The article compares Kaj Munk’s play “Ordet” and the film of the same title directed by Carl Dreyer in terms of the film’s artistic space, its dramatic aspects, philosophic and aesthetical context including the theological canons of the Danish church. Special attention is given to the miracle play, a rare genre for cinema.

The article studies Michael Powell's interpretation of E.T.A. Hoffman's poetic style in his film “Peeping Tom” (1960). Based on the concept of the “Hoffmann’s complex”, the specifics of German Romanticism in the film are highlighted, forming a stable ideological and thematic “Sandman’s complex”. The study argues that the Hoffmann tradition is treated in “Peeping Tom” in terms of Freudian psychoanalysis, which became a universal symbolic language in the 20th century art. The research gives evidence to Hoffmann's intertext and its transformation in Powell's film.

“Japan Film Andepandan” was the first radical avant-garde group in Japanese cinema, which united directors T. Iimura, M. Adachi, N. Obayashi, D. Richie, etc. Their aesthetic views   rested upon such principles of “anti-art” as experimental cinematography, deconstruction, edgy themes. Using cheap 8-mm and 16-mm film-stock, they opposed their works to the commercial mainstream. The group laid the foundations of the Japanese avant-garde thus inspiring further development of independent cinema.

The cinematic representation of an artist's persona inevitably entails informational transformations. Through an examination of “Girl with a Pearl Earring”, this study traces the trajectory of Jan Vermeer's image through a multilayered system of recodings — from literary interpretation to screen incarnation. Rather than serving as an impediment, understatement emerges as a productive form of informational distortion, whilst historical details legitimise artistic fiction. This article continues a series of investigations into “informational noise” within screen arts, previously explored in scholarly publications.

The article focuses on the artistic interpretation of medieval armor in the cinema of the 1930s – 1950s. It studies the key trends in costume design for period and adventure films, as well as the influence of cultural and historical context on visual imagery. Special attention is paid to the technique of visual stylization and its impact on the images of main characters. The article explores the role of visual stylization of armor in the perception of the medieval era by the audience.

The article attempts to devise a comprehensive approach to the study of screen adaptations through screen versions of experimental literary works and radically reinterpreted classical texts. The author argues that experiment deliberately obscures the viewer's perception. The problem of the material that cannot be adapted for the screen, which is referred to as anti-cinematic, is also examined.

The article examines new trends in the concept of the human being in recent Russian documentary films, which is reflected in the evolution of the traditional film portrait towards the expansion of the essayistic structure of screen texts. The same trend in the depiction of the historical human being has given rise to an original form of “nostalgic cinema”. This has resulted in a fundamental revision of both the artistic pattern of working with the protagonist and a different perception of the previously informative archival footage.

The article studies some important artistic peculiarities of Russian films from 2000 to 2020s, which can be classified as belonging to the “New Sincerity” trend. Based on several representative feature films (including those not previously analyzed in this respect), the author shows a gradual transition from postmodern irony to post-irony as the hallmark of the “New Sincerity” cinema and considers combining personal existential lines with relevant, socially significant issues in the plots of the “New Sincerity” films as a promising dramaturgical approach required by the audience.

The article traces the complex history of cinematic interplay between Russia and Iran from the early 20th century to the present. The study focuses on the key aspects of this interaction: the influence of the Soviet film school on the formation of Iranian national cinema, the educational function of the State Film Distribution Company and the participation of Iranian films in the Moscow International Film Festival. It sees into the ideological constraints and cultural barriers that have historically shaped this cinematic exchange. The concluding section outlines potential pathways for enhancing future cooperation between the two nations

The article surveys the content featuring Soviet-Sino friendship in the 1950s published in the magazines “Iskusstvo Kino” (“Film Art”) and “Sovetsky Ekran” (“Soviet Screen”). Given the major role of visual culture in the political education in socialist states, the author focuses on the promotion of Soviet-Sino friendship through filmmaking and highlights the role of magazines which informed the audience about Soviet films demonstrated in the People’s Republic of China. The author concludes that the impact of Soviet film art on the new Chinese cinema was significant and propelled the friendship between the two nations.

The article examines Stanislav Sokolov's animated film “Bulgakov” as a unique artistic interpretation of Mikhail Bulgakov's works and an important event in modern Russian animation. It explores the rendering of dramatic, visual, stylistic and symbolic traits of Bulgakov's texts. The relevance of the present treatise gets in line with the growing interest in interdisciplinary research on literature and animation. Its novelty lies in the systematic analysis of the film as a work of art in its own right. The methods used to identify and interpret the key artistic aspects include the stylistic and semiotic approaches.

The work is devoted to the concept of “micky-mousing” in respect to the interplay of sound and visuals. The author draws the line between understanding the term as a historical technology of synchronous design and criticizing it as excessive illustration. By analyzing the psychophysiology of perception (syncretism, isomorphism) and the evolution of production practices (from tact sheets to digital editing), the transformation of micky-mousing from a technical standard to a conscious aesthetic technique of modern cinema is explored.