DOI: 10.25136/2409-8744.2023.5.29996

Abstract: This article discusses the specific features of the artistic image, the artistic form of the screen, including animated works. The artistic image in animation is a complex and multilevel phenomenon that takes the expressive and visual form of the director's vision and conveys the content through the artistic form. The aim of the work is to attempt to define the "artistic image" in animated cinema. The object of the study is the form of an animated work as the integrity of its artistic concept, combining various audiovisual elements, involving a laborious technological embodiment on the screen, combining the expressive and visual form of the director's vision, his creative interpretation of the chosen plot. The author of the article suggests considering the animated image as an artistic phenomenon as one of the most important aspects characterizing the integrity of an animated film. The novelty of the work lies in an attempt to define such a concept as "the image of an animated film". The new empirical material presupposes the updating of the terminology of art criticism, including the film-making tools in the process of theoretical analysis of screen culture. In this perspective, it is necessary to clarify, expand and update the traditional terminology (in particular, the definition of an artistic image in animation) used in the artistic and aesthetic analysis of screen works. The results of the study can have both scientific and theoretical, and creative and practical application. The materials and conclusions of this article can be used as a conceptual and methodological basis for further scientific research.

DOI: 10.7256/2454-0757.2019.9.30976

Abstract: This article examines the imagery systems created by the Russian animation film director Dmitry Geller on the example of his films of various years. An important feature of D. Geller is that each successive work differs from the previous in both, storyline and visual solutions. The subject of this research is the uniqueness and evolution of imagery systems of animation films of D. Geller, while the object is his animation films from the early to more recent. The author analyzes the conceptual layers, language of narration, visual and expressive means, as well as technological solution of the films. The following conclusions were made: inventing separate artistic worlds, D. Geller uses diverse methods for creation of his imagery systems – from distinguishing separate layer within the systems and various ways of their visual, color and technological realization with an unexpected effect, to the creation of the previously unseen characters and silver screen level of animation. The author’s contribution to the research of this topic consists in the detailed systematic analysis of Geller’s works. The scientific novelty is defined by an attempt of viewing D. Geller’s films from such perceptive.