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| Issue |
Title |
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| Vol 15, No 3(57) (2023) |
Film chronicle of the February Revolution of 1917 and its representation in archival documentaries |
Abstract
PDF (Rus)
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|
V. K. Belyakov |
| |
| Vol 15, No 3(57) (2023) |
Russian Historical Films in XXI century |
Abstract
PDF (Rus)
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|
N. A. Tsyrkun |
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| Vol 15, No 4(58) (2023) |
On the Principles of Visualizing an Animated Chronotope |
Abstract
PDF (Rus)
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V. A. Fomina |
| |
| Vol 15, No 4(58) (2023) |
An author's intonation in the screen image of reality |
Abstract
PDF (Rus)
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|
M. N. Koneva |
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| Vol 15, No 2(56) (2023) |
The Role of the Festivity Motif in Dramatic Structure of the Film with an Existential Conflict |
Abstract
PDF (Rus)
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|
E. V. Minaeva |
| |
| Vol 15, No 1(55) (2023) |
Typology of the Representation of Moscow in Soviet Cinema |
Abstract
PDF (Rus)
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V. V. Vinogradov |
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| Vol 15, No 1(55) (2023) |
Soviet On-Screen Mythologeme of Space Exploration |
Abstract
PDF (Rus)
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V. V. Marusenkov |
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| Vol 15, No 1(55) (2023) |
Cinema Perception and Platform Distribution: Problem as a Perspective |
Abstract
PDF (Rus)
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|
N. A. Tsyrkun |
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| Vol 15, No 2(56) (2023) |
The Image of the Ascetic Hero in the Cinema of the Thaw |
Abstract
PDF (Rus)
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Yu. V. Zubkina |
| |
| Vol 14, No 4(54) (2022) |
Literary Allusions in Animated Films as a Form of Intertextuality |
Abstract
PDF (Rus)
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|
N. G. Krivulya |
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| Vol 14, No 4(54) (2022) |
Cultural Modus from the Perspective of the Semantic Content of the Film Shot |
Abstract
PDF (Rus)
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|
S. N. Sever |
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| Vol 14, No 3(53) (2022) |
Transformation of Historical Reality. One-Chamber Labyrinth as a Centripetal Model of Space |
Abstract
PDF (Rus)
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|
N. E. Marievskaya |
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| Vol 14, No 3(53) (2022) |
Ghostly Images of Historical Newsreels |
Abstract
PDF (Rus)
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|
V. K. Belyakov |
| |
| Vol 14, No 3(53) (2022) |
Literary Allusions in Animated Films as a Form of Intertextuality |
Abstract
PDF (Rus)
|
|
N. G. Krivulya |
| |
| Vol 14, No 3(53) (2022) |
The Concept of «Network Screen Image» in the Context of Screen Culture of the 2010s |
Abstract
PDF (Rus)
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|
A. A. Shtandke |
| |
| Vol 14, No 3(53) (2022) |
Rhizome as a Model of the Film's Artistic Space |
Abstract
PDF (Rus)
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A. I. Kasmynin |
| |
| Vol 14, No 2(52) (2022) |
Overcoming History. Centripetal Models of Film’s Artistic Space |
Abstract
PDF (Rus)
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|
N. E. Marievskaya |
| |
| Vol 14, No 1(51) (2022) |
The Queen of Spades (1982) as an Analysis of the Imagery in Pushkin's Eponymous Novel |
Abstract
PDF (Rus)
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V. V. Marusenkov, F. I. Sheremet |
| |
| Vol 13, No 3(49) (2021) |
The Concept Of Self-Sacrifice In The Philosophy Of Andrei Tarkovsky’s Work |
Abstract
PDF (Rus)
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|
N. B. Kirillova |
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| Vol 13, No 4(50) (2021) |
Pre-Revolutionary Non-Fiction Cinematography. Image and Sign |
Abstract
PDF (Rus)
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|
V. K. Belyakov |
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| Vol 13, No 4(50) (2021) |
Step-tap Dance as an Allegory of Historical Memory in Soviet Cinema of the Perestroika Era |
Abstract
PDF (Rus)
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|
P. Y. Zernova |
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| Vol 13, No 3(49) (2021) |
Dziga Vertov's Work as Evaluated by Kazimir Malevich: Dynamic Abstraction in the Film “Man with a Camera” |
Abstract
PDF (Rus)
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|
K. L. Goryachok |
| |
| Vol 13, No 2(48) (2021) |
Historical Trauma as a Source of Grotesque in Cinema |
Abstract
PDF (Rus)
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A. E. Babina |
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| Vol 13, No 2(48) (2021) |
A Stunt as a Plastic Metaphor in Epic Series “Liberation” |
Abstract
PDF (Rus)
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D. I. Danilov |
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| Vol 13, No 1(47) (2021) |
Drama Features оf Documentary: Movie, TV Film, Streaming Platform |
Abstract
PDF (Rus)
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|
E. S. Trusevich |
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| Vol 13, No 1(47) (2021) |
Screenlife vs. Classic Cinema |
Abstract
PDF (Rus)
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|
B. S. Shimokhin |
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