The article examines a specific case of the interaction between montage and an actor’s particular gesture: a touch. The relevance of the topic is based on the fact that this gesture plays an important role in the dramatic structure of a scene, especially if besides depicting the subtleties of the characters’ inner states, the film construct entails some multilayer meanings and inter-textual links.
Unlike the character’s tactile locating an object, the touch does not only transmit their feelings and inner state, but also assumes the object’s response to the touch. Therefore, instead of being a mere gesture, the touch is the culminating point of a process that comprises the “pre-touch” and “posttouch” periods in the evolution of the character’s emotional experience.
The analysis of different types and meanings of the touch is exemplified by a number of films by Michelangelo Antonioni, Ingmar Bergman, Jane Campion, Krzysztof Zanussi and Pavel Slavin. Special emphasis is laid on the diversity of touches in Bergman’s films. The author argues that the obviousness of this gesture never exhausts its meaning: it always contains an additional inconspicuous message.
Jane Campion’s “The Piano” demonstrates that the character’s touches may become the subject of an academic discourse in terms of modern phenomenological aesthetics.
The analysis of Zanussi’s feature “The Silent Touch” and Pavel Slavin’s documentary “The Condo Mirror: Seeing with Hands” reveals the capability of the characters’ touches to express the inherent moral and spiritual implications of the plot.
To vindicate the novelty of the research, the article introduces a number of terms that help codify the concepts referring to the touch in a motion picture: “touch-desire,” “touch-mercy,” “touch-hate,” “touch-acting,” “touchpenetration.”

The article looks at the deconstruction and analysis of a literary work by screen means using the example of The Queen of Spades (1982) directed by Igor Maslennikov.
In the film both the characters and the narrator are placed in a certain space with several time planes, and their interaction determines the dramatic movement of the picture. The authors outline and analyze the structural space of the screen version of the story. The article deals with the analysis of Igor Maslennikov's film The Queen of Spades (1982), in which the space of the film becomes a platform for the deconstruction of A.S. Pushkin's eponymous story by screen means.
Along with preserving the plot and individual details, the film copies the architectonics of the original material, including the epigraphs. In the film they reflect the analyzed structure of the story and reveal its characters as abstract entities, e.g. Hermann as Explorer, the Countess as personified Doom.
The original story is deliberately de-dramatized, in order to expose its basis, its «skeleton». The artistic world of The Queen of Spades is considered artificial but perfectly realistic, in which there is no place for the magical or the supernatural, and all extraordinary occurrences are the result of the author's structural manipulations. Hermann is transformed into a character beyond the storyline but still interacting with the plot: he is aware of the artificiality of his surroundings, but accepts the "rules of the game" in order to find the artistic and structural center of the story - the Countess's boudoir.
The film opens up new facets of the art of film adaptation — its viewing does not imply just watching the subjective interpretation of the literary plot, but its joint deconstruction (by the director and the spectator).

The article examines the representation of a character's inner conflict in a work of film art. The fundamental connection between the character’s spiritual quest and the structure of the film’s artistic space is revealed. The visual representation of this quest is essential for cinema. And the more complex it is, the more elaborate model of organizing the filmic space is required. The structure of the labyrinth, defined by Umberto Eco as a way of constructing the plot of neo-avant-garde novels, implies a close relationship between space and action. We can say that any complex process of internal search in cinema is modeled via a labyrinth. And the strange, confusing and twisted space in such cases is the reflection of the character’s twisted and warped inner world. The article shows how the internal quest is manifested through the travel in the labyrinth. The nature of this travel is determined by the internal conflict and, ultimately, the goal of the spiritual search. What can be sought by doing an internal search? Why can you get lost inside yourself? And what should be considered then as the exit from the labyrinth? “Vertigo” features the internal collision of illusions and reality. The structure of a tree-shape labyrinth here is notable for the presence of a false central room, where the protagonist ends up. In “Loveless,” the characters are engaged in pointless activity, simulating a hectic search. Their internal conflict lies in the constant avoidance of not only internal transformation, but also the awareness of its necessity. In “Parasite” the internal conflict of the characters is expressed in the discrepancy between their idea of justice and the order established in the world of the film. Boxer Butch from “Pulp Fiction” dwelling in a unicursal labyrinth, is forced to constantly make heroic choices that negate logic and common sense.

The use of a complex methodology in cinema studies is constantly being discussed. There are researches on sociology, psychology, aesthetics and semiotics of cinema. The movement towards an integrated methodology makes the idea of a philosophy of cinema relevant. The synthesis of different academic approaches in cinema studies can be only understood in terms of philosophy.
Each discipline sees and is able to explain through cinema merely what is connected with its agenda. An appropriate methodology needs to be developed so that these different aspects of cinema are transformed into the elements of a uniform system. The article analyzes the philosophical approach to cinema studies of Gilles Deleuze, who made cinema instrumental in examining time.
Deleuze’s work in question explores Henri Bergson's argumentation of dramatic changes in the perception of time. It would seem that it was cinema, with its ability to capture the dynamism of social life, that should have demonstrated the meaning of such changes. Bergson understood, quite traditionally, the ability of cinema to recreate time in the forms of space. Deleuze shares the conventional point of view on the fate of philosophy, which argues that previous philosophy disappears and, dissolving in art, exists only in artistic manifestations. The authors conclude that:
1. The intrusion of philosophy into cinema dictates the need to develop a theory as a mediator between film philosophy and filmmaking.
2. When studying cinema through other liberal sciences, it is necessary to avoid discussing specific aspects and strive for a systematic consideration.
3. The study of cinema from the point of view of various schools of thought, does not exclude finding points of contact between them.
4. The need for an integrated methodology in studying cinema involving philosophical angles is also dictated by the rapid development of technology. It is necessary to take into account what has already been accomplished in the philosophy of technology.

Drawn upon the proceedings of research on the social-economic history of American cinema (1896–1970), conducted by the classic of the sociology of film D. Prokop, this analysis is of the historical process by which Hollywood formed as an industrial system and ascended to the pinnacle of its competitiveness. Learning of cinema history in this regard affords a better understanding of and a better consideration for, in an actual film policy, the furthemost external roots of deficient competitiveness on the part of nearly any national cinema, and the finding of auspicious asymmetrical approaches to its reversal. Researched are market forms and factors for the emergence in the American film industry of the orientation toward rationalized supercostly investment competition, beyond the capabilities of other members of both the domestic and the foreign market. Within the initial market framework – that of free competition among small filmmakers – there gradually took place a certain concentration of production resources and capital in the hands of the most successful entrepreneurs. As a result, a number of firms got established which assumed the domination of the market. Free cinema competition gave way to an oligopoly. In 1922 its members incorporated themselves into a trade organization in order to facilitate the combination, among themselves, of competition and of cooperation in areas of shared interests. It was on this basis that the members gained the status of the national monopolist (1930–1946). The decline of cinema attendances taking place in the US before and after the Second World War, and the related exacerbation of the cost-effectiveness issue for film production, objectively necessitated the increase of Hollywood’s activeness on the foreign market. In 1945 a special export organization was created for supplying Hollywood films with a better access to national markets. Since 1947 Hollywood has been advancing as the international monopolist. In that capacity, in the 1990s, it gained a practically unlimited access to Russia’s theatrical market. A multitude of acute and complex issues became the agenda for Russian film policy.

The article dwells upon the urban space representation in the French cinema. The analysis is mainly based on the films “And God Created Woman” by R. Vadim, “My Nights Are More Beautiful Than Your Days” by A. Zulawsky, “The Captive” by Ch. Ackerman, “Hotel America” by A. Téchiné, “Coasting the Coast” by A. Varda , “About Nice” by J. Vigo, “Port of Shadows” by M. Carné, “The Moon in the Gutter” by J.-J. Beineix. The author takes up the study of comprehension of urban eccentric and concentric spaces formerly undertaken by Yu. Lotman, G. Simmel, W. Benjamin. As put it some of these researchers, almost every city seems to be an eccentric phenomenon which turns a man’s life into a kind of performance. Still, the author believes that the concept of eccentricity provides a basis for another related characterization — a phantom city. Not just the city as such provokes eccentricity, but there is a certain type of cities in which this quality reveals to the maximum extent. The most strikingly it is represented in the films set in coastal cities which are normally associated with some kinds of mirages. The author comes to the conclusion that the image of a coastal city in its cultural representation (in literature and films), whatever its intonation or accent, is traditionally associated with the concepts of mirage, ephemerality and fallacy. Such cities arouse feelings of marginality, of being in between the real world and a fantastic one, a sense of theatricalization, illusiveness of action – in a word, of eccentricity. These are the key typological features of coastal cities fitting into the characteristics of eccentric spaces.

A pervasive category of human existence, the game underlies the birth of culture and art. But people create various game situations in ordinary life escaping to a parallel reality. The game is a goal in itself. It negates the determinism of the world. The inner mechanism of the playing area is indigenous. Being a game of the spirit, it has nothing to do with morality as well as with virtue or sin. The specific features of the game should be considered in terms of such aesthetic notions, as beauty, harmony, joy, tension, amusement, and the ecstatic involvement of the players. The erroneous treatment of the game as something insignificant apparently diminishes its role in the life of human society. Such an important feature of the game as freedom allows the players to enjoy it. Another essential characteristic is mystery that consecrates the playing area. The peaceful coexistence of the real world with an illusory one is only possible in culture, art, sports, etc.
Notwithstanding its absurdity, the game is capable of creating enticing playing forms in everyday life, fraught with the danger of disillusionment after shifting from game to reality. The characters’ motifs often seem illogical from a mundane perspective. The game is anything but real life, so a make-believe world collides with reality and brings about negative consequences.
Through the example of several modern Iranian films, the article examines the conflicts arising from the collision of game playing with dismal reality. Rich in symbols, metaphors, mythological and artistic images, ancient Persian culture holds great potential in representing game forms in the movies, providing an indepth analysis of human existence.

The article examines the role of the video clip in modern visual culture as part of the mainstream audiovisual media subculture and its impact on the development of entertainment television. It reveals the interaction of the verbal and visual components in the current digital environment and its effect on the sensory perception of audiovisual content. It also dwells on the formation of audience’s stereotypes based on the rapid growth of digital technology. The author points out the connection of these stereotypes with the evolution of screen language, where the music score, as one of the structural elements of film and TV content, adds new meanings to the narrative arc and supplemental psychological characteristics to audiovisual images.
Special attention is focused on two prominent phenomena: conventional art and underground, highlighting a special type of their symbiosis in the era of digital culture. At the same time, the author emphasizes an apparent increase in the competition between the old music content distribution and new forms of video representation, since modern clip culture has gained access to a wider audience via numerous podcasts, rapidly ousting TV music channels. It is noted that the Internet and new technologies have created a powerful tool of self-expression for the younger generation which does not expect the information to have any cause-and-effect relationships. This leads to an increase in selective visual "snatching" of information, in compliance with formula "I see it this way", which seems to suggest: your life should be colorful and relaxed, as in "pictureepisodes," quickly flashing on the screen, where the quick pace creates the illusion of kaleidoscopic events.
This simplified semantics of "picture-episodes" appeals to the young due to its picturesque flippancy. Such is the structure of most clips which reflects the mosaic thinking molded in the postmodernist era, combining elements of popular art and design. The emergence of new format soundtracks as part of the story’s dramatic pattern alters the musical film language structure. Music videos integrated into entertainment industry allow for a quick promotion of musical compositions. This influenced the change of the cultural atmosphere, filled with new spectacular forms of entertainment, where video clips became a media advertising showcase and created new associations in collective consciousness, which led to the illusion of combining real life with an on-screen "life". It became difficult to separate real events from those on the screen, a fragment from the whole, to draw the line between actual and virtual reality. Eventually, a person begins to feel safer in the virtual world, since it is easily amendable. But at the same time, one has to make a choice between two paths: one to himself, another one to an imaginary world.

The protection of the rights and legitimate interests of creators and performers is of utmost importance in an era of rapid development of new technologies and intensive information exchange. And although most often violations relate to the area of exclusive rights and are associated with the misuse of the legal object, the implementation of personal non-property rights, in particular, the right to a name, often causes practical difficulties and gives rise to conflicts.
The author (or performer) can exercise the right to a name in various ways: by indicating his real name as well as a fictitious one, or by resorting to anonymity. Each of the chosen methods is correct. So, it is no secret that many authors (screenwriters, in particular) and performers prefer to not use their real name, but a fictitious one, i.e. a pseudonym, in their creative activity. In accordance with paragraphs 4. and 5. of Article 19 of the Civil Code of the Russian Federation, the name of an individual or his or her pseudonym can be used with the consent of this person by other persons in their creative, entrepreneurial or other economic activities in ways that exclude misleading third parties regarding the identity of citizens, as well as excluding abuse of law in other forms.
However, law enforcers often interpret the right to a name erroneously, or even worse, completely ignore this personal non-property right of authors and performers. Despite the fact that the pseudonym of a citizen can be used by third parties only with his or her consent, problematic situations often arise. How can the author prove that it was he or she who was hiding under an assumed name? How to secure a pseudonym from those who do not mind basking in the rays of someone else’s glory? The current legislation does not envisage any procedure for registering pseudonyms, so those authors and performers who seek additional protection of their creative name can use various ways and legal mechanisms. Nowadays, while authors and performers have a wide range of opportunities to both protect and dispose of their right to a name, in an era of active distribution of digital content, the issue of the status of the author’s name and its protection becomes extremely relevant.