This essay continues the study of the semiotics and synergeticsof Framing in the Art of Cinematography which substantiates the hypothesisthat framing (perspective) constitutes one of the most important codes of screencommunication in its cinematographic and metaphorical contexts. Thus, framingis represented by two hierarchical levels of representation of contextual semioticconnections: the connection between mise-en-cadre and mise-en-scène (thelevel of the cinematographic form of film sign); and the relationship betweencinematographic imagery, action and meaning (the level of the cinema sign).Framing consolidates the process of cinematography divided by the artistic andproduction dichotomy, which is especially important in the context of massculture determined by the total industrialization of all areas of life, includingcinema.The essay is based on the statement of Sergei Eisenstein that each “high” filmwork has the unity of two dialectical categories: the content (abstract language,part of logical thinking) and the form (emotional language, part of emotional-sensory thinking). It identifies and analyzes the spatial-temporal and linear-tonal features of cinematic framing as a method of expressing the metaphoricalexistential context of the crisis of Russian self-identification, using as examples anumber of expressive episodes of the documentary film Anna: 6–18 (1980-1993;dir. Nikita Mikhalkov, DOPs: Pavel Lebeshev, Vadim Yusov, Vadim Alisov, andElizbar Karavaev). This film work is explored as a study of the socio-culturalsituation in modern Russia undertaken from a multi-faceted and multi-levelauthorial perspective associated with expressive cinematographic framing.