Characteristics of Traditional Aesthetics in the Film Music of the Far East Countries
Sergeeva T.S.
Vladimir Mayakovsky as a Film Actor: a “Star” or an Amateur?
Pronin A.A.
Mythologeme as a Means of Artistic Expression in Contemporary Russian Cinema
Marusenkov V.
The Impact of Creative Content on the Modification of the Film Exhibition Structure in Russia
Bezenkova M.V.
Stunt Trickery as an Effective Spectacle Means of Artistic Expressiveness
Danilov D.I.
Drama Features оf Documentary: Movie, TV Film, Streaming Platform
Trusevich E.
Sound as a Sign and Artistic Symbol in Film
Rusinova E.A.
Historic and Cultural Background of the «Belye Stolby» Festival of Archive Films
Malyshev V.S.
Labyrinth Structure: the Complexity of Plot Construction as a Problem in the Theory of Drama
Kasmynin A.
Can “Native” Cinema Be Marketable
Zhabskiy M.I.
The Image and Sound of War in the Films “The Ascent” and “Come and See”
Prozorovskaya I.
Sociocultural Functions of Film Libraries and Archives
Malyshev V.S.
Alexander Dovzhenko. Poetic Space of Immortality
Vinogradov V.
Methodological aspects of studying the history of Soviet cinema in the 1930s
Usuvaliev S.I.
Can “Native” Cinema Be Marketable
Zhabskiy M.I.
The Influence of Works by Frank Wedekind on the German Cinema of the Early ХХ Century
Smagina S.A.
Reflection as an Audiovisual Form of Thinking in Alexander Sokurov's Work
Mikheyeva Y.V.
Artistic Ambitions of Screen Document at the Turn of the Century
Prozhiko G.S.
The Сoncept of Sound Expression in Viktor Kosakovsky’s Documentaries
Koneva M.
Artistic Ambitions of Screen Document at the Turn of the Century
Prozhiko G.S.
Trends of the Song Genre Development in the Soviet/Russian Cinema in 1930-1960s years
Parfentyeva E.N.
Cinema of Bulgaria at the turn of century
Utilov V.A.
The Analysis of Artistic Time in the Theory of Film Dramaturgy
Marievskaya N.Y.
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.
Second World War Film Chronicle
Prozhiko G.S., Prozhiko G.S.
Can “Native” Cinema Be Marketable
Zhabskiy M.I.
Co-production in Current International Film Industry. Major Trends
Chudakova A.V.
The Aspects of Body in American Film Noir (1941-1955)
Orozbaev K.N.
The Iranian Cinema of the 20th Century (1900-1980)
Mirakhorli A.
Professional and Non-Professional Actors as Cultural Agents in the films of Renita and Yuriy Grigoryev
Pishita Y.M.
On the Approaches to the Formation of the Artistic Time Theory: M.M. Bakhtin, G. Deleuze
Marievskaya N.Y.
Music in the Metadigetic Space of the Motion Picture
Rusinova E.A.
The Birth of Cinema in the Russian Empire and Film Censorship
Drubek N.
Sound in the films of Michael Haneke from the perspective of phenomenological aesthetics
Mikheeva J.V.
Remakes. The Artistic and Aesthetic Principles
Primakova N.V., Primakova N.V.
Cinema and Advertising: Enemies or Allies?
Zvegintseva I.A.
Censorship Machine in the Soviet Cinema of the 1920s
Nasrtdinova A.R.
The Influence of Cultural Traditions on Sound Design Techniques in Japanese Cinema. Sound Effects and Music
Rusinova E.A., Habchuk E.M.
Folklore Traditions of the Sverdlovsk Animation School
Tomilov Y.
Historical time in a film structure(end, beginning in № 1)
Marievskaya N.E., Marievskaya N.
The factors of competitive ability of national film industries
Zhabskiy M.I.
Documentary Footage in the TV Film Portrait: Methods and Techniques of Mastering
Pronin A.A.
Primary Cinema Sources of American Noir
Orozbaev K.N.
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 Image of the Provinces in the Russian Cinema of the 2000s As a Focus of Civil Identity
Mikheeva Y.V.
The Intertextuality of the Sound Space in Dmitry Volkostrelov’s productions
Oseeva Y.
“The Devil’s Cinema”: from Jean Epstein’s Theory to Robert Eggers’ Films
Shevchenko-Rosliakova A.
The film star — the phenomenon of a parasocial relation
Zhabskiy M.I., Novoselova F.V., Tarasov К.А.
Film Distribution and Exhibition in Pre-Revolutionary Russia (1896-1907)
Kosinova M.I.
The Expressive Function of Color in Modern Non-Fiction Films
Shtandke A.
Short Film: Genre Originality of Debuts
ZHdankina G., SHipulina N.
Synthesis of Cultures and Mythological Patterns in the film Holidays of the Childhood
Pishita Y.M.
Alternative Forms of Film Distribution and Exhibition in the USSR in the 1920's
Kosinova M.I.
Branding as a Factor of Competitiveness of the “Lenfilm” Studio
Pankratova M.I.
Lost in Translation: Songs in Foreign Films
Parfentyeva Y.N.
Structural Analysis of Film Characters
Boyko M.E.
Music as a Part of the Theatrical Game of the Movie
Mikheeva Y.V.
The Birth of Cinema in the Russian Empire and Film Censorship
Drubek N.
The Product of Film Industry - a Cultural Good in Commodity Form
Zhabsky M.I.
From a Screen Document to a Poetic Image. Making Sense
Prozhiko G.
The Film “Stalker” by A.A.Tarkovsky as a Manifestation of F.M.Dostoevsky’s World Outlook
Park Young Eun ..
Sergei Eisenstein's ideas in the context of modern cinema art. Audiovisual counterpoint
Rusinova E.A.
Mythological Time. The Image of the Past in Grigoriy Chukhray’s «Ballad of a Soldier»
Bezenkova M.V.
On The Matter of Market in Cinema
Zhabskiy M.I.
A Stunt as a Plastic Metaphor in Epic Series “Liberation”
Danilov D.
Modern Forms of Capturing Reality in the Format of Video Hosting
Shtandke A.
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 factors of competitive ability of national film industries
Zhabskiy M.I.
State backing of non-fiction film
Malkova L.Y.
Movie Distribution Categories in Russia: Sample of Statistical Analysis
Ivanov O.V., Astakhova N.V., Ivanov D.O.
A Criminal as the Main Movie Character, or Old Themes and New Solutions
Zvegintseva I.A.
Style “Noir” in Classical and Contemporary Art History
Orozbaev K.N.
Cinema and Globalization
Zhabskiy M.I.
The Perception of a Contemporary in Non-fiction Films
Shtandke A.
Cooperation between the Russian Animation Industry and Asian Partners
Krivulya N.
The sound world of the alienated film character
Rusinova E.A.
Historical time in a film structure
Marievskaya N.E.
The Images of China on Russian Screen. A Glance from the Audience
Andreyev A.L., Andreyev I.A.
1992-2012. Attempts at Privatization of Film Studios
Ziborova O.P.
To Give Hope or To Succumb to Depression? Understanding of Life in Contemporary Russian Cinema
Malyshev V.
The struggle for the Far East in the interpretation of the Vasilyev brothers
Rostotskaya M.A.
Russian Documentary at the Turn of the 21st Century
Prozhiko G.S.
Artist and Repression: Reflections
Perel'shteyn R.M., Perelshtein R.M.
The Unknown Cinema of the War and Victory
Grashchenkova I.N., Grashchenkova I.N.
The Great Kamchatka Expedition
Golovnyov I.A.
Crime Teenpic as a Subgenre of American Cinema
Zharikova V.V.
Propaganda: Unity of Polemic Forms and Documentary Images in Russian TV
Malkova L.Y.
European Film Avant-Garde: Poetics of Objectiveness
Lyubovich M.V.
Emotional Influence on the Viewer in Contemporary American Cinema
Vital F.Y.
Specifics of Imaginative Approach in the US Documentary of 1960-2000s
Kazyutchits M.F.
Two Peoples, Two Worlds
Zvegintseva I.A.
Financing Cinema Production as a High-Risk Activity
Molchanova N.P.
Cinematic media in digital culture
Bakulev G.P.
Traditions and Innovations in Film Education
Novikov A.V., Novikov A.V.
The conflict of the "Inner" and "Outer" Person as Film Art's Archetypal Theme
Perelshtein R.M.
The Formula of Producer’s Happiness?
Bakulev G.P.
Does cinema remain the driving force of screen culture?
Kirillova N.B.
Soviet Film Expeditions of the 1930's through the Eyes of Greater Tokyo Inhabitants
Fyodorova A.A.
Silence of the Author: Semantics of Muting in Cinema
Mikheyeva Y.V.
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