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MAIN PAGE > Journal "Man and Culture" > Rubric "Audiovisual culture and art"
Audiovisual culture and art
Obruchnikov I.M. - Continuum as a form of screen sound pp. 1-5

DOI:
10.7256/2409-8744.2016.2.18544

Abstract:  This article examines the peculiarities of realization of the aesthetic concept of screen sound in a form of continuum within the framework of formation of the audiovisual image. The determination of characteristic of details of the process of perception of the sound information by human being a recipient of screen oeuvre allows taking a more in-depth and thorough look at the nature of sound-visual image, as well as its realization in accordance with the contemporary trends in audio culture and sound aesthetics, and also suggesting a certain addition to the instruments of practical acoustical engineering in screen arts. The presented research is carried out with the attraction of certain positions of the phenomenological directions in history and psychology of art. The scientific novelty consists in the fact that the existing models of the screen arts phonography aesthetics are complemented and subjected to the development  in accordance with the actual achievements of the phenomenological directions in the history and psychology of art; the aesthetic attitude towards the screen sound is defined with regards to the modern realities of the screen culture.  
Bykova N.I. - The game as plot-and the aesthetic phenomenon of gaming cinema pp. 1-10

DOI:
10.7256/2409-8744.2017.2.22680

Abstract: The subject of the study is the game as an artistic device in modern cinema. The object of research is modern cinema art. The author examines the question of what the game is from the point of view of philosophy and art history. The study analyzes screen versions of famous works of world literature based on the game in its various manifestations. Of interest are several cinematographic works in this aspect, among them the national adaptation of F. Durrenmatt's novel "The Accident", the director V. Zhalakiavicius, and the screen version of the play "The Sleuth" by A. Shaffer.The main methods of this study are comparative-historical and analytical. A comparative analysis of the cinematographic material of different years makes it possible to trace the dynamics of changes in cinematic artistic techniques. In the study for the first time films are analyzed in which the game becomes one of the main plot-forming, aesthetic or semantic components, through the comprehension of which the understanding of the meaning of the artistic work takes place. The game is interesting as an artistic device in the film industry, since it allows to include in the space of the film a lot of cinematographic techniques that allow diversifying and improving the language of the cinema.
Monin M.A. - Succession and polemics of the meaning (“Fanny and Alexander” by Ingmar Bergman and “The Sacrifice” by Andrei Tarkovsky. Experience of comparing) pp. 23-42

DOI:
10.25136/2409-8744.2017.3.23048

Abstract:  The topic of this article is the movies “Fanny and Alexander” Ingmar Bergman and “The Sacrifice” by Andrei Tarkovsky. The subject of this research is their conceptual and structural interrelation. The author questions whether it is possible to view each movie as a so-called addendum with regards to another. The article thoroughly analyzes the temporal structure of the aforementioned movies, similarity and difference of their inner spaces, distribution of characters, and their meaning. The author also compares the circumstances under which the movies have been created. The article applies the method of phenomenological analysis (emphasizing the fact that a movie is given to the audience as a single temporal reality), as well as method of structural analysis (that views the relationship between characters as a certain landmark structure, which delivers a particular message to a spectator). A conclusion is made that both movies have the obvious similar features (beginning with the circumstances of their creation), as well as clear and less clear discrepancies. At the same time, it does not mean that “The Sacrifice” that came out four years later than “Fanny and Alexander” is a somewhat secondary or derivative with regard to it. It rather manifests as a two-sided latent discourse of the authors, their existential positions, and cultural traditions, into which both of them are inscribed in one or another way.   
Beliakov V. - Accuracy and staging effect in the historical newsreel pp. 42-50

DOI:
10.25136/2409-8744.2017.6.21822

Abstract: The article deals with the question of how accurate is one or another filmed event, as well as its correspondence with the realities of time. Having analyzed a number of archival chronicle film footage, the author can be assured that multiple scenes were filmed using the staging elements, and some of them staged. This becomes noticeable in working with the early national newsreel of the World War I period. Although, separate scenes are authentic. The author attempts to identify which criterion and knowledge form the accuracy of the footage. The source of such knowledge usually imply the ordinary experience of the audience, previously seen films, books, and other types of mass media. In addition, in shooting the chronicle material, the camera operators try to follow the certain moral and ethical norms of the historical period. Staging elements in the early newsreel are traced not only on the example of the World War I period, but also the so-called imperial documentaries and film magazines of the era. It is noted that in separate cases, the camera operators during the film editing, used not only the linear methods, but also acquired the skills of essential film editing, which was inherent to the later period. It is concluded that the historical newsreel not always demonstrates the objective truth of an event; the filmed images often carry the organizational and prearranged character, beginning from staging separate scenes, ending with following to the established ritual of one or another ceremony.
Jdanova V.A. - Blossom of Myth. Problems of Ideological Reformation of the 1920s: Reflection in the Soviet Motion-Picture Process pp. 64-85

DOI:
10.7256/2306-1618.2014.3.13096

Abstract: Object of research is reflection in the Soviet cinema of the 1920th of social changes in society. Reflection – not always direct, mediated, metaphorical, poetic. For example, Moscow eras of military communism, the New Economic Policy – in the movie "Aelita" of Ya.A. Protazanov. In article separate aspects of the Soviet film process of the second half of the 1920th years are analyzed. Some ideological components of creativity of Dzigi Vertov are investigated. Movies "Aelita" (1924, the director Ya. Protazanov), "the Third Petty-bourgeois" (1927, the director A. Room), "The poet and the tsar" are considered from the point of view of reflection of ideology at cinema (1927, the director V. Gardin). Article is based on archival material (archival funds "Glaviskusstvo", "Sovkino" of RGALI) and the press of this period ("The Soviet cinema", "Film Week", "Film Front", etc.). The comparative analysis of sources is applied. On this period of development of the Soviet cinema scientific researches Yu.I are published recently. Goryachev, N. M. Zorkoy, V. S. Listov, E. Margolita, A. Rubaylo, V. I. Fomin and other film experts. Statement of a research objective differs in novelty: identification of projections, systems of reflection of the changing social reality in the Soviet film process of the 1920th. The characteristic in this research of details of reflection in film process of changes of sociocultural image of the country will allow to find details and focal points of film process of the 1920th. It is necessary to refer a conclusion about gradual strengthening of mythemes in the Soviet cinema, "rooting" in movie space of not poeticized reality, and the mythological scheme of functioning of socialist society to scientific results of research.
Zhemchugova O. - The evolution of characters of the mainstream cinema of the Unites States and Soviet Union/Russia pp. 83-92

DOI:
10.7256/2409-8744.2016.5.20781

Abstract: This research examines the mainstream cinema of the United States and Soviet Union. Despite the ideological polarity, the culture of these countries was interconnected in multiple way; it incorporated similar tools for expansion of the important symbols, as well as expression of public moods. In the preceding war period, the movie characters of the two countries were rather alike – they lived within the space of the perfect dream that corresponds with the relevant values of this era. However, in the post-War period, the evolution of the heroes of mainstream cinema of the United States and Soviet Union started has taken different courses. The main result of the conducted research consists in determination of regularities in development of the images of protagonists in the mainstream cinema of the United States and Soviet Union/Russia. It is demonstrated that in the US movies the priority in such images belongs to the individual as such, while in the Russian cinematographer – to the interrelation between individual and society. This article illustrates the reason why such pattern was taking place.   
Bykova N.I. - The art of cinematography and cinema museums: world practice and contemporary problems pp. 84-93

DOI:
10.7256/2409-8744.2016.6.21255

Abstract: The subject of this research is the cinema museums, while the object is the art of cinematography. The author examines the global experience in the area of creation of cinema museums, as well as studies the history of Russian Cinema Museum and prospects of its further development. Special attention is given to the modern status of cinema museums and issues associated with determination of their functions, which at the present stage remain unambiguous. The perception of the world experience in regards to this question is necessary for resolving the problem of creation and functionality of the cinema museum in Russia. The main methods of this study is the comparative-historical and analytical. The work analyzes the key concepts of outlook upon the cinema museums, as well as their sociocultural importance. The scientific novelty lies in the fact that the cultural phenomenon of the museum of cinematography art requires thorough examination. Cinema museums are located in multiple countries of the world, however, the question of what does the notion of cinema museum imply, is rather complicated due to the syncreticity of the screen arts.
Golubkina S.E. - India in British cinematograthy of the late 1930–early 1940s (based on the films of Brothers Korda’s creative union) pp. 105-115

DOI:
10.7256/2409-8744.2016.3.18279

Abstract: Based on the analysis of several films made by the brothers Korda’s creative union in the late 1930s – early 1940s, the author considers the method of formation in them the image of India and its inhabitants, highlighting the stereotypes inherent in the discourse of Orientalism and the traditions of colonial binary logic. In a broad sense, the work refers to the ideology of British colonialism, which in Russian historiography developed primarily from written sources of the second half of the nineteenth century. A correlations between the film images and the previous literary tradition, the political strategies of the British Empire on the sunset of the colonial period and the official propaganda are traced. The author concludes that the approach to Indian theme meant the use of scenes, which would have been impossible to imagine in the European world. The exotic played the main role in escapistic in spirit, fantastic and adventure films «Elephant Boy» 1937, «the Drum» 1938, «The Thief of Bagdad» 1940 and «The Jungle Book» 1942. As a result, the image of India represented an image of the Other that did not imply compulsory negative characteristics. India in the Korda’s films is a special world with its own history, visual code and dictionary, which is far from the image of the country ready to obtain the independence from the British Empire.
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