The article analyzes Soviet historical films which represented significant historical events and biographies of outstanding personalities. The author reveals the dramatic and artistic aspects of the films created by famous directors in different years. The relevance of the moral and artistic principles inherent in these films is substantiated, allowing them to be used as an instrument for educating and upbringing modern young generations.

The perception of screen images changes over time, although the original image remains intact. This is partially due to the change in the feelings the spectator experiences when watching these films. Elaborately edited, they create a reality different from the surrounding world. Polysemy arises in pre-revolutionary cinema with the advent of narrative semantic editing techniques.

The article examines the representation of World War One in Russian pre-revolutionary cinema. The author introduces a typology of war fiction films and analyzes its transformation from 1914 to 1916, focusing on the evolution of the enemy portrayal. To account for the appearance of certain screen images, the general historical and cultural context is described. Particular attention is paid to the works of Russian philosophers (N. Berdyaev, V. Rozanov, S. Bulgakov), who wrote about the world war, which would reshape European political and socio-cultural landscapes.

The article examines the specific features of Soviet anti-religious films of the 1920s from the first propaganda campaigns to full-length feature films. The real persecution of the Church and believers was beyond the attention of filmmakers. The core purpose of such films was a full-scale defamation of the Russian Orthodox Church, its ministers and parishioners. This kind of cinema was the mainstream of militant atheism, aimed at exterminating Christianity. The author focuses primarily on little-studied films from the collection of the National Film Archive.

The article tells about the successful cooperation of writer G. Troepolsky and film director S. Rostotsky on the movie “White Bim Black Ear”; about the more significant influence on society of the film work in comparison with the literary source; about various aspects of participatory culture related to the film. It is shown that the criteria for evaluating a movie are, in addition to its artistic qualities, its interaction with the viewer and its ability to generate various cultural phenomena.

The article is devoted to the theme of death and its non-obvious manifestations in Andy Warhol’s early cinema. The analyzed material is based on two of the director’s important films — “Blowjob” and “Sleep”. The work attempts to analyze Warhol’s cinematic experiments from the perspective of using the close-ups, the philosophy of which was developed by the leading film theorists of the 20th century. Parallels are also drawn between the pictorial tradition of depicting death and Warhol’s figurative system.

The article examines the mythology in two films dedicated to ballet: “Bolshoi” (2017) by V. Todorovsky and “After You” (2017) by Anna Matison. The author highlights a conspicuous trend in modern Russian cinema towards positive appreciation of Soviet achievements. One of these is the national ballet school. This is an apparent proof that the existing post-Soviet socio-cultural paradigm is starting to change. The objective of the article is to consider the typology of representing the mythologeme associated with Soviet ballet.

The article looks into the phenomenon of the “women’s wave” in modern Russian cinema. Sure enough, the films produced by women directors in the 2000s, the 2010s and the 2020s are not identical; their imagery system has transformed under the influence of the sociopolitical context, yet certain general trends can be distinguished. The author picks out the three main ones, designating them as “romantic”, “political” and “rebellious”. These thematic areas characterize the ongoing processes in modern Russian society and take films by women directors beyond the exclusively “women's issue”.

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.

The article analyzes the formation of a new media language in the context of spherical film space. It examines the features and the construction of spherical cinema, and raises issues of adapting classical film language to a new developing cinematic format, taking into account its artistic uniqueness and the peculiarities of the audience’s perception.

The article examines the history of “slow” cinema. An analysis of theoretical works devoted to the problem suggests that this phenomenon resonates with the concept of metamodernism introduced by T. Vermeulen and R. van den Akker in the book “Metamodernism: Historicity, Affect and Depth after Postmodernism”. The comparison of the two trends — “slow” cinema and metamodernism — givesa more profound insight into the prospects and direction of the cultural and historical process of the first third of the 21st century.

The article is devoted to the creation of animated works in the digital environment. Modern technologies develop new approaches to the formation of communication between the viewer and the work. Analysis of the new creation technologies for computer animation reveals that animation performed on game engines with the use of motion capture and computer graphics transforms the production process, with characters “animated” via digitizing of the actor’s movement. Actor's facial expressions and movements conveyed to the digital character depend on the actor's skill in portraying their character's personality. This develops limitations of creating animated plastic movement, exaggeration, hyperbolization, and conventionality, thus making animators look for new approaches to visual imagery, as well as opportunities to improve the means of artistic expression for the modern computer animation.