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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 custom-type="elpub" pub-id-type="custom">vgik-394</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>МИРОВОЙ КИНОПРОЦЕСС | АНАЛИЗ</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>WORLD CINEMA | ANALYSIS</subject></subj-group></article-categories><title-group><article-title>Мадрид, провинция, Барселона. География как объект феноменологии кино</article-title><trans-title-group xml:lang="en"><trans-title>Madrid, province, Barcelona. Geography as a Phenomenological Object of Cinema</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Рейзен</surname><given-names>Ольга Кирилловна</given-names></name><name name-style="western" xml:lang="en"><surname>Reizen</surname><given-names>Olga Kirillovna</given-names></name></name-alternatives><email xlink:type="simple">noemail@neicon.ru</email><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff-alternatives id="aff-1"><aff xml:lang="ru"><institution>ВГИК</institution><country>Россия</country></aff><aff xml:lang="en"><institution>VGIK</institution><country>Russian Federation</country></aff></aff-alternatives><pub-date pub-type="collection"><year>2012</year></pub-date><pub-date pub-type="epub"><day>08</day><month>04</month><year>2024</year></pub-date><volume>4</volume><issue>2-3(12-13)</issue><fpage>204</fpage><lpage>219</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Рейзен О.К., 2024</copyright-statement><copyright-year>2024</copyright-year><copyright-holder xml:lang="ru">Рейзен О.К.</copyright-holder><copyright-holder xml:lang="en">Reizen O.K.</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/394">https://www.vestnik-vgik.com/jour/article/view/394</self-uri><abstract><p>Географические объекты, ставшие местом действия анализируемых в статье фильмов, рассмотрены не с точки зрения знакомства с их достопримечательностями. Автору важны причины выбора и способы презентации городов и улиц как отражение общего положения в стране, политического, экономического, культурного и т.д. Географический объект играет немаловажную роль в отображении общей атмосферы жизни Испании, и, таким образом, изучение этого объекта повествования во временной перспективе позволяет придти к ряду заключений, связанных как с историей страны, так и с историей ее кинематографа.</p></abstract><trans-abstract xml:lang="en"><p>Geographical object as locations of the films, analyzed in the article, are tackled not as places of interest. The author studies the reasons of this or that choice, the presentation methods of different cities and streets as reflections of the political, economic and cultural situation in the country. Geographical objects are of great importance in displaying the general atmosphere of life in Spain, and thus, the research of the very narrative object enables the author to come to a number of conclusions connected both with the history of Spain and the history of Spanish cinema. </p></trans-abstract><kwd-group xml:lang="ru"><kwd>город</kwd><kwd>образная система</kwd><kwd>метафора</kwd><kwd>клаустрофобия</kwd><kwd>эзопов язык</kwd><kwd>символизм</kwd><kwd>аллюзии</kwd><kwd>застой</kwd><kwd>франкизм</kwd><kwd>city</kwd><kwd>image system</kwd><kwd>metaphor</kwd><kwd>claustrophobia</kwd><kwd>Aesopian language</kwd><kwd>symbolism</kwd><kwd>allusions</kwd><kwd>stagnation</kwd><kwd>Frankism</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">Hedges I. Breaking the Frame. 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