The article is devoted to the semiotic interpretation of the theoretical heritage of S.M. Eisenstein, the film maker who anticipated the structuralist approach which has been so popular from the 1960s. Back in the 1960s, Eisensteins heritage attracted the attention of Academician Vyacheslav Ivanov because he found there he found a trend for understanding cinema as a language or, to be more precise, as a semiotic system. Vyacheslav Ivanov could not but notice it, as the formation of semiotics methodology in Russia is associated with his name. No wonder that he would reflect on the background of art semiotics which in the sphere of motion pictures is associating with the name of S.M. Eisenstein. While trying to appreciate the significance of Vyacheslav Ivanov’s research of Eisensteins aesthetics, the author is contemplates on the application of semiotics methodology to the cinema as a semiotic system. In this regard the article is reproducing the aura of devotion to semiotics of domestic film scholars. When explaining the meaning of the title of Ivanov’s book on S. Eisenstein, the author argues that the concept of semiotics was initially developed on the stage of the formation of aesthetics as a philosophical science.

The article is an attempt to justify and describe the way of transition from the object-oriented and conceptual-oriented theoretizing about cinema resulting in the existing fragmentary film theory to special methodological work comprising the problematization of the existing knowledge-modified representations, their deobjectivation, arrangment and reorganisation according to the program of the cinema onthology, understood as the fundamental element of the cinema-as-system - of- activities.

The purpose of the article is to introduce unknown archive documents and footage into scientific use, to give historians new factual material on sci-fi cinema. Based on the experience of those film directors whose work did not find adequate representation in Russian cinema-tology, the author argues that the first film about conquering Venus was conceived and partially shot in Russia in the late 1930s. The vast archive material cited in the article is aimed at changing the existing conception of the development of sci-fi genre in the worlds cinema.

The article deals with a special type of a happy ending when the final well-being is a kind of a surprise or godsend’ that is obtained through no effort of the protagonist. This type of ending deviates from the logic of the classical film narrative’ and is closer to the dramaturgical technique ‘deus ex machina‘. It is shown that the use of this technique looks justified if one of the characters of the movie is an anthropomorphic representative of some higher power.

The article explores the work of Sergey Bodrov Sr. in the context of the release of the epic fantasy film “Seventh Son” and substantiates the reason of the organic adaptation of a Russian director’s artistic stance in foreign cinema.

The article is devoted to the sound in a film for the purposes of understanding a director's aesthetics in auteur cinema. The questions - What does a sound create in a film? How does it do it? - become the problem of understanding why the sound is used in a film in a certain way. The issue is discussed through the example of Alexander Sokurov's film “The Lonely Voice of Man.” The author attempts to appraise the significance of sound effects, voice and music as an essential component of screen embodiment of director's existential reflection.

The article analyzes the problem of changing a perception of visual arts, as well as the transformation of art functioning mechanism emerged under the influence of media sphere evolution. The author treats the most popular genres of contemporary art: photography, hyperrealism and video art, analyzes a new type of media thinking, based on collective perception.

The article focuses on the phenomenological description of poetical nature of film image associated with such elements as water and air (fog) in European film avant-garde. The author explores the origin of artistic imagination in connection with the problem of perception and representation of reality in a director's method

The article deals with the changes taking place in the property sphere of Russian film industry under the influence of economical and political factors, namely the transformations that the major Soviet film studios had gone through in the post-Soviet period.

The article analyzes the statistical distribution dynamics of domestic film attendance within the territory of the Russian Federation covering a five-year period (from 2009 to 2013). The authors point out four distribution categories and six subcategories for films in accordance with their attendance at cinemas. Comprehensive analysis of the films grouped into each category allows to make conclusions concerning a progression of absolute measure of domestic film attendance and increase its relative share in the total amount of distribution.

The article investigates the visual integration of permanent data flows in the television frame as exemplified by the split screen as a new method of creating actuality programs. The author shows the artistic aspect of the objects’ interplay in the 2D and poly-angle frame.

The article discusses the nature of our relationship to other countries, it considers the role of information channels, particularly television, in forming this relation. Mass media by selecting the facts creates value picture. TV occupies the special position, being the most heavily consumed by Russians. Information policy becomes a socio-political factor, which depends on certain structures, certain personalities as immediate actors taking place.