Conditioned by globalization, the process of the planetary integration of humanity is contradictory. Ideally, globalization contains enormous positive possibilities for every society, it contributes to the true international ization of the cinema process therein. But as its actual results are determined with the mechanisms of the world film market monopolized by Hollywood, globalization predominantly takes the form of Americanization. Instead of the internalization of the cinematic life of specific societies, something opposite is occurring: its deinternationalization.

The article opening the cycle of publications Audiovisual Means of Creating Metadiegetic Space in Cinema’ systemizes means and technologies in sound direction that enable to create various spaces in a film as well as to convey the altered consciousness and the inner world of the character.

The article explores the links between human psyche and the cinema inherent traits. Understanding these links helps film creating, especially concerning the basics of the script: the plot and subject, the protagonist and antagonist.

The article analyzes one of the most significant phenomena of Russian screen art of 2005-2010, namely - Kinotetar.doc, it shows its strongest traits and explains the reasons for its decay. It explores the impact of theatrical aesthetics on harsh social drama. It presents a detailed analysis of Valeria Germanica’s film “Everybody Dies But Me” considered a manifest of this trend.

The article analyzes the mechanism of building the conflict in screenwriting within confrontation “alive / dead” by means of dynamic of corporeality - from an “alive” corporeal world of the protagonist to a “dead” static model of the antagonist's world. The scheme of their interaction is based on examples of thriller films, as well as indie films which use the elements of this genre.

In many contemporary films the theatricalization of separate elements or the film as a whole is used as a means to renovate and individualize the film language. In some cases this process attains an extraordinary freedom (both technical and aesthetic) while using audiovisual means not yet adequately analyzed theoretically but influencing the artistic language and style of the film. The article deals with the role of music and more widely with the audiovisual film solutions in the process.

The article is devoted to the research of the director’s strategy of A.Tarkovsky in his film “The Mirror” analyzed through the “mirror references” principle as a structure-forming text base. The film structure is viewed as a “film of projections”. The main aim of the article is to single out means of “mirror reflections” and technologies of creating mirror references that give birth to a unique film structure.

The article investigates the system of expressive means in documentary cinema and TV programs formed by the Dew Associates, a group of American documentary filmmakers, focusing on the ‘Direct Cinema’ peculiarities including observation and montage. The artistic techniques found by the group laid the basis for solving a number of topical issues of modern art.

The article explores the key traits of classic ‘film noir’: its periods, criteria, filmography, as well as styles and genres. tte author also gives a concise survey of the most recent research in this area with reference to both classical and modern studies in ‘film noir. Most of the texts referred to in the article are analyzed in Russian academic practice for the first time.

Tte article deals with the problems of art and culture functioning, analyses the game-changing tendencies in the financial leverage of economic entities and gives recommendations in enhancing the financial status of art and culture institutions.

Tte article (for the beginning see Issue #4 (30), 2016) looks into the activity of organizations involved in holding film festivals and prize ceremonies. Analyzing the ways of overcoming the so called “pulsating effect”, the author reveals the flaws characteristic of certain structures functioning in this field, determines the array of issues in event-based management and marketing and suggests the methods of improving management practice.

Tte article searches into one of the classical theories of mass communication - getting uses and gratifications - which explains what attracts the audience to certain media and types of content. Describing the overarching classification of using media and consumer satisfaction, the author points out that the conception of getting uses and gratifications has proved most effective in studying the audience of the Internet, in general, and social media, in particular.