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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">10.69975/2074-0832-2024-59-1-96-105</article-id><article-id custom-type="elpub" pub-id-type="custom">vgik-913</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>СОВРЕМЕННЫЙ КИНОПРОЦЕСС</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>MODERN FILM PROCESS</subject></subj-group></article-categories><title-group><article-title>Образная структура фильмов якутской новой волны в контексте национальной мифологии</article-title><trans-title-group xml:lang="en"><trans-title>The figurative structure of Yakut new wave films in the context of national mythology</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><contrib-id contrib-id-type="orcid">https://orcid.org/0009-0000-0774-0771</contrib-id><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Гришина</surname><given-names>А. В.</given-names></name><name name-style="western" xml:lang="en"><surname>Grishina</surname><given-names>A. V.</given-names></name></name-alternatives><bio xml:lang="ru"><p>Гришина Алина Владимировна, старший преподаватель кафедры журналистики и телевизионных технологий; соискатель ученой степени кандидат наук ВГИКа</p><p>AuthorID: 1240516</p></bio><bio xml:lang="en"><p>Alina V. Grishina, senior lecturer at the Department of Journalism and Television Technologies</p><p>AuthorID: 1240516</p></bio><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff-alternatives id="aff-1"><aff xml:lang="ru"><institution>Институт социальной инженерии (ИСИ) РГУ им. А.Н. Косыгина</institution><country>Россия</country></aff><aff xml:lang="en"><institution>Institute of Social Engineering (ISE), Russian State University A.N. Kosygina</institution><country>Russian Federation</country></aff></aff-alternatives><pub-date pub-type="collection"><year>2024</year></pub-date><pub-date pub-type="epub"><day>08</day><month>05</month><year>2024</year></pub-date><volume>16</volume><issue>1(59)</issue><fpage>96</fpage><lpage>105</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Гришина А.В., 2024</copyright-statement><copyright-year>2024</copyright-year><copyright-holder xml:lang="ru">Гришина А.В.</copyright-holder><copyright-holder xml:lang="en">Grishina A.V.</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/913">https://www.vestnik-vgik.com/jour/article/view/913</self-uri><abstract><p>В статье рассматриваются фильмы Михаила Лукачевского «Урун кун» («Белый день», 2013) и Степана Бурнашёва «Харахаар» («Черный снег», 2020). Анализируя образную структуру фильмов, относящихся к феномену новой якутской волны, автор исследует механизмы порождения смыслов, эстетику картин и специфику киноязыка, которая имманентно связана с мифологией народа саха.</p></abstract><trans-abstract xml:lang="en"><p>The article examines two films: Mikhail Lukachevsky’s Urun Kun (“The White Day”, 2013) and Stepan Burnashev’s Kharakhaar (“The Black Snow”, 2020). Analyzing the image structure of the films attributed to the phenomenon of the new Yakut wave, the author explores their aesthetics, mechanisms of generating meanings, and specifics of the film language, which is immanently connected to the mythology of the Sakha people.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>образ</kwd><kwd>миф</kwd><kwd>культурная картина мира</kwd><kwd>национальный кинематограф</kwd><kwd>новая якутская волна</kwd></kwd-group><kwd-group xml:lang="en"><kwd>image</kwd><kwd>myth</kwd><kwd>cultural picture of the world</kwd><kwd>national cinema</kwd><kwd>new Yakut wave</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">Афанасьев Н.В., Ефимова Л.С. Дух-хозяин огня у якутов: символика, семантика // Филологические науки. Вопросы теории и практики. № 3 (57): в 2-х ч., ч. 2. Тамбов: Грамота, 2016. 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