The article encompasses the idea that the policy for the national cinema is reasonable due to its intelligence. To rationalize its current state means, above all, to strengthen its knowledge content, to make a profound use of the sociological and other scientific knowledge about the dynamic image of the film world and its hidden laws.

Overlooking the misery of artistic search in modern practice of the national documentary cinema prompts to turn to the experiences obtained half a century ago: the rise of artistic search in the documentaries of the 60-s. The article examines the socio-psychological atmosphere, which formed “the moral solidarity" of the generation that devoted itself to the renovation of documentary cinema; as well as looking into the makeover of the aesthetics of screen documentary of that time.

The article examines the role and significance of counter-communicative mechanisms in modern cinema. A detailed analysis of the strategy of de-automatization of artistic structure in Andrei Tarkovsky’s “The Mirror” is presented to support the article.

A method of reconstruction in modern Russian documentary cinema is being studied in the context of history. Real events can be portrayed on a cinema screen with the use of staging material for dramatization or as a purpose to reconstruct the reality. The pictures called “mockumentary” are based on fictional stories, painted as a “document”. Some authors experiment with artistic form, while others tell stories that never took place with extreme authenticity.

The article analyses modern films and TV series about the generation of the 60-s, as well as looking into the causes that made directors appeal to that historical period, and the relevancy of the issues of the past in the modern days.

The subject of this research is prose of Alexander Grin, the object being the specifics of cinematographic perspective at the images of the “Silver Age” representative. The article covers both historical and theoretical aspects, its goal is to unveil the previously unknown archive documents (with material of RGALI foundation and “Mosfilm”) and experimental films, which add to the history of the usage of special effects in national cinema. The analysis of films conducted by the author of the article allows to examine the evolution of the aesthetics in sci-fi cinema in the period of 1960-2010. The article also unravels the little known aspects of the work of notable Russian animators.

The article attempts to study the idea of FAITH in the context of philosophy, its interpretation in the work of art in perspective of time. The changes in interpretation are associated to social shifts, a paradigm change, when the take being begins to prevail over the spiritual; and the increased significance of science. So the need for God as a mean to explain the Universe becomes more and more negligible as the materialist concept of world takes hold.

The article concludes the early stages of methodology of “phenomenological interpretation of reality” in its forming in the context of the European avant-garde cinema. The subject to analysis is the dichotomy of “fiction” and “non-fiction” aesthetics in the documentary stylistics and poetic consciousness, based on the films of Dmitry Kirsanov, Joris Ivens, and Luchino Visconti.

The article analyses the Australian “apocalypse” films. “Apocalypse” is often used as a synonym to the world’s end or a world scale catastrophe. The world knows hundreds of motion pictures of different talent and artistry, where the set takes place either before, during or after a global catastrophe. Reasons for the apocalypse vary: nuclear war, alien invasion, riot of the machines, a gigantic meteor, a disease unknown to science, etc. Nevertheless, the result always remains the same: humanity ceases to exist. Australian filmmakers, too, have not stood out of their foreign colleagues and made a large amount of films, that tell about the world’s end, out of which many are impressive and significant, indeed.

Naomi Kawase is one of the most renown female Japanese director, awarded by the Cannes Film Festival more than once. She works alternately in fiction and documentary film, not drawing a distinct line between the two. Her favored themes are birth and death, the union of man and nature; the most distinctive feature of her style is technical minimalism. The region of Nara, Kawase’s home - is almost always the location for her films.

The article analyses the issues of television format and its dramatic foundation. Unlike film, a television spectacle is, above all, reproducible: in its core lays a replicated plot structure, which is filled with new content in each new episode of the series. The need for establishing of a steady communication with TV audience demands special rules, instruments and plot devices, enclosed in a professional term “television format”. Consistent modelling of predetermined reactions of the audience is in the core of the format’s dramatic structure. The format is seen outside the specific subject-matter; as a dynamic system: as a number of multi-level codes.

The article continues to analyse the problems associated with the processes of forming of the media evolution model (“Modeling the Media Evolution”, №3 [25]). It describes the ways to create the media evolution model in the cross-disciplinary context, which includes different lines of research. It is claimed that the methods of communication undergo the same stages of improvement as any other technology, which, in general terms, can be seen as birth, formation and extinction. There is a number of versions for the media evolution model. The article expands on the models described in the original article: the media evolution model (based on the example of the internet) of a natural life cycle type, and the multilevel model, which considers the economical, political, sociocultural and other factors. There are several assumptions in relation to the potential pathways of further improvement in media technologies.