The article considers the directorial approaches of M.I. Romm and A.A. Tarkovsky to presenting historical events of different eras on the screen in the films of the 1960s. A comparative analysis of M. Romm's documentary “Ordinary Fascism” (1965) and A. Tarkovsky's fiction film “Andrei Rublev” (1966) is offered. The importance of essayism when tackling historical topics in cinema is demonstrated. The author concludes that turning to the Soviet-era film heritage is highly relevant in the context of developing national and historical identity in the younger generation in contemporary Russian society.

This article presents a multidimensional study of the transformation processes in Russian cinema of 1987-1999, viewed through the lens of the emerging new models of national and cultural identity. Based on the key films of the era — “Assa” by S. Solovyov, “Little Vera” by V. Pichul, “Intergirl” by P. Todorovsky, “Burnt by the Sun by” N. Mikhalkov and “Brother” and “Brother-2” by A. Balabanov — the complicated dialectical process of the disintegration of Soviet identity and the establishing of new identification strategies is analyzed.

The article examines the ideas of Mikhail Matyusin, a Russian avant-garde artist and composer, related to cinema and echoing the concepts of Sergei Eisenstein. Matyushin's texts touching upon the topic of cinema are analyzed in the context of his work and compared to the manifesto “A statement on Sound” (Zayavka. The Future of Sound Film). The study shows the similarities of the two avant-garde artists' approaches to creating an audio-visual counterpoint. A number of facts and documents are introduced into scholarly discourse.

The paper looks into the elements of Oriental culture to assess its impact on Tarkovsky’s aes- thetic thinking and his artistic techniques. The main focus is on revealing the link between the specifics of Oriental culture and the themes of Tarkovsky’s films which appears crucial for understanding how Tarkovsky met the challenge of “reviving spirituality” in his works.

The article addresses the imagery of the film “Commissar” by Alexander Askoldov. The author undertakes an episode-by-episode analysis of the film to reveal the use of religious and mythological images and patterns, including cultural phenomena and mythology that originated in the twentieth century.

This article examines P.P. Pasolini’s approach to Chaucer’s text, describes the logic behind its transformation, and characterises the song repertoire in “The Reeve’s Tale”. While contrasting the crisis of contemporary bourgeois culture to the integ-rity of the Renaissance worldview, the director significantly alters Chaucer’s text. By emphasising the fragmentation of reality, he avoids making any moral judg-ments. The musical intermediary code in “The Reeve’s Tale” proves to be one of the most important tools for revealing this antinomy in the world. The song lyrics are usually opposed to the plot. The multilingualismof the songs hinders the audi-ence’s understanding of the text in its relation to the plot. Aware of it, Pasolini strives to achieve emotional engagement with the plot through the expressiveness of the music and the effect of breaking the ‘fourth wall’.

The article analyzes the key take-aways of the national documentary cinema at the end of the first quarter of the ХХI century. The primary focus is on examining the predominant thematic and creative reference points for documentary filmmakers, which reflect new developments in society, as well as on the methods chosen by the authors for the interpretation of these new trends. The changing relationship between the individual and society alters the filmmakers’ approach both to the reinvention of creative techniques for capturing reality and the authorial structuring of the film.

Since the 2000s, Russian cinema has seen a key trend in domestic cinema: the rehabilitation of the father figure on the big screen, which is accompanied by the acceptance of society's own history and lineage, which is imperfect, flawed, but understood to be the only option. In fact, through such a character, society is turning towards itself. The main theme of these films is “not so good but our own”. Moreover, there is a fundamental difference between the “father-daughter” and “father-son” films: while the former focuses on building basic trust in the world through overcoming negative experiences, the latter focuses on restoring the spiritual vertical. The article analyzes modern Russian films that explore the relationship between a father and his son: “Sonok” (2009), “The Heart of the World” (2018), “Temporary Difficulties” (2018), “Batya” (2020), “Family” (2021), “Day of the Dead” (2021), “Batya-2. Grandfather” (2025) and others.

The article examines the current trends in the development of contemporary Russian cinema amid global challenges and its potential as part of the state cultural policy. The academic novelty of the study lies in its comprehensive analysis of the representation of family relations (the image of the family) through the lens of modern festival cinema. The core of the content focuses on the portrayal of family dynamics and character typologies in recent Russian films. The conclusions identify significant trends and outline key indicators of family representation.

The article analyzes the creative method chosen by the French director Robert Bresson for his film “Money” (1983, based on “The Forged Coupon” by L.N. Tolstoy). The author focuses on the director’s specific approach to film and finally assumes that the film creates a kind of a counterpart of the original world, which becomes the basis for literary narration.

The article examines what changes the concept of authorship and the boundaries between mainstream and elite arthouse cinema in the digital age. Using online films and protest practices as examples, it explores how artificial intelligence (AI) affects artistic production and audience response. The ideas of Alexis de Tocqueville, M. Bakhtin, Y. Lotman, S. Lourie, and J. Baudrillard provide theoretical background for the article and contribute to a new understanding of the role of AI as a co-creator in the cultural environment.

The article discusses the ways of constructing reality through modern media. Plot features and the semiotic component in audiovisual information works allow for the transmission of universal images. The author comes to the conclusion that the archetype of Rebirth (a term coined by C.G. Jung), as well as the biblical story of salvation, underlie most news items. The results of the study contribute to the disclosure of the conceptual features of television, which impacts the viewer’s agenda and subsequent behavioral strategies.

The article examines the role and functions of a producer in modern creative industries. It provides a typology of producers in the modern media space. The concept of transmedia production is considered. The article analyzes the responsibilities and competencies of a producer in the context of digitalization, as well as modern approaches to visual content production. The article looks at the trends and challenges of the modern creative industry, as well as current trends in visual content production.

The article is a preliminary review of the latest trends in modern film production, primarily related to the emergence of artificial intelligence (AI) technologies. The text of the article provides an overview of the main areas of implementation of AI technologies, and also raises the question of the possibilities and limitations of these technologies in the creative process, examines aspects of the influence of new technologies and the results of changes in film production.

The article looks at the largest Russian distributors of foreign independent films, analyzes the localization of independent films in Russia. Release models in the distribution of inde- pendent films in Russia are highlighted. The role of specialized cinema chains and indi- vidual cinema houses in the distribution of independent films is analyzed. The intricacies of planning the release of an independent film are studied. Issues of state support for the distribution of independent films are considered. The main obstacles to the distribution of independent foreign films in Russia are identified. Characteristics of a successful strategy for adapting independent foreign films to the Russian market are outlined.