Time is the main expressive means of the cinema. Any film is a dynamic spiritual form of time. No film is free from historical time. Article under consideration covers study of different forms that historical time takes within the cinema work as the artistic whole. Analysis has been carried out on association of historical time with lyrical time of character and mythological time of film. The problem of "historical film" and historical stylization has been put forward.

The article deals with an aspect of postmodernism in art connected with the creation of new type of myths also on the base of newest technology. Speciicity of postmodern myths generation in cinema, literature, painting, actual art-practices is turned out. Particularities of its occidental and Russian varieties are analyzed on the examples of P. Greenaway, M. Barney, D. Prigov, I. Kabakov creations.

«Klavdiya Vavilova from Alexander Askoldov's film «Commissar» is burnt by love, motherhood and revolution.
As a mother she bears life, as a martyr of belief - death to the enemies. Still life takes over. The winner is a human being ready to sacrifice though building the Earthly Kingdom. That is the ugly paradox of Russian history of the beginning of the XXth century. It is not incidental that Alexander Blok's apostles are headed by Christ. Vavilova is one of the apostles. But the ilm «Commissar» would not be a masterpiece if the director had ignored the main testament of the Christian Bible - the testament of love.

This paper discusses aspects of the integration of philosophy dumb drain China's modern cinema culture.
Features of the traditional philosophical thinking, in which the idea of the harmonious man and nature and the desire for spiritual puriication of man has become relevant to the modern worldview

The article is devoted to consideration of alteration of perception caused by influence of ways of reproduction of the screen images. The analysis of the factors influencing the process of perception is carried out. Special attention is given to inluence of TV and changes introduced by it. As consequence it changes the perception of reality and cause transformation of representation of the person about the validity. Development of new technologies caused changes in perception, but also in mentality and system of values of the modern spectator.

The article reflects dramatic changes in Bulgarian cinema of last 20 years and attempts of Bulgarian cinematographers to work out new approaches of ilmproducing within the framework of European cinema. Will it be possible for them not to sacrifice national identity?

Distribution of audiovisual content endures great recesses today. Within the development of digital technologies new ways of distribution are used more and more oten. Internet, IPTV, mobile services not only expand possibilities of quick content delivery, but also open new perspectives of distribution, provide additional opportunities of sales and profit for producers and distributors. Success of several projects can already provide guidance on what to expect in future, and confirms necessity of new mechanisms and business - models of distribution.

In this article a new method of analysis of S. Paradzhanov's creative work is suggested: the works of Paradzhanov-artist and Paradzhanov-director are examined as a united paradigm, which gives an opportunity to present the phenomenon of his art in the context of art culture of the 20th century in the most adequate way, and deine the connection of the aesthetics of his work and the basic tendencies of the past century.

In overwhelming majority of cases the most part of distributed foreign movies are dubbed for Russian Federation. However the audience has the expirience of watching dubbed screen versions, while professionals and small part of cinema-goes criticize the quality of dubbing for modern foreign movies. One of the negative reason is baneful influence, destruction of director idea and crippling the film. The aim of dubbing companies is searching for the shit of meaning from one cultural language to another, i.e. realization of the process at intercultural level. By now this phenomenon has been used for leading the consciousness of audience

This is an interview with Boris Krishtul in which he talks about his many years experience in cinema, about diiculties of ilmmaking and some aspects of producer's profession. B. Krishtul produced some ilms in Russia and in other countries. It ia about the problems of cinematography, speciicity of producer's work, psychological laws of management, personnel training in the centre of attention.