| 期 |
标题 |
文件 |
| 卷 3, 编号 4, 2011 |
Sovremennaya estetika. Mezhdu naukoy i iskusstvom |
(Rus)
|
|
- -.
|
| 卷 11, 编号 2, 2019 |
Modern art history as a human science in a situation of cultural turn |
(Rus)
|
|
Khrenov N.
|
| 卷 4, 编号 4, 2012 |
Social and Economic Aspects of Forming Film Audience |
(Rus)
|
|
Voskolovich N., Molchanov I.
|
| 卷 4, 编号 2-3, 2012 |
Sociocultural Functions of Film Libraries and Archives |
(Rus)
|
|
Malyshev V.
|
| 卷 5, 编号 3, 2013 |
Social and cultural effects of the fragmentation of the audience |
(Rus)
|
|
Bakulev G.
|
| 卷 11, 编号 2, 2019 |
The environment of the cinematic spectacle. The architecture of the early Russian movie theaters |
(Rus)
|
|
Anisimov A.
|
| 卷 4, 编号 1, 2012 |
Essential Peculiarities of Time Representation in the post-perestroika cinema |
(Rus)
|
|
Bezenkova M.
|
| 卷 4, 编号 4, 2012 |
Scenic birth of “Waiting for Godot” by Samuel Beckett |
(Rus)
|
|
Anishchenko M.
|
| 卷 9, 编号 2, 2017 |
Tarkovsky in a Changing Time |
(Rus)
|
|
- -.
|
| 卷 5, 编号 3, 2013 |
Baz Luhrmann’s creative manner |
(Rus)
|
|
Zvegintseva I.
|
| 卷 1, 编号 1, 2009 |
The creative work of Sergey Paradzhanov as an event of Postmodernism |
(Rus)
|
|
Lukashova A.
|
| 卷 2, 编号 4, 2010 |
"The Karamazov Brothers" as intellectualgames |
(Rus)
|
|
Il'chenko S., Ilchenko S.
|
| 卷 4, 编号 2-3, 2012 |
Television: Process and Phenomenon |
(Rus)
|
|
Shumakov S.
|
| 卷 4, 编号 2-3, 2012 |
Television Civilization and Image of Reality |
(Rus)
|
|
Utilova N.
|
| 卷 4, 编号 2-3, 2012 |
World War Two in the Cinema of the Late 1950s |
(Rus)
|
|
Zaitseva L.
|
| 卷 2, 编号 2, 2010 |
Theory of Marginality and the Cinemaof Postmodernism (P.P. Pasolini,R. Khamdamov, J. Stelling, L. von Trier) |
(Rus)
|
|
Koblenkova D., Koblenkova D.
|
| 卷 5, 编号 4, 2013 |
Now we have forty... |
(Rus)
|
|
Tsyrkun N.
|
| 卷 3, 编号 3, 2011 |
Live Broadcast of Terrorist Acts as Media Mythology of Show-Civilization |
(Rus)
|
|
Ilchenko S.
|
| 卷 2, 编号 2, 2010 |
Traditions and Innovations in Film Education |
(Rus)
|
|
Novikov A., Novikov A.
|
| 卷 2, 编号 3, 2010 |
Jean Cocteau. Trilogy about Death, or Between Dionysius and Apollo |
(Rus)
|
|
Vinogradov V., Kokto Z.
|
| 卷 4, 编号 2-3, 2012 |
The Origins of Surrealism. Absolutizing the Unconscious |
(Rus)
|
|
Adashevskaya Z.
|
| 卷 5, 编号 3, 2013 |
Usloviya publikatsii statey v nauchnom periodicheskom zhurnale «Vestnik VGIK» |
(Rus)
|
|
- -.
|
| 卷 5, 编号 1, 2013 |
Usloviya publikatsii statey v nauchnom periodicheskom zhurnale «Vestnik VGIK» |
(Rus)
|
|
- -.
|
| 卷 2, 编号 4, 2010 |
Usloviya publikatsii statey v nauchnomperiodicheskom zhurnale «Vestnik VGIK» |
(Rus)
|
|
- -.
|
| 卷 3, 编号 4, 2011 |
The factors of competitive ability of national film industries |
(Rus)
|
|
Zhabskiy M.
|
| 卷 4, 编号 1, 2012 |
The factors of competitive ability of national film industries |
(Rus)
|
|
Zhabskiy M.
|
| 卷 4, 编号 4, 2012 |
Phenomenon of the System Repetition in Photography as an Alternative to Film |
(Rus)
|
|
Burov A.
|
| 卷 2, 编号 4, 2010 |
The Phenomenon of the French NewWave. Technology or Ideology? |
(Rus)
|
|
Vinogradov V., Vinogradov V.
|
| 卷 4, 编号 1, 2012 |
Philosophic Foundations of an Audiovisual Counterpoint in a Film |
(Rus)
|
|
Mikheeva Y.
|
| 卷 3, 编号 1, 2011 |
A. Zvyagintsev's «The Banishment» and the Tradition of Transcendental Cinema |
(Rus)
|
|
Kljueva L.
|
| 卷 2, 编号 4, 2010 |
A. Zvyagintsev's «The Banishment» and the Tradition of Transcendental Cinema |
(Rus)
|
|
Klyueva L., Kljueva L.
|
| 卷 2, 编号 4, 2010 |
A Film as an "Unfinished Script": theProblem of Composition |
(Rus)
|
|
Korshunov V., Korshunov V.
|
| 卷 5, 编号 2, 2013 |
Film as Text. Some Aspects of Text Analysis |
(Rus)
|
|
Kluyeva L.
|
| 卷 2, 编号 1, 2010 |
Films about filmmaking. Reality and game |
(Rus)
|
|
Perel'shteyn R., Perelshtein R.
|
| 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 |
The Formula of Producer’s Happiness? |
(Rus)
|
|
Bakulev G.
|
| 卷 2, 编号 3, 2010 |
Artistic Merit as a Russian Film Competitiveness Factor |
(Rus)
|
|
Ziborova O.
|
| 卷 3, 编号 2, 2011 |
Space in Art and Cinema |
(Rus)
|
|
Sedlovskiy A.
|
| 卷 5, 编号 2, 2013 |
Artistic Space as a Modern Aesthetical Category |
(Rus)
|
|
Nikitina I.
|
| 卷 4, 编号 2-3, 2012 |
Artistic and symbolic meaning of Alexander Sokurov’s tetralogy (philosophical and aesthetic study) |
(Rus)
|
|
Bychkov V.
|
| 卷 3, 编号 2, 2011 |
Artistic Ambitions of Screen Document at the Turn of the Century |
(Rus)
|
|
Prozhiko G.
|
| 卷 3, 编号 1, 2011 |
Artistic Ambitions of Screen Document at the Turn of the Century |
(Rus)
|
|
Prozhiko G.
|
| 卷 4, 编号 2-3, 2012 |
Artistic and Aesthetical Aspects of the Systematic Change in the First Half of the 20th Century |
(Rus)
|
|
Burov A.
|
| 卷 5, 编号 3, 2013 |
Khudozhestvennye resheniya ekrannogo prostranstva v istoricheskom fil'me |
(Rus)
|
|
Eliseeva E.
|
| 卷 4, 编号 1, 2012 |
Khudozhnik dvukh kontinentov - Nikolay Feshin |
(Rus)
|
|
Riss V.
|
| 卷 2, 编号 2, 2010 |
Artist and Repression: Reflections |
(Rus)
|
|
Perel'shteyn R., Perelshtein R.
|
| 卷 2, 编号 1, 2010 |
Color and Sound in Balzac's Novels |
(Rus)
|
|
Anosova N., Anosovа N.
|
| 卷 2, 编号 1, 2010 |
Digital Technologies in Cinema |
(Rus)
|
|
Artemov V., Artemov V.
|
| 卷 2, 编号 3, 2010 |
Digital Technologies and Virtual Worlds: Is Mankind on the Threshold of New Art? |
(Rus)
|
|
Yaremenko Y.
|
| 卷 2, 编号 2, 2010 |
Digital Technologies and Virtual Worlds: Is Mankind on the Threshold of New Art? |
(Rus)
|
|
Yaremenko E., Yaremenko Y.
|
| 卷 3, 编号 3, 2011 |
Human Being in Media Arts: Character and TV Series |
(Rus)
|
|
Kazyuchits M.
|
| 卷 2, 编号 2, 2010 |
ChITAL'NYY ZAL |
(Rus)
|
|
- -.
|
| 卷 9, 编号 1, 2017 |
ChITAL'NYY ZAL | KNIZhNAYa POLKA |
(Rus)
|
|
- -.
|
| 卷 9, 编号 1, 2017 |
ChITAL'NYY ZAL | KNIZhNAYa POLKA |
(Rus)
|
|
- -.
|
| 卷 9, 编号 1, 2017 |
READING ROOM | BOOKSHELF |
(Rus)
|
|
- -.
|
| 卷 8, 编号 2, 2016 |
ChITAL'NYY ZAL | KNIZhNAYa POLKA |
(Rus)
|
|
- -.
|
| 卷 8, 编号 2, 2016 |
ChITAL'NYY ZAL | KNIZhNAYa POLKA |
(Rus)
|
|
- -.
|
| 卷 7, 编号 2, 2015 |
READING ROOM | BOOKSHELF |
(Rus)
|
|
- -.
|
| 卷 2, 编号 1, 2010 |
ChITAL'NYY ZAL/ KNIZhNAYa POLKA |
(Rus)
|
|
- -.
|
| 卷 2, 编号 1, 2010 |
ChITAL'NYY ZAL/ KNIZhNAYa POLKA |
(Rus)
|
|
- -.
|
| 卷 4, 编号 2-3, 2012 |
What Is an Ideal Script? Panel Discussion within the Framework of the Conference »Hero in Modern Writing» |
(Rus)
|
|
- -.
|
| 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 9, 编号 1, 2017 |
School of mastership |
(Rus)
|
|
- -.
|
| 卷 5, 编号 2, 2013 |
On modeling TV programs |
(Rus)
|
|
Vanchenko T.
|
| 卷 5, 编号 3, 2013 |
Evolution of the TV documentary genres and the principles of its classification |
(Rus)
|
|
Shergova X.
|
| 卷 3, 编号 3, 2011 |
The Commercial Value of an Audiovisual Product. A Film as a Commodity Item |
(Rus)
|
|
Melesse Y.
|
| 卷 2, 编号 1, 2010 |
Screen in the new time |
(Rus)
|
|
Krivosheev M., Krivocheev M.
|
| 卷 4, 编号 4, 2012 |
Ekran i stsena. Dialog prostranstv |
(Rus)
|
|
- -.
|
| 卷 2, 编号 2, 2010 |
Screen reality in the context media milieu modernization |
(Rus)
|
|
Urazova S., Urazova S.
|
| 卷 2, 编号 2, 2010 |
Second World War Film Chronicle |
(Rus)
|
|
Prozhiko G., Prozhiko G.
|
| 卷 5, 编号 2, 2013 |
Screen image. Aftereffect |
(Rus)
|
|
Poznin V.
|
| 卷 3, 编号 1, 2011 |
Hellenistic Reform. Epicureanism and Image Deviations |
(Rus)
|
|
Burov A.
|
| 卷 5, 编号 4, 2013 |
Hellenistic Period and Its Cultural Significance |
(Rus)
|
|
Pondopulo G.
|
| 卷 5, 编号 3, 2013 |
Camp Aesthetics and Movie Mix |
(Rus)
|
|
Tsyrkun N.
|
| 卷 2, 编号 1, 2010 |
Aesthetic Features of the Modern TV-documentary |
(Rus)
|
|
Shergova K., Shergova K.
|
| 卷 3, 编号 3, 2011 |
Language, Speech and Image in Analysing Artistic Forms |
(Rus)
|
|
Mikheyeva Y.
|
| 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 10, 编号 4, 2018 |
世界影坛杰作对制片人创造性世界观的影响 |
(Eng)
(简体中)
(Rus)
|
|
Статья V.
|
| 卷 11, 编号 1, 2019 |
电视屏幕上的游乐设施: 交通线游戏的规则 |
(Eng)
(Rus)
|
|
Статья E.
|
| 701 - 779 的 779 信息 |
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