Is Film Philosophy Possible and What Aspects of Cinema May Become its Subject?
KHrenov N., KHrenov A.
Drama Features оf Documentary: Movie, TV Film, Streaming Platform
Trusevich E.
Sound as a Sign and Artistic Symbol in Film
Rusinova E.A.
The Price of Going out to the Movies — the History and the Contemporaneousness
Zhabskiy M., Tarasov K.A.
Is Film Philosophy Possible and What Aspects of Cinema May Become its Subject?
KHrenov N., KHrenov A.
Characteristics of Traditional Aesthetics in the Film Music of the Far East Countries
Sergeeva T.S.
To Give Hope or To Succumb to Depression? Understanding of Life in Contemporary Russian Cinema
Malyshev V.
From Theory to Methodology of Cinema
Schtein S.Y.
Dziga Vertov's Work as Evaluated by Kazimir Malevich: Dynamic Abstraction in the Film “Man with a Camera”
Goryachok K.
From Theory to Methodology of Cinema
Schtein S.Y.
The Way of Genre in Cinema Documentary
Prozhiko G.S.
“The Devil’s Cinema”: from Jean Epstein’s Theory to Robert Eggers’ Films
Shevchenko-Rosliakova A.
Reconstruction of the Past in the Reality of Screen Imagery
Marusenkov V.
The Influence of Works by Frank Wedekind on the German Cinema of the Early ХХ Century
Smagina S.A.
Mythologeme as a Means of Artistic Expression in Contemporary Russian Cinema
Marusenkov V.
The Image of Femme Fatale in German Films of the 1920s as Evidence of the Process of Society Renewal
Smagina S.A.
Evolution of Stunt Episodes in Fiction Films about the Great Patriotic War
Danilov D.I.
The Influence of Traditions of Culture on the Techniques of Sound Directing in Japanese Cinema. Speech and Pause
Rusinova E.A., Khabchuk E.M.
Entrepreneur as a hero of Russian cinema in the first half of the 1990s: the adoption of a new stereotype
Karavaev D.L.
The sound space of the city as a reflection of ‘‘the spirit of the times’’ and the inner world of the film hero
Rusinova E.A.
The Impact of Creative Content on the Modification of the Film Exhibition Structure in Russia
Bezenkova M.V.
Alternative Forms of Film Distribution and Exhibition in the USSR in the 1920's
Kosinova M.I.
Choreographic Art on the Cinema Screen: Film-Ballet or Ballet-Film?
Khokhlova D.E.
The Birth of Cinema in the Russian Empire and Film Censorship
Drubek N.
The canons of capturing reality in the documentary cinema of the 1960s
Bezenkova M.V.
Artistic Ambitions of Screen Document at the Turn of the Century
Prozhiko G.S.
The Influence of Cultural Traditions on Sound Design Techniques in Japanese Cinema. Sound Effects and Music
Rusinova E.A., Habchuk E.M.
Visual Communications of May 1968 in France in the XXI century: Slogans, Posters, Cinema
Makarova M.
Cinematic media in digital culture
Bakulev G.P.
Techniques for Representing the Author in Alexander Sokurov’s films
Klimenko N.
Cinema in the Phase of Private Interest
Zakharov D.V.
Voice in the Metadiegetic Space of the Motion Picture
Rusinova E.A.
Trends of the Song Genre Development in the Soviet/Russian Cinema in 1930-1960s years
Parfentyeva E.N.
Transformation of the Archaic Myth and the Discourse of Power in Alexander Sokurov’s “Moloch”
Vinogradov V.V.
The Image and Sound of War in the Films “The Ascent” and “Come and See”
Prozorovskaya I.
American cinema of the Great Depression. The «Social Restlessness Phase»
Zakharov D.V.
Phenomenon of Political Biopic in the English-Language Cinema
Morozova I.V.
The Birth of Cinema in the Russian Empire and Film Censorship
Drubek N.
The Image of the Provinces in the Russian Cinema of the 2000s As a Focus of Civil Identity
Mikheeva Y.V.
The Influence of World Cinema Masterpieces on the Creative Worldview of the Filmmaker
Malyshev V.S.
Sound Space of M.Garrone’s Films: from Fiction to Reality
Sorokina J.
Cinema Policy of Simple Solutions
Zhabsky M.I.
Screen Image and the System of expressive Means in American Documentary of the 1960s
Kazyutchits M.F.
Initiation by Fear as a Model of Soviet Film Tales of the 1960s
Zernova P.
The film star — the phenomenon of a parasocial relation
Zhabskiy M.I., Novoselova F.V., Tarasov К.А.
Artistic Ambitions of Screen Document at the Turn of the Century
Prozhiko G.S.
Essential Peculiarities of Time Representation in the post-perestroika cinema
Bezenkova M.V.
Theatre and Document: Opposition or Integration?
Prozhiko G.S.
The Concept of Latent Dramaturgy in Contemporary Iranian Cinema
Chirkina M.
A Cultural Modification of Ibsen's Play “A Doll's House” for Iranian Screen
Grigoreva N.
Primary Cinema Sources of American Noir
Orozbaev K.N.
Gender Analysis of the Film “The Poet and the Fallen Soul”
Smagina S.A.
The Intelligentsia: Taming Nihilism. From “Thaw” to “Perestroika”
Vinogradov V.
The sound world of the alienated film character
Rusinova E.A.
State Guardianship of Cinema: The Issue of Goal-Setting
Zhabsky M.I.
The Meat Grinder by K. Mintz and A. Razumovsky. Reconstruction and Analysis of the Oberiu's Film
Kiselev A.O.
Financing Cinema Production as a High-Risk Activity
Molchanova N.P.
The Mystery of Lexical Coincidences in the Works of Yuri Tynianov and Osip Mandelstam
Milydon V.
VR Cinema. Virtual Spectacle as a Dream
Novikov V.N.
Russian Cinema for Children and Adolescents. Unsolved Problems
Sidorenko V.I., Sidornko V.I.
A Film Director in Search of the Genre
Maslennikov I.F., Maslennikov I.F.
What Is an Ideal Script? Panel Discussion within the Framework of the Conference »Hero in Modern Writing»
The Great Kamchatka Expedition
Golovnyov I.A.
Silence of the Author: Semantics of Muting in Cinema
Mikheyeva Y.V.
Screen Communications As a Form of Socialization and Individualization
Urazova S.L.
Naomi Kawase: the Eternal and the Transitory
Terakopyan M.L.
S.M. Eisenstein’s Aesthetics in Semiotic Perspective
Khrenov N.A.
Toward the Sociological Rationalization of State Film Policy
Zhabskiy M.I.
Documentaries, 21st Century: Time to Sum Up
Poznin V.F.
The Techniques of Visual and Audial Distinction between Diegesis and Metadiegesis in a Motion Picture
Rusinova E.A.
India and England in the Mirror of Screen
Zvegintseva I.A.
Psychological Insight in Asgar Farhadi’s Early Films
Grigorieva N.G.
A screen version of the story of Salinger translated into Farsi
Grigoreva N.G.
Mass scenes as a way of manipulating the consciousness of the viewer
Arysheva A.S.
"War and Peace" and the 20th Century. The Russian Classic Novel's Screen Fate
Il'chenko S.N., Ilchenko S.N.
The Iranian Cinema of the 20th Century (1900-1980)
Mirakhorli A.
Synthesis of Cultures and Mythological Patterns in the film Holidays of the Childhood
Pishita Y.M.
The Reflection of Ethno-Cultural Stereotypes in Film Art
Monakhova M.O.
Screen image. Aftereffect
Poznin V.F.
Both Screenwriter and Director
Zvegintseva I.A.
Video Art: “A White Cube” or “A Black Box”?
Staruseva-Persheeva A.D.
Iran in Contemporary Russian Cinema (Film’s Visual Formula)
Akhmad Mir Akhorli -.
The Birth of Identity in the Finnish Cinema
Ivannikova C.O.
“Provincial” Cinema on Global Orbits
Kirillova N.B.
Cinema and Globalization
Zhabskiy M.I.
Screen Imagery as Reflected through Mythologems
Marusenkov V.V.
Contribution of Artists Teaching at the Russian Federation S.A. Gerasimov Institute of Cinematography into Formation and Development of the Fine Arts in Mongolia in 20th century
Melekhova X.A.
The story of one crime: in life, in literature and in cinema
Zvegintseva I.A.
A Long Story about a Big Set for a Short Episode
Tolkachev A.N., Tolkachov A.N.
In Anticipation of Esthetic Revolution: Western Fiction and Documentary Film of 1940-1945
Utilov V.A., Utilov V.
Axiology of the Political Dichotomy of the Russian Screen Content's Political "Overtone"
Ilchenko S.N.
The factors of competitive ability of national film industries
Zhabskiy M.I.
Baz Luhrmann’s creative manner
Zvegintseva I.A.
Superhero Cinema Comics: Gender Transposition
Tsyrkun N.A.
James Mangold is “a jewel of a man” in American Cinema
Zvegintseva I.A.
Eisenstein’s Aesthetics in Semiotic Perspective
Khrenov N.A.
Video Art: Significant Absence of Editing as an Artistic Tool
Staruseva-Persheyeva A.D.
Love in the Soviet Qnema as the Stereotype of Gender Relations
Fanina M.A.
Destiny of Indian Cinema in Russia
Nefedova D.N.
Music in the Metadigetic Space of the Motion Picture
Rusinova E.A.
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