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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">vgik</journal-id><journal-title-group><journal-title xml:lang="ru">Вестник ВГИК</journal-title><trans-title-group xml:lang="en"><trans-title>Vestnik VGIK</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2074-0832</issn><issn pub-type="epub">2713-2471</issn><publisher><publisher-name>ВГИК</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.69975/2074-0832-2023-58-4-96-107</article-id><article-id custom-type="elpub" pub-id-type="custom">vgik-187</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>КУЛЬТУРА ЭКРАНА</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>SCREEN CULTURE</subject></subj-group></article-categories><title-group><article-title>Кинокостюм как средство создания достоверного исторического образа</article-title><trans-title-group xml:lang="en"><trans-title>Film costume as a means of creating a reliable historical image</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><contrib-id contrib-id-type="orcid">https://orcid.org/0009-0009-8688-3177</contrib-id><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Крючкова</surname><given-names>А. С.</given-names></name><name name-style="western" xml:lang="en"><surname>Kryuchkova</surname><given-names>A. S.</given-names></name></name-alternatives><bio xml:lang="en"><p>PhD student, 2nd year</p></bio><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff xml:lang="en" id="aff-1"><institution>Gerasimov Russian State University of Cinematography (VGIK)</institution><country>Russian Federation</country></aff><pub-date pub-type="collection"><year>2023</year></pub-date><pub-date pub-type="epub"><day>01</day><month>12</month><year>2023</year></pub-date><volume>15</volume><issue>4(58)</issue><fpage>96</fpage><lpage>107</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Крючкова А.С., 2023</copyright-statement><copyright-year>2023</copyright-year><copyright-holder xml:lang="ru">Крючкова А.С.</copyright-holder><copyright-holder xml:lang="en">Kryuchkova A.S.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://www.vestnik-vgik.com/jour/article/view/187">https://www.vestnik-vgik.com/jour/article/view/187</self-uri><abstract><p>В статье описываются и анализируются приёмы воссоздания исторической достоверности художниками в процессе работы над историческими костюмами в кино. Предпринята попытка выявить наиболее общие тенденции в работе художников по костюмам при создании исторических кинообразов. В статье также анализируется процесс формирования у зрителей представлений о прошлом на основе художественных образов, создаваемых киноискусством.</p></abstract><trans-abstract xml:lang="en"><p>The article is devoted to the consideration and analysis of techniques for displaying historical authenticity on the screen when working with the artistic expressiveness of costumes. Currently, historical films are becoming increasingly popular, so creating a historically accurate costume on screen is an important task for filmmakers. Demands of viewers for truthfulness and “quality” of films are growing along with the development of technology and media. It has now become easier for viewers to recognize an inaccurately depicted image of a historical era in cinema. The methods of artists working on historical costumes are changing due to the significantly expanded possibilities of searching for historical material. The article identifies general modern trends in the work of costume designers with historical material. The process of perception of film images by viewers is also of great importance. The feeling of authenticity of screen images is based on a subconscious belief in the reality of what is happening on the screen. Therefore, watching historical films also lays down an idea of the culture of the era shown in the film. The article examines the process of forming viewers' ideas about images of the past based on the film image. A costume in cinema can perform a large number of functions that are important to the culture as a whole. Therefore, attention to the “truthfulness” of the images depicted on the screen is so important. It is a fairly reliable historical costume rich in decoration helps to understand the true meaning of the plot and makes the audience immerse themselves in a different reality.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>костюм</kwd><kwd>историческая достоверность</kwd><kwd>художественная выразительность</kwd><kwd>кинообраз</kwd><kwd>образы прошлого</kwd><kwd>киноискусство</kwd></kwd-group><kwd-group xml:lang="en"><kwd>images of the past</kwd><kwd>costume</kwd><kwd>historical authenticity</kwd><kwd>artistic expressiveness</kwd><kwd>movie character</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Беляков В.К. Призрачные образы исторической кинохроники / В.К. Беляков // Вестник ВГИК. — 2022. — Т. 14, № 3 (53). — С. 36–47.</mixed-citation><mixed-citation xml:lang="en">Belyakov V.K. 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