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| Issue |
Title |
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| Vol 15, No 3(57) (2023) |
The History of Poliziotteschi: Italian Crime Films as the Reflection of the Social and Cultural Processes of the 1970s |
Abstract
PDF (Rus)
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|
A. V. Ezhevski |
| |
| Vol 15, No 4(58) (2023) |
Receptions of Henry Thoreau’s Imaginative Philosophy in Cinema |
Abstract
PDF (Rus)
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|
D. V. Zakharov |
| |
| Vol 15, No 4(58) (2023) |
Identifying the Criteria of Monstrous in Film: Analysis of Narrative Techniques |
Abstract
PDF (Rus)
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|
D. V. Litvina |
| |
| Vol 15, No 1(55) (2023) |
Danish Films about “White Slavery” as a Forerunner of the “Women's Question” in World Cinema |
Abstract
PDF (Rus)
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S. A. Smagina |
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| Vol 15, No 1(55) (2023) |
The Baroque Aesthetics of Peter Greenaway’s Films |
Abstract
PDF (Rus)
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|
E. Yu. Shmakova |
| |
| Vol 15, No 2(56) (2023) |
Typology of Female Mythological Images in Modern Scandinavian Crime Drama |
Abstract
PDF (Rus)
|
|
N. S. Тitorenko |
| |
| Vol 15, No 2(56) (2023) |
Dance as a Figurative and Semantic Embodiment of Existential Themes in the Films of Carlos Saura and Pedro Almodovar |
Abstract
PDF (Rus)
|
|
T. S. Sergeeva |
| |
| Vol 14, No 4(54) (2022) |
The Vamp in Danish Cinema of the 1910s as a Prototype of the “New Woman” |
Abstract
PDF (Rus)
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S. A. Smagina |
| |
| Vol 14, No 4(54) (2022) |
Code of Christian Morality in Lars von Trier's film “Dogville” |
Abstract
PDF (Rus)
|
|
A. V. Vinogorodskaya |
| |
| Vol 14, No 4(54) (2022) |
The Inversion of Norm in the Screen Representation of Power |
Abstract
PDF (Rus)
|
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V. А. Akimov |
| |
| Vol 14, No 3(53) (2022) |
The Grotesque in Black Comedy: Space, Time and Character |
Abstract
PDF (Rus)
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|
A. E. Babina |
| |
| Vol 14, No 2(52) (2022) |
Conceptualization of the Idea of “Sacrifice” in Lars von Trier’s Films |
Abstract
PDF (Rus)
|
|
A. V. Khalizova |
| |
| Vol 14, No 2(52) (2022) |
Cinema According to Antonioni: From Neo-Realism to Screen Existentialism |
Abstract
PDF (Rus)
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|
N. B. Kirillova |
| |
| Vol 14, No 2(52) (2022) |
The Italian Version of “Heart of a Dog” by Mikhail Bulgakov |
Abstract
PDF (Rus)
|
|
D. V. Zakharov |
| |
| Vol 13, No 4(50) (2021) |
The Italian Version of the Russian Literature Classic in the films “Tempest” and “The Steppe” by Alberto Lattuada |
Abstract
PDF (Rus)
|
|
D. V. Zakharov |
| |
| Vol 13, No 4(50) (2021) |
Mohsen Makhmalbaf ’s Non-Iranian Films |
Abstract
PDF (Rus)
|
|
N. G. Grigorieva |
| |
| Vol 14, No 1(51) (2022) |
Hollywood’s Ascension to the Pinnacle of the Competitiveness In Light of D. Prokop’s Sociological Discourse |
Abstract
PDF (Rus)
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|
M. I. Zhabskij |
| |
| Vol 14, No 1(51) (2022) |
Eccentric Images of Urban Space in French Cinematography |
Abstract
PDF (Rus)
|
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V. V. Vinogradov |
| |
| Vol 14, No 1(51) (2022) |
Iranian Cinema: Game Forms in Film Dramatic Structure |
Abstract
PDF (Rus)
|
|
M. R. Chirkina |
| |
| Vol 13, No 3(49) (2021) |
The Victimizer-Victim Conflict as Represented in the Foreign Post-War Cinematograph |
Abstract
PDF (Rus)
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|
M. R. Chirkina |
| |
| Vol 13, No 2(48) (2021) |
Visual Communications of May 1968 in France in the XXI century: Slogans, Posters, Cinema |
Abstract
PDF (Rus)
|
|
M. E. Makarova |
| |
| Vol 13, No 1(47) (2021) |
“The Devil’s Cinema”: from Jean Epstein’s Theory to Robert Eggers’ Films |
Abstract
PDF (Rus)
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|
A. K. Shevchenko-Rosliakova |
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