| 期 |
标题 |
文件 |
| 卷 13, 编号 3(49), 2021 |
The Victimizer-Victim Conflict as Represented in the Foreign Post-War Cinematograph |
(Rus)
|
|
Статья M.
|
| 卷 13, 编号 2(48), 2021 |
Visual Communications of May 1968 in France in the XXI century: Slogans, Posters, Cinema |
(Rus)
|
|
Статья M.
|
| 卷 13, 编号 1, 2021 |
“The Devil’s Cinema”: from Jean Epstein’s Theory to Robert Eggers’ Films |
(Rus)
|
|
Статья A.
|
| 卷 12, 编号 4, 2020 |
Sound Space of M.Garrone’s Films: from Fiction to Reality |
(Rus)
|
|
Статья J.
|
| 卷 12, 编号 4, 2020 |
The Concept of Latent Dramaturgy in Contemporary Iranian Cinema |
(Rus)
|
|
Статья M.
|
| 卷 12, 编号 2, 2020 |
Palestine in Foreign Cinema |
(Rus)
|
|
Статья A.
|
| 卷 12, 编号 2, 2020 |
A Cultural Modification of Ibsen's Play “A Doll's House” for Iranian Screen |
(Rus)
|
|
Статья N.
|
| 卷 12, 编号 1, 2020 |
A screen version of the story of Salinger translated into Farsi |
(Rus)
|
|
Статья N.
|
| 卷 11, 编号 4, 2019 |
Agnes’ Self-Reflection in Ingmar Bergman’s Cries and Whispers |
(Rus)
|
|
Статья M.
|
| 卷 11, 编号 3, 2019 |
Sound in the films of Michael Haneke from the perspective of phenomenological aesthetics |
(Rus)
|
|
Статья J.
|
| 卷 11, 编号 3, 2019 |
The story of one crime: in life, in literature and in cinema |
(Rus)
|
|
Статья I.
|
| 卷 11, 编号 2, 2019 |
Existential problematics in the films of Pedro Costa |
(Rus)
|
|
Статья V.
|
| 卷 11, 编号 1, 2019 |
Australian cinema: transforming youth issues over time |
(Rus)
|
|
Статья I.
|
| 卷 10, 编号 4, 2018 |
The Influence of Works by Frank Wedekind on the German Cinema of the Early ХХ Century |
(Rus)
|
|
Статья S.
|
| 卷 10, 编号 3, 2018 |
The Image of Femme Fatale in German Films of the 1920s as Evidence of the Process of Society Renewal |
(Rus)
|
|
Статья S.
|
| 卷 10, 编号 3, 2018 |
Choreographic Art on the Cinema Screen: Film-Ballet or Ballet-Film? |
(Rus)
|
|
Статья D.
|
| 卷 10, 编号 2, 2018 |
The Influence of Traditions of Culture on the Techniques of Sound Directing in Japanese Cinema. Speech and Pause |
(Rus)
|
|
Статья E., Статья E.
|
| 卷 10, 编号 2, 2018 |
Screen Self-Reflection: Classification of Species |
(Rus)
|
|
Статья M.
|
| 卷 10, 编号 2, 2018 |
Psychological Insight in Asgar Farhadi’s Early Films |
(Rus)
|
|
Статья N.
|
| 卷 10, 编号 1, 2018 |
The Influence of Cultural Traditions on Sound Design Techniques in Japanese Cinema. Sound Effects and Music |
(Rus)
|
|
Статья E., Статья E.
|
| 卷 10, 编号 1, 2018 |
The Transformation of the Jesse James’ Myth in Contemporary American Cinema |
(Rus)
|
|
Статья D.
|
| 卷 10, 编号 1, 2018 |
The Origins of the First Sound Animation: Songs Series by the Fleischer Brothers |
(Rus)
|
|
Статья N.
|
| 卷 9, 编号 4, 2017 |
Counterculture and Its Impact upon American Rock Music Documentaries in 1960-1970s |
(Rus)
|
|
Статья M.
|
| 卷 9, 编号 3, 2017 |
The Aspects of Body in American Film Noir (1941-1955) |
(Rus)
|
|
Статья K.
|
| 卷 9, 编号 3, 2017 |
万氏兄弟的中国动画创作 |
(Rus)
(简体中)
|
|
顾启军/著|吴逸斐/译 -.
|
| 卷 9, 编号 3, 2017 |
India and England in the Mirror of Screen |
(Rus)
|
|
Статья I.
|
| 卷 9, 编号 2, 2017 |
Individualism as a Cultural Syndrome in Recent American Cinema |
(Rus)
|
|
Статья N.
|
| 卷 9, 编号 2, 2017 |
Cinema of Arabic East: the Problem of Radical Islam |
(Rus)
|
|
Статья A.
|
| 卷 9, 编号 1, 2017 |
Screen Image and the System of expressive Means in American Documentary of the 1960s |
(Rus)
|
|
Статья M.
|
| 卷 9, 编号 1, 2017 |
Style “Noir” in Classical and Contemporary Art History |
(Rus)
|
|
Статья K.
|
| 卷 8, 编号 4, 2016 |
Travesty of the Sacred in Postmodernist Westerns |
(Rus)
|
|
Статья N.
|
| 卷 8, 编号 4, 2016 |
Two Peoples, Two Worlds |
(Rus)
|
|
Статья I.
|
| 卷 8, 编号 3, 2016 |
The Influence of the Painting Tradition on Derek Jarman’s Films |
(Rus)
|
|
Статья I.
|
| 卷 8, 编号 3, 2016 |
Specifics of Imaginative Approach in the US Documentary of 1960-2000s |
(Rus)
|
|
Статья M.
|
| 卷 8, 编号 3, 2016 |
Indian Cinema: Past and Present |
(Rus)
|
|
Статья D.
|
| 卷 8, 编号 3, 2016 |
A Criminal as the Main Movie Character, or Old Themes and New Solutions |
(Rus)
|
|
Статья I.
|
| 卷 8, 编号 2, 2016 |
Isao Takahata’s Nostalgia |
(Rus)
|
|
Статья L.
|
| 卷 8, 编号 2, 2016 |
Primary Cinema Sources of American Noir |
(Rus)
|
|
Статья K.
|
| 卷 8, 编号 1, 2016 |
The Birth of Identity in the Finnish Cinema |
(Rus)
|
|
Статья C.
|
| 卷 8, 编号 1, 2016 |
Emotional Influence on the Viewer in Contemporary American Cinema |
(Rus)
|
|
Статья F.
|
| 卷 8, 编号 1, 2016 |
American Biopic in Contemporary Cinema |
(Rus)
|
|
Статья I.
|
| 卷 7, 编号 4, 2015 |
European Avant-guard: Dialectics of “Feature” and “Non-feature” Films |
(Rus)
|
|
Статья M.
|
| 卷 7, 编号 4, 2015 |
The Theme of Apocalypse in Australian Cinema |
(Rus)
|
|
Статья I.
|
| 卷 7, 编号 3, 2015 |
Iran in Contemporary Russian Cinema (Film’s Visual Formula) |
(Rus)
|
|
Статья -.
|
| 卷 7, 编号 3, 2015 |
Video Aesthetics in Cinema and Video Art |
(Rus)
|
|
Статья D.
|
| 卷 7, 编号 2, 2015 |
World War II in the Cinema of Green Continent |
(Rus)
|
|
Статья I.
|
| 卷 7, 编号 2, 2015 |
Pirjo Honkasalo’s World of Thoughts and Symbols in Russia: Sample of Statistical Analysis |
(Rus)
|
|
Статья K.
|
| 卷 7, 编号 1, 2015 |
European Film Avant-Garde: Poetics of Objectiveness |
(Rus)
|
|
Статья M.
|
| 卷 6, 编号 4, 2014 |
Phenomenon of Political Biopic in the English-Language Cinema |
(Rus)
|
|
Статья I.
|
| 卷 6, 编号 3, 2014 |
Crime Teenpic as a Subgenre of American Cinema |
(Rus)
|
|
Статья V.
|
| 卷 6, 编号 2, 2014 |
Superhero Cinema Comics: Gender Transposition |
(Rus)
|
|
Статья N.
|
| 卷 6, 编号 1, 2014 |
The Silent Era in Australian Cinema |
(Rus)
|
|
Статья I.
|
| 卷 5, 编号 4, 2013 |
The Visible and Invisible Worlds in Louis Bunuel’s “Viridiana” |
(Rus)
|
|
Perelshtein R.
|
| 卷 5, 编号 3, 2013 |
Camp Aesthetics and Movie Mix |
(Rus)
|
|
Tsyrkun N.
|
| 卷 5, 编号 2, 2013 |
Algeria: Birth of Cinema |
(Rus)
|
|
Shakhov A.
|
| 卷 5, 编号 1, 2013 |
«Drowning by Numbers» by Peter Greenaway in light of surrealism |
(Rus)
|
|
Perelshtein R.
|
| 卷 4, 编号 4, 2012 |
Scenic birth of “Waiting for Godot” by Samuel Beckett |
(Rus)
|
|
Anishchenko M.
|
| 卷 4, 编号 2-3, 2012 |
Madrid, province, Barcelona. Geography as a Phenomenological Object of Cinema |
(Rus)
|
|
Reizen O.
|
| 卷 4, 编号 2-3, 2012 |
«Terra Incognita» Cinema |
(Rus)
|
|
Zvegintseva I.
|
| 卷 3, 编号 3, 2011 |
Live Broadcast of Terrorist Acts as Media Mythology of Show-Civilization |
(Rus)
|
|
Ilchenko S.
|
| 卷 3, 编号 2, 2011 |
The Parable in the Work of World Film Masters |
(Rus)
|
|
Tugushi S.
|
| 卷 3, 编号 2, 2011 |
The Iranian Cinema of the 20th Century (1900-1980) |
(Rus)
|
|
Mirakhorli A.
|
| 卷 3, 编号 1, 2011 |
New "Lyrical Sentience" of Guillaume Apollinaire and "Lyrical Truth" of Louis Delluc |
(Rus)
|
|
Vinogradov V.
|
| 卷 2, 编号 4, 2010 |
The Phenomenon of the French NewWave. Technology or Ideology? |
(Rus)
|
|
Vinogradov V., Vinogradov V.
|
| 卷 2, 编号 3, 2010 |
Jean Cocteau. Trilogy about Death, or Between Dionysius and Apollo |
(Rus)
|
|
Vinogradov V., Kokto Z.
|
| 卷 2, 编号 2, 2010 |
Dada on Screen. "The Bride Stripped Bare By Her Bachelors, Even" by M. Duchamp in R. Clair's "Entr'acte" |
(Rus)
|
|
Vinogradov V., Vinogradov V.
|
| 卷 2, 编号 1, 2010 |
Swedish Cinematograph at the beginning of the XXI century. The problem of national style |
(Rus)
|
|
Koblenkova D., Koblenkova D.
|
| 卷 1, 编号 1, 2009 |
Cinema of Bulgaria at the turn of century |
(Rus)
|
|
Utilov V.
|
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