetic category |
(Rus)
|
|
Nikitina I.
|
| 卷 11, 编号 3 (2019) |
Sound in the films of Michael Haneke from the perspective of phenomenological aesthetics |
(Rus)
|
|
Mikheeva J.
|
| 卷 11, 编号 3 (2019) |
The story of one crime: in life, in literature and in cinema |
(Rus)
|
|
Zvegintseva I.
|
| 卷 11, 编号 3 (2019) |
100th anniversary of the acting faculty of VGIK |
(Rus)
|
|
Marusenkov V.
|
| 卷 11, 编号 3 (2019) |
Worldview criteria for a profession in the bowels of VGIK |
(Rus)
|
|
Tsetlina V.
|
| 卷 11, 编号 3 (2019) |
The profession of an artist-animator, or how to learn how to control the movement of a drawing |
(Rus)
|
|
Belonogova A.
|
| 卷 11, 编号 3 (2019) |
SUMMARY | PRESENTATION OF AUTHORS |
(Rus)
|
|
Editorial Board J.
|
| 卷 11, 编号 3 (2019) |
Centenary of the oldest film school |
(Rus)
|
|
Editorial J.
|
| 卷 11, 编号 1 (2019) |
Editorial article |
(Rus)
|
|
edition J.
|
| 201 - 300 的 779 信息 |
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