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| Issue |
Title |
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| Vol 17, No 4(66) (2025) |
At the Crossroads (Documentary Screen at the End of the First Quarter of the New Century) |
Abstract
PDF (Rus)
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|
G. S. Prozhiko |
| |
| Vol 17, No 4(66) (2025) |
Acceptance of the Father in Modern Russian Cinema as Society’s Attempt to Accept its Own History and Identity |
Abstract
PDF (Rus)
|
|
S. A. Smagina |
| |
| Vol 17, No 4(66) (2025) |
Trends in Contemporary Russian Cinema: Global Challenges and Artistic-Value Potential |
Abstract
PDF (Rus)
|
|
M. F. Kazyuchits |
| |
| Vol 17, No 3(65) (2025) |
Axiological Aspects of the Interaction Between the Mainstream Russian Cinema and the Audience |
Abstract
PDF (Rus)
|
|
R. V. Frolova |
| |
| Vol 17, No 1(63) (2025) |
The Semantic Potential of the Koshchei Archetype in Modern Russian Cinema |
Abstract
PDF (Rus)
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|
P. Y. Zernova |
| |
| Vol 16, No 2(60) (2024) |
The will to death as Russian fate in K. Lopushansky’s film «Role» |
Abstract
PDF (Rus)
|
|
V. V. Vinogradov |
| |
| Vol 16, No 2(60) (2024) |
The image of space on the modern screen as an experience of myth-making |
Abstract
PDF (Rus)
|
|
V. V. Marusenkov |
| |
| Vol 16, No 2(60) (2024) |
«There Is No Flame, Only Smoke Lingers»: the Image of a Rock Musician in Modern Russian Cinema |
Abstract
PDF (Rus)
|
|
S. A. Smagina |
| |
| Vol 16, No 1(59) (2024) |
Russian Ballet School on the Screen as a Mythologeme of the Modern Socio-Cultural Paradigm |
Abstract
PDF (Rus)
|
|
V. V. Marusenkov |
| |
| Vol 16, No 1(59) (2024) |
On Some Trends of the “Women’s Wave” of in Modern Russian Cinema |
Abstract
PDF (Rus)
|
|
S. A. Smagina |
| |
| Vol 16, No 1(59) (2024) |
The figurative structure of Yakut new wave films in the context of national mythology |
Abstract
PDF (Rus)
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|
A. V. Grishina |
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