The Concept Of Self-Sacrifice In The Philosophy Of Andrei Tarkovsky’s Work
Kirillova N.
Sound as a Sign and Artistic Symbol in Film
Rusinova E.A.
The Way of Genre in Cinema Documentary
Prozhiko G.S.
Early Antique Imagery
Burov A.M.
Visual Picture of the World in the Reflection of Modern Media
Utilova N.I.
Evolution of Stunt Episodes in Fiction Films about the Great Patriotic War
Danilov D.I.
“The Devil’s Cinema”: from Jean Epstein’s Theory to Robert Eggers’ Films
Shevchenko-Rosliakova A.
The Film “Stalker” by A.A.Tarkovsky as a Manifestation of F.M.Dostoevsky’s World Outlook
Park Young Eun ..
Magic Realism of André Delvaux
Zakrevskaya A.A.
Historical Trauma as a Source of Grotesque in Cinema
Babina A.
From a Screen Document to a Poetic Image. Making Sense
Prozhiko G.
The Image of War in the Cinema of the 60s. Knights without Past and Future
Ianushko A.V.
Composition as a Method of Communication in the Teaching of Fine Arts
Sveshnikov A.V.
The Image and Sound of War in the Films “The Ascent” and “Come and See”
Prozorovskaya I.
Landscape as a Leitmotif of a Film
Shakhovskaya N.A.
Mirror and its Semiotic Modifications in Culture
Kljueva L.B.
The image of prince Myshkin in Russian cinema
Ryabokon’ A.V.
To the Semiotics of the Mirror and Reflectivity
Kljueva L.B.
Phenomenon of the System Repetition in Photography as an Alternative to Film
Burov A.M.
The Problem of Artistic Form and the Objectives of Fine Arts Pedagogy
Sveshnikov A.V.
Alteration of perception of the screen image - actual trend analysis
Kosenkova N.G.
Language, Speech and Image in Analysing Artistic Forms
Mikheyeva Y.V.
“Cine-Eye”: the Concept of Conventionality in Dziga Vertov’s Documentaries
Mylnikov D.Y.
Historical time and the image of the house in A. Sokurov’s work
Klimenko N.V.
Madrid, province, Barcelona. Geography as a Phenomenological Object of Cinema
Reizen O.K.
Planning Element as a Narrative Method in Moulding of Audiovisual Imagery in Documentaries
Koneva M.N.
The Media Image as a Motivator for the Humanization of Society
Vazhenina O.A.
Sergei Eisenstein's ideas in the context of modern cinema art. Audiovisual counterpoint
Rusinova E.A.
Bryan Forbes and Jack Clayton: Underestimated Spaces (British Cinema of the late 1950s-early 1960s)
Zakrevskaya :.A., Zakrevskaya A.A.
Artistic and symbolic meaning of Alexander Sokurov’s tetralogy (philosophical and aesthetic study)
Bychkov V.V.
Impact of Technology on Screen Aesthetics
Poznin V.F.
Maurice Maeterlinck’s Philosophy of Art
Mankovskaya N.B.
Visual picture of the world in the reflection of modern media
Utilova N.I.
Classic Imagery. Pre-Socrates Philosophy, Socrates and Plato's "Advent"
Burov A.M., Burov A.M.
The Role of Memory in the Perception of the Screen Image
Poznin V.F.
Theatre and Document: Opposition or Integration?
Prozhiko G.S.
Entrepreneur as a hero of Russian cinema in the first half of the 1990s: the adoption of a new stereotype
Karavaev D.L.
The Parable in the Work of World Film Masters
Tugushi S.A.
The Image of Home in Cinema
Reizen O.K.
Propaganda: Unity of Polemic Forms and Documentary Images in Russian TV
Malkova L.Y.
Artistic features of Russian TV serials about the Great Patriotic War
Shergova K.A., Muradov A.B.
Hellenistic Reform. Epicureanism and Image Deviations
Burov A.M.
Artistic and Aesthetical Aspects of the Systematic Change in the First Half of the 20th Century
Burov A.M.
Techniques for compositional filling the space of a television frame
Shabalin V.V.
The sound world of the alienated film character
Rusinova E.A.
Giotto: Open Cubes, Shallow Depths and Specific Repetition
Burov A.M.
The Problem of Artistic Form and the Objectives of Fine Arts Pedagogy
Sveshnikov A.V.
1 - 47 of 47 Items

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