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# 2(7) 2012: Kino|text
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Theory of Kino-Narrative

Lyubov BUGAEVA

Russia, St. Petersburg
St. Petersburg State University, Faculty of Philology. Associate Professor, Ph.D.
St. Petersburg branch of the Russian Institute of Cultural Research. Researcher.

On Kino-Narrative

The article explores various frames of experiencing in film narratives and, employing a cognitive perspective, investigates the relationship between narrative and experience. The author examines cinematic techniques of narrating and violations of narrative conventions and expectations of a spectator. These cinematic techniques and narrative principles are illustrated with a range of examples drawn from European art cinema.

Key words: kino-narrative, experience, cognitive perspective

References

  1. Bremon K. Logika povestvovatel'nyh vozmozhnostej // Cemiotika i iskusstvometrija. M., 1972. C. 108–135.
  2. Bruner Jerome. The Narrative Construction of Reality // Critical Inquiry. 1991. No. 18. P. 5.
  3. Bruner Jerome. Life as Narrative // Social Research. Fall 2004. Vol. 71. No 3. P. 691–692; 698–699.
  4. Dil'tej V. Sobranie sochinenij: V 6 t. / pod red. A.B. Mihajlova i N.S. Plotnikova. T. 3. Postroenie istoricheskogo mira v naukah o duhe / per. s nem. pod red. V.A. Kurennogo. M.: Tri kvadrata, 2004. S. 274.
  5. Bruner Edward M. Experience and Its Expressions // The Anthropology of Experience / ed. by Victor W. Turner and Edward M. Bruner. Urbana and Chicago: University of Illinois Press, 1986. P. 9.
  6. Smirnov I.P. Tekstomahija: kak literatura otzyvaetsja na filosofiju. SPb.: Petropolis, 2010. S. 23.
  7. Ryan Marie-Laure. Media and Narrative. Routledge Encyclopedia of Narrative Theory / ed. by David Herman, Manfred Jahn and Marie-Laure Ryan. London: Routledge, 2005. P. 288-292.
  8. Ong Walter J. Orality and Literacy: The Technologizing of the World. London: Routledge, 2002. P. 171.
  9. Goffman Erving. Frame Analysis: An Essay on the Organization of Experience. Boston: Northeastern University Press, 1986.
  10. Gerrig Richard J. Experiencing Narrative Worlds: On the Psychological Activities of Reading. New Haven: Yale University Press, 1993. R. 3–11.
  11. Smirnov I.P. Social'naja rol' modelej social'noj roli // Mifologija i povsednevnost'. Gendernyj podhod v antropologicheskih disciplinah. SPb., 2001. S. 417.
  12. Boyd Brian. On the Origin of Stories: Evolution, Cognition, and Fiction. P. 155.
  13. Ryan M.-L. Narrative // Routledge Encyclopedia of Narrative Theory / ed. by D. Herman, M. Jahn, M.-L. Ryan. London: Routledge, 2005. P. 347.
  14. Herman David. Basic Elements of Narrative. P. 143, 156.
  15. Aarseth Espen. Ergodic Literature // Routledge Encyclopedia of Narrative Theory / ed. by D. Herman, M. Jahn, M.-L. Ryan. London: Routledge, 2005. P. 141.
  16. Jakobson Roman. Is the Film in Decline? // Jakobson Roman. Selected writings. Volume III: Poetry of Grammar and Grammar of Poetry. Mouton De Gruyter, 1982. P. 737. 732-739.
  17. Korshunov Vs. «Fil'm kak «nedopisannyj scenarij»: problema kompozicionnogo postroenija» // Vestnik VGIK. 2010. №6. S. 112–128).
  18. Tikka Pia. Enactive Cinema: Simulatorium Eisensteinense. Helsinki, 2010.
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Henry BACON

Finland, Helsinki. University of Helsinki, Faculty of Arts, the Department of Philosophy, History, Culture and Art Studies, Film and Television Studies, Professor.

How Direct is our Perception of Film?

How natural or 'direct' is the way we see and make sense of the world around us? To what extent is our perception 'indirect', and psychologically as well as socially constructed? Moreover, to what extent, and in what sense, is the perception of photographic and cinematic images similar to the perception of our environment?
The answers to these questions divide the field of contemporary film studies. However, recent developments in cognitive studies suggest that perception of both the world and film have a direct, as well as an indirect, component. Thus, even if we assume that certain perceptual functions can indeed be described as direct, we still have to first take into account an element of psychological constructionism, and secondly, the extent to which even our immediate perception — not to mention ourperceptions of human action in real life or in film — is socially constructed. The question about direct vs. indirect visual perception is inseparable from the question of what we perceive and how we make sense of it, in terms of the current situation: we may not be prepared to relate to the situation in a way that could be described as 'direct', and thus might have to resort to some degree of inference.
All this entails considering and integrating both realist and conventionalist approaches to perception and the cinematic experience.

Key words: direct perception, indirect perception, dorsal system, ventral system, inference, ecological theory of vision, psychological constructivism, social constructivism, motivation

References

  1. Anderson, Joseph D. The Reality of Illusion–An Ecological Approach to Cognitive Film Theory. Carbondale and Edwardsville, Southern Illinois University Press, 1996.
  2. Andersson, Joseph F. & Anderson, Barbara Fisher Moving Image Theory–Ecological Considerations. Carbondale, Southern Illinois University Press, 2005.
  3. Andersson, Joseph D. & Anderson, Barbara fisher (eds.) Narration and Spectatorship in Moving Images. Newcastle, Cambridge Scholars Publishing, 2007.
  4. Berger, Peter & Luckmann, Thomas The Social Construction of Reality–A Treatise in the Sociology of Knowledge. Harmondsworth, Penguin Books, (1966) 1987
  5. Bordwell, David Narration in the Fiction Film. Routledge, London (1985), 1988.
  6. Bordwell, David Poetics of Cinema. New York and London, Routledge, 2008.
  7. Flesch, William Comeuppance–Costly Signalling, Altruistic Punishment, and Other Biological Components of Fiction. Cambridge (Mass.), Harvard University Press, (2007).
  8. Gibson, James J. The Ecological Approach to Visual Perception. Boston, Houghton Mifflin Company, 1979.
  9. Goldstein, E. Bruce Sensation and Perception. 6th edition. Pacific Grove: Wadsworth, 2002.
  10. Grodal, Torben Embodied Visions–Evolution, Emotion, Culture, and Film. Oxford, Oxford University Press, 2009.
  11. Gunning, Tom D.W. Griffith and the Origins of American Narrative Film–The Early Years at Biograph. Urbana and Chicago, University of Illinois Press, 1991.
  12. Hatavara, Mari & el: Luonnolliset ja luonnottomat kertomukset–jälkiklassisen narratologian suuntia. Helsinki, Gaudeamus (Helsinki University Press), 2010.
  13. Jackendoff, Roy Consciousness and the Computational Mind. Cambridge (Mass.) & London, A Bradford Book/The MIT Press, 1987.
  14. Kosslyn, Stephen M. & Osherson, Daniel N. Visual Cognition. An Invitation to Cognitive Science, vol. 2, 2nd edition, Cambridge (Mass.), The MIT Press, 1995.
  15. Kovács, András Bálint. "Causal understanding and narration." Projections, vol 5, issue 1, summer 2011, Pp. 51-68.
  16. Lapsley, Robert & Westlake, Michael Film Theory: an Introduction.
  17. Manchester, Manchester University Press, 1988.
  18. Messaris, Paul Visual Literacy–Image, Mind, & Reality. Boulder, Westview Press, 1994.
  19. Niiniluoto, Ilkka Critical Scientific Realism. Oxford, Oxford University Press, 1999.
  20. Norman, Joel "Two Visual Systems and Two Theories of Perception: An Attempt to Reconcile the Constructivist and Ecological Approaches". Behavioral and Brain Sciences, (2002) 25, p. 73–144.
  21. Petitot, Jean, Varela, Francisco J., Pachoud, Bernard & Roy, Jean-Michel (eds.) Naturalizing Phenomenology–Issues in contemporary phenomenology and cognitive science. Stanford, Stanford University Press, 1999.
  22. Schenk, Thomas: "Visuomotor robustness is based on integration not segregation." Vision Research, Volume 50, Issue 24, December 2010, Pages 2627–2632. Available at: http://dx.doi.org.libproxy.helsinki.fi/10.1016/j.visres.2010.08.013
  23. Thompson, Kristin Breaking the glass Armour–Neoformalist Film Analysis. Princeton, Princeton University Press, 1988.
  24. Žižek, Slavoj The Fright of Real Tears: Krzysztof Kieslowski between Theory and Post Theory. London, BFI, 2001.
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Oleg ARONSON

Russia, Moscow.
Institute of Philosophy Russian Academy of Sciences.
Department of Aesthetics, Senior Research Fellow, Ph.D.

Cinema-Text and Texts about Films

This text was presented as a report at the XL International Philological Conference, session 'Kino-text', St.Petersburg, March 16-18, 2011.
The terms 'kino-text' and 'texts about kino' are analyzed and the meaning of these terms in regard to contemporary film theory is discussed. Terms such as "reality", "deconstruction", and "affect" are also criticized. Special attention is paid to the idea of 'texture' (J. Derrida) and the emotional meaning of cinematic work.

Key words: kino-text, reality, deconstruction, texture, affect

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Philosophy of Kino-Narrative

Boris REYFMAN

Russia, Fryazino.
Russian Institute for Cultural Research.
Senior research associate, PhD.

Andrei Tarkovsky and "Borderline"
Philosophical Aspects of the Term "Sculpting in Time"

This article deals with the semantic aspects of Andrei Tarkovsky's films and theoretical works that refer to his concept of "sculpting in time", the returning of associated traditions of philosophical irrationalism and modernism to Russian culture by means of cinematography. Combining dialogic and semiotic methods (along with an attempt to clearly differentiate betweenthese approaches), the author attempts to show both the uniqueness of Tarkovsky's work itself, and the way his cultural context differs from the self-comprehension (mainly influenced by Russian classical literature) of many other Soviet film-makers — film "authors" — who started working during Khruschev's Thaw and soon after it. This article provides an existential and Christian personalistic interpretation to Tarkovsky's worldview, covering the following issues as well: acting methods not based on Stanislavsky system, but focused on the performer's personality and on editing principles — both within frames and between them — which in many respects are similar to the stylistic films of Orson Welles, Robert Bresson, and Roberto Rossellini, as analyzed by Andre Basin.

Key words: cinematograph, history, culture, "sculpting in time", cinema modernism, cinema realism, existentialism, personalism, "borderline", semiotics, semantics, dialogism, "raw aesthetics'

References

  1. Aronson O. Vozvrawenie filosofii. Logika kino po Zhilju Delezu // Kinovedcheskie zapiski.2000. № 46. [Jelektronnyj resurs].–Rezhim dostupa: http://www.kinozapiski.ru/ru/article/sendvalues/578/
  2. Bazen A. «Dnevnik sel'skogo svjawennika» i stilistika Robera Bressona // Kinovedcheskie zapiski. № 17. 1993. S. 80–93.
  3. Bazen A. Chto takoe kino? M., Iskusstvo, 1972. 373 s.
  4. Bahtin M. M. Avtor i geroj v jesteticheskoj dejatel'nosti // M. M. Bahtin. Raboty 1920-h godov. Kiev, Next, 1994. S. 69–225.
  5. Bergson A. Materija i pamjat' // Anri Bergson. Sobr. soch. V 4 t. M., Moskovskij klub, 1992. T. 1. S. 160 — 316.
  6. Berdjaev N. M. Smysl istorii. M., Mysl'. 1990. 176 s.
  7. Blauberg I. I. Anri Bergson i filosofija dlitel'nosti // Anri Bergson. Sobranie sochinenij v 4-h tomah. T. I. M., 1992. S. 6 — 44.
  8. Gajdenko P. P. Proryv k transcendentnomu. Novaja ontologija HH veka. M., 1997. 495 s.
  9. Gorfunkel' E. Primerka. Tezisy o russkom teatral'nom moderne // Teatr. № 5. 1993. S. 3–12.
  10. Delez Zh. Kino. M., Ad Marginem. 2003. 626 s.
  11. Zorkaja N. M. Dom i put' // Kinovedcheskie zapiski. № 14. 1992. S. 147–151.
  12. Il'in I. Poststrukturalizm. Dekonstruktivizm. Postmodernizm. M., Intrada. 1996. 256 s.
  13. Mamardashvili M. K. Lekcii po antichnoj filosofii. M., Agraf, 1997. 321 s.
  14. Mamardashvili M. K. Psihologicheskaja topologija puti. M. Prust «V poiskah utrachennogo vremeni». S-Pb., Neva, 1997. 572 s.
  15. Menard D. D. Analiz teorii Tarkovskogo «davlenie vremeni» (time-pressure) na osnove filosofii Zhilja Deleza // Al'manah «Vostok». 2005. № 11/12 (35/36). [Jelektronnyj resurs].–Rezhim dostupa: attachment:/68/j_art_1010.htm
  16. Mihalkovich V. I. Andrej Tarkovskij. M., Znanie, 1989. 56 s.
  17. Nicshe F. Rozhdenie tragedii iz duha muzyki // Fridrih Nicshe. Stihotvorenija. Filosofskaja proza. S-Pb., Hudozhestvennaja literatura, 1993. S. 130–249.
  18. Osnovy sistemy Stanislavskogo// Sost. N. V. Kiseleva, V. A. Frolov. Rostov-na Donu, Feniks, 2000. 128 s.
  19. Rejfman B. V. Realistichnost' i jestetichnost' «drugogo realizma» Andrje Bazena // Kinovedcheskie zapiski. № 97, 2010. S. 226–240.
  20. Salynskij D. A. Kinogermenevtika Tarkovskogo. M., Prodjuserskij centr «Kvadriga», 2009. 574 s.
  21. Stanislavskij K. S. Rabota aktera nad soboj. M., Iskusstvo, 1985. 480 s.
  22. Stishova E. Kto vy, mastera kul'tury? // Iskusstvo kino. 1993. № 6. S. 57–68.
  23. Stroeva M. N. Rezhisserskie iskanija Stanislavskogo 1917–1938. M., Nauka, 1977. 416 s.
  24. Surkova O. E. Kniga sopostavlenij. M., Kinocentr, 1991. 176 s.
  25. Tarkovskij A. A. Zapechatlennoe vremja // Andrej Tarkovskij. Nachalo … i puti (vospominanija, interv'ju, lekcii, stat'i) / Sost. M. Rostockaja. M., VGIK im. S. A. Gerasimova, 1994. S. 45–67.
  26. Tarkovskij A. A. Lekcii po kinorezhissure // Andrej Tarkovskij. Nachalo … i puti. S. 81–155.
  27. Hajdegger M. Issledovatel'skaja rabota Vil'gel'ma Dil'teja i bor'ba za istoricheskoe mirovozzrenie v nashi dni. Desjat' dokladov, prochitannyh v Kassele (1925) // Voprosy filosofii. 1995. № 11. S. 119–145.
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Anna KONEVA

Russia, St. Petersburg.
St. Petersburg branch of the Russian Institute of Cultural Research.
Head of department. PhD in philosophy, senior lecturer.

The Image of Time in Contemporary Cinema

The article deals with representations of time in modern cinema. Time is considered as having two vectors — present to past and present to future. Images are examined as "representations of the imaginary" (as termed by G. Durand) of time — "a priori imaginary" with their antropological structures. The article analyzes the images used to visualize the idea or concept of time — things, bodies, emotions and memory. The discussed films represent impossible and fantastic situations, that which cannot be. However, these themes and motifs have been described in the literature and are proportional to anthropological structures of the imagination. Film, in regard to these motifs, interprets them as images of the changes anddifferences thatoppose timelessness or Eternity.

Key words: time, imagination, imaginary, cinema, representation, image

References

  1. Aronson O. Jazyk vremeni. // Delez Zh. Kino. «http://www.proza.ru/2011/08/29/285» http://www.proza.ru/2011/08/29/285 (data obrawenija: 10.04.2012)
  2. Behterev V. M. O maniakal'no-melanholicheskom psihoze.//Behterev V.M. Izbrannye proizvedenija. Sat'i i doklady.–M.: Medgiz, 1954.
  3. Delez Zh. Kino. «http://www.proza.ru/2011/08/29/285» http://www.proza.ru/2011/08/29/285 (data obrawenija: 10.04.2012)
  4. Koneva A. V. Konceptualizacija individual'nogo v evropejskoj teoreticheskoj reflekii. // Izvestija RGPU im. A. I. Gercena.–№ 132, 2011.–S. 185–197.
  5. Podoroga V. Chelovek bez kozhi.// Ad marginem'93. M., 1993
  6. Durand G. Les structures antropologiques de l'imaginaire. – Paris, Dunod, 1992.
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John RYDER

USA, New York.
Rector of Khazar University.
Baku, Azerbaijan.

The Ontology of Santa Claus: Miracle on 34th Street

The 1947 film Miracle on 34th Street is an iconic American film associated with the Christmas season. It tells the story of a man who claims to be the 'real' Santa Claus, and the process by which he comes to be recognized as such by otherwise normal and rational people. On the perfectly reasonable assumption that Santa Claus does not exist, the film is simply a pleasant fantasy with strong associations with American culture. However, the case that the film makes for the reality of Santa Claus is unusually clever, and oddly compelling. In this paper, we consider the ontological issues raised by the film. More specifically, we bring to bear philosophical insights developed within the American Naturalist tradition to demonstrate that indeed, there really is a Santa Claus.

Key words: ontology, Santa Claus, epistemology, belief, fictional characters, ordinality

References

  1. Review by Bosley Crowther, June 5, 1947, http://movies.nytimes.com/movie/review?res=EE05E7DF1738E26EBC4D53DFB066838C659EDE, accessed on 4 May, 2012.
  2. William James, "The Will to Believe", in William James: Writings 1878-1899: Psychology, Briefer Course / The Will to Believe / Talks to Teachers and Students / Essays, New York, NY: Library of America, 1992.
  3. John Herman Randall, Jr., Nature and Historical Experience, New York, NY: Columbia University Press, 1962.
  4. See Justus Buchler, Metaphysics of Natural Complexes, New York, NY: Columbia University Press, 1966.
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Natalia MARIEVSKAYA

Russia, Moskow.
All-Russia University of Cinematography named after Gherasimov S. A.
Senior Lecturer for Cinema Drama Chair, PhD.

Cultural Memory in Film Structure

This article examines cultural memory, as an actualization of past imagesin the individual's present. Cultural memory is considered as a source of multi-layered cinematic works of art. Special attention is paid to the so-called concept of 'vertical time', as a moving time structure.

Key words: artistic times, cultural memory, vertical time, time as a process, cinematic work

References

  1. Avgustin A. Ispoved' blazhennogo Avgustina, episkopa Gipponskogo/ Avrelij Avgustin. — M.: OOO «Izdatel'stvo AST», 2003.  — 440, [8] c. — (Philolosophy)/
  2. Kozlov L. Proizvedenie vo vremeni. Stat'ja, issledovanie, besedy. M.: Jejzenshtejn cent. 2005. — 448s.
  3. Norshtejn Ju. Sneg na trave. Kniga I, — M.: ROF «Fond Jurija Norshtejna». «Krasnaja plowad'», 2008.- 368s.
  4. Norshtejn Ju. Sneg na trave. Kniga II, — M.: ROF «Fond Jurija Norshtejna», «Krasnaja plowad'», 2008.- 256 s.
  5. Rudnev V. P. Proch' ot real'nosti: Issledovanija po filosofii teksta. II. — M: «Agraf», 2000. — 432s.
  6. Tarkovskij v kontekste mirovogo kinematografa: Materialy mezhdunarodnoj konferencii 22 nojabrja 2002 goda/ Sost. Nehoroshev L.N.,Rostockaja, Utilov V. A, — M.: VGIK, 2003. — 192s.
  7. Florenskij P. A. Analiz prostranstvennosti i vremeni v hudozhestvenno-izobrazitel'nyh proizvedenijah. M.: Izdatel'skaja gruppa «Progress». 1993. — 326 s.
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Russian Kino-Narrative

Lev YAKOVLEV

Russia, Saratov.
P. A. Stolypin Volga Region Academy of Public Administration.
The Department of sociology, social policy and regional history.
PhD in sociological sciences, professor.

The Illusion of Clarity
The Space of Cinematic Discourse — The Metric of the Modern Russian Identity

The article discusses the distinction between concepts of text and discourse as applied to the film media. The author defines cinema as a tool, a sort ofvirtual space of interaction between the author's intention and the construction of viewers' perceptions. Discourse is a way in which to master the subject, forming, in the audience's perception, pictures or images that reflect the author's intention. The modern Russian identity is constructed in conjunction with the cinema and appeals to different target audiences. This identity is not uniform, but is rather a complex integration of associated patterns, life strategies, and the values of different groups and populations. The potential for this variety is created through a stratification of cinematic presentation.

Key words: cinematic, discourse, the modern Russian identity, the commercial cinema, art-house

References

  1. Efremova M. A. Koncept kinoteksta: struktura i lingvokul'turnaja specifika: Na materiale kinotekstov sovetskoj kul'tury. Diss... kand. filolog. nauk. Volgograd, 2004.
  2. Zajchenko S.S. Nekotorye osobennosti kinodiskursa kak znakovoj sistemy // Filologicheskie nauki. Voprosy teorii i praktiki. 2011. № 4. S. 82-86.
  3. Kvasha S., Andreev K. Moskva — Piter — Goa // film.ru. http://www.film.ru/afisha/movie.asp?code=ODNOLASS
  4. Matizen V. Mat' (o fil'me «Elena») // Cinematheque.ru. http://www.cinematheque.ru/post/145473
  5. Plahov A. Novaja russkaja tragedija // Kommersant.ru. http://kommersant.ru/doc/1773096?themeid=102
  6. Sablin D. Elena // Sqd.ru. http://sqd.ru/movies/drama/elena
  7. Samkova M.A. Kinotekst i kinodiskurs: k probleme razgranichenija ponjatij // Filologicheskie nauki. Voprosy teorii i praktiki. 2011. № 1. S. 135-137.
  8. Sarana N. Kak ja prochel Pelevina («Generation P») // Kinonews.ru. http://www.kinonews.ru/article_13502/
  9. Stepnova S. Nenastojawij Shtirlic // Ruskino.ru. http://ruskino.ru/review/354
  10. Shashkova S.A., Panteleenko O.A. Sredstva vtorichnogo teksta, obespechivajuwie perevod verbal'nyh znakov v znaki drugoj semioticheskoj sistemy (na materiale fil'ma I. Anzhelo «Polkovnik Shaber» i rezhisserskogo scenarija k nemu) // Filologicheskie nauki. Voprosy teorii i praktiki. 2011. № 3. S. 165-168.
  11. Favorov P.Ne v meru twatel'naja jekranizacija Pelevina // afisha.ru http://www.afisha.ru/personalpage/191689/review/370930/
  12. Fedorova I.K. Kinotekst v inokul'turnoj srede: k probleme postroenija modelej kul'turnyh perenosov // Vestnik Permskogo universiteta. Rossijskaja i zarubezhnaja filologija. 2011. № 1. S. 61-70.
  13. Jeksler A. Postmodernistskij psevdorealizm «Generation P» // Exler.ru. http://exler.ru/films/17-05-2011.htm
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Alexander LYUSY

Russia, Moscow.
Russian Institute for Cultural Research, Seniour Rearcher.
PhD in Cultural Science.

Cinema-Land and Cinema-Genocide

Proceeding from the attitude that cultural text can be expressed through both its "natural language" of origin, and by various other kinds of artistic expression, the author considers Crimean film text as a subtext of Russian culture. The article traces and discusses its basic influence on the media movement's foundation — from Pushkin's Nereid to Nabokov's Lolita, and including the "Russian Riviera" landscape in the middle. The film "Beyond Happiness", directed by Bauer, is considered a phenomenon, where the film text assimilates the literature of Simeon Bobrova's poem "Taurida". The "superefficiency" of this film as regards itsvisualization of Russian literature and culture as a whole, is prominent. In addition, its inconsistence(inscenirovanie) with the textualism of nature in modern cinema is also illustrated.

Key words: visuality, medial, glamour, natural language, creolized text, narrative device, macromyth

References

  1. Kirillova O. A. Simvolicheskaja smert' otca i stiranie sledov: k dekonstrukcii kinematografa A. Zvjaginceva // Mezhdunarodnyj zhurnal issledovanij kul'tury. 2011. № 2 (3). S. 75-77.
  2. Burkhart D. Puteshestvie Osipa Mandel'shtama v Krym: pojeticheskaja medializacija // Beglye vzgljady: novoe prochtenie russkih travelogov pervoj treti XIX veka. M., 2010. S. 127.
  3. Averchenko A. O kinematografe // Vestnik kinematografii. 1913. № 8. S. 4.
  4. Averchenko A. Djuzhina nozhej v spinu revoljucii. Parizh, 1921. S. 9.
  5. Bulgakova O. L. Prostranstvennye figury sovetskogo kino 30-h godov // Kinovedcheskie zapiski. 1996. № 29. S. 49.
  6. Bulgakova O. L. Sovetskij sluhoglaz: kino i ego organy chuvstv. M., 2010.S. 238.
  7. Smirnov I.P.. Videorjad. Istoricheskaja semantika kino. SPb., 2009. S. 292.
  8. Fedorova I.K. Kinotekst v inokul'turnoj srede: k probleme postroenija modelej kul'turnyh perenosov // Vestnik Permskogo universiteta. Russkaja i zarubezhnaja filologija. Vyp. 1(13). Perm'., 2011. S. S. 62.
  9. Slyshkin G.G., Efremova M.A. Kinotekst (opyt lingvokul'turologicheskogo analiza). M., 2004. S. 9.
  10. Gornyh A. Povestvovatel'naja i vizual'naja forma: kriticheskaja istorizacija po Frederiku Dzhejmisonu // Vizual'naja antropologija: novye vzgljady na social'nuju real'nost'. Saratov, 2007. S. 415.
  11. Jameson F. The political unconscious: narrative as a socially symbolic act. Ithaca, N.Y.: Cornell University Press, 1981. S. 63.
  12. Pasternak B. Sobr. soch.: V 5 t. T. 3. M., 1990. S. 362.
  13. Dziga Vertov. Kinoki // Lef. 1923. № 2. S. 135.
  14. Vajskopf M. Ptica-trojka i kolesnica dushi. M. 2003.
  15. Kropotov S. L. Problema «jekonomicheskogo izmerenija» sub#ektivnosti v neklassicheskoj filosofii iskusstva. Avtoreferat dissertacii na soiskanie uchenoj stepeni doktora filosofskih nauk. Ekaterinburg, 2000. S. 40.
  16. Jejzenshtejn S. M. Neravnodushnaja priroda. M., 2004. S. 10.
  17. Bespalova O. K. Krymskij makromif v zhizni i tvorchestve V.V. Nabokova. Avtoreferat dissertacii na soiskanie uch. stepeni kand. filol.. nauk. Simferopol', 2006. S. 8.
  18. Nabokov V. Lolita. M., 1989. S. 26.
  19. Ljusyj A. P. Nasledie Kryma: geosofija, tekstual'nost', identichnost'. M., 2007. S.147.
  20. Vasil'eva-Ostrovskaja E. Mifologija Lolity: geroinja Nabokova v sovremennom iskusstve i massovoj kul'ture // Imperija N. Nabokov i nasledniki. M., 2006. S. 175.
  21. Zamjatin D.N. Metageografija. Prostranstvo obrazov i obrazy prostranstva. M., 2004. S. 396.
  22. Mersh D. Meta/dia. Dva razlichinyh podhoda k medial'nomu // http://mediaphilosophy.ru/biblioteca/articles/mersh_dia/
  23. Vasil'eva-Ostrovskaja E. Mifologija Lolity. S. 165-166.
  24. Bulgakova O.L. Prostranstvennye figury sovetskogo kino 30-h godov // Kinovedcheskie zapiski. 1996. № 29. S. 50.
  25. Timenchik R., Hazan V. «Na zemle byla odna stolica» // Peterburg v pojezii russkoj jemigracii. SP., 2006.
  26. Sardor Babaev. K istorii Glamura (chast' II «Russkij glamur: Sobchak i Pelevin kak Diskurs i Glamur») // HYPERLINK «http://sporim.uz/?p=6061» http://sporim.uz/?p=6061
  27. Chernysheva V. Bezobidnoe sverhpotreblenie: Nikolaj Uskov o putinskom glamure i moskovskoj svetskoj zhizni // Nezavisimaja gazeta. 2007.16.11: HYPERLINK «http://www.ng.ru/saturday/2007-11-16/13_consumerism.html» http://www.ng.ru/saturday/2007-11-16/13_consumerism.html
  28. Memory art. Iskusstvo pamjati. M., 2012. S. 43.
  29. Gandl S. Glamur. M., 2011. S. 19.
  30. Migranjan A. Antiputinskaja kampanija. HYPERLINK «http://www.russ.ru/Temy/Logika-protesta» Logika protesta // HYPERLINK «http://www.russ.ru/pole/Antiputinskaya-kampaniya» http://www.russ.ru/pole/Antiputinskaya-kampaniya
  31. Chasticyna A. Diskurs glamura // Bol'shoj gorod. 01.12.2006: http://www.bg.ru/article/6273/
  32. Tihonova A. «Glamurnyj poddonok» i «surovyj gej», ili postsovetskie reprezentacii maskulinnosti v televizionnoj pop-kul'ture: «Nana Russia» na TNT //Vizual'naja antropologija: nastrojka optiki. M., 2009.
  33. Bordijjar Zh. Prozrachnost' zla. M., 2000. S. 8. Sm. takzhe: Ljusyj A.P. Pojetika predvoshiwenija. M., 2011.
  34. M. Vittig. Prjamoe myshlenie. M., 2003.S. 28-29.
  35. Smirnov I. P. Logomaterija, ili O sootnoshenii diskursá i glamurá // http://antropolog.ru/doc/persons/smirnovigor/smirnovigor9
  36. Jaltinskij golos. 8.09. 1918. N102 (323).
  37. Kitaev-Smyk L. A. Zhenskoe ogolenie–detonator vymiranija nacii! // Assalam. 2010. № 7: http://www.assalam.ru/content/story/1927
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Olga KIRILLOVA

Ukraine, Kiev.
National Pedagogical University named after M. P. Dragomanov.
The Department of cultural science. PhD in philosophy, senior lecturer.

Kino-Text of Valerii Briusov

The article focuses on the cinematic reflections of the works of the Russian symbolist poet, Valerii Briusov. Briusov's relationto film production is exemplified by two of his cinematic projects: 1) a 'thanathological' project — a screenplay by Briusov, entitled "Life in Death", directed by E.Bauer in 1914, and starring Ivan Mozzhukhin; and 2) an 'immortological' project — an unfinished book comprised of novels and scripts, entitiled "The Cinema of the Ages", the idea for which is partly discussed in Briusov's poem "The Cinema of the World" (1918). The article also discusses three screen versions of the only screened Briusov novelette, entitled "Last Pages of the Woman's Diary". The first version is a kitsch melodrama ("I Love If I Wish", 1990, dir. V. Panin); the second is a decadent film, which includes elements of erotic and horror films ("Passion Hunger", 1991, dir. A. Kharitonov); while the third version is a social drama depicting characters from pre-revolutionary Russia ("Confessions to a Stranger", 1994, dir. G. Bardaville). This, together with "Briusov's Theme" in "Mr. Designer" by O. Teptsov, 1989 (a manifesto of Russian decadent cinema) and other cinematic reflections create an integral film text on Briusov, which is open to interpretation.

Key words: film text, decadent film, symbolism, thanathology, immortology

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Maria CORRIGAN

USA, Santa Barbara.
University of California Santa Barbara.
Film and Media Studies, Editorial Collective, Media Fields Journal. PhD.

Poetry or Real Estate: Kozintsev on Hamlet's Defeat and the Arrival of Fortinbras

This paper explores the history of Soviet filmmaker, Grigory Kozintsev, and his relationship to Shakespeare's Hamlet, paying close attention to the problem posed by the play's finale and the arrival of Fortinbras. Using the director's working diaries, books, films and correspondence with the many Soviet artists who contributed to both his theatrical production in 1954 and his cinematic adaptation in 1964, this article examines the relevance of the Danish prince in Soviet society, and the difficulty of staging a classic work with built-in political interpretations and associations.

Key words: Shakespeare, Hamlet, adaptation, translation, Kozintsev, FEKS, eccentrism, Fortinbras, Shostakovich, Pasternak, Freidenberg, Nabokov, Akimov, Meyerhold, , Stalin Soviet cinema

References

  1. Agamirzyan, Reuben. Vremja. Teatr. Rezhisser. [Time, Theater, Director]. Leningrad: 1987: 4, 76-94.
  2. Akimov, Nikolai. "O postanovke 'Gamleta' v teatre im. Vahtangova" [On the production of Hamlet in the Vakhtangov Theater]. Teatral'noe nasledie [Theatrical Inheritance]. Leningrad: Iskusstvo, 1978.
  3. Barnes, Christopher. Boris Pasternak: A Literary Biography 2, 1928-1960. Cambridge: Cambridge University Press, 1998.
  4. Kozintsev, Grigory. King Lear, the Space of Tragedy: The Diary of a Film Director. Berkeley: University Of California Press, 1977.
  5. Kozintsev, Grigory. Shakespeare: Time and Conscience. New York: Hill And Wang, 1966.
  6. Kozintsev, Grigory, Sobranie sochinenij v pjati tomah [Collected Works in Five Volumes]. Leningrad: Iskusstvo, 1982-6.
  7. Kozintsev, Grigory. Vremja i sovest': iz rabochih tetradej [Time and Conscience: Notes from Working Diaries]. Moscow: Bjuro propagandy sovetskogo kinoiskusstva [Bureau of Soviet Cinematic Propaganda], 1981.
  8. Nabokov, Vladimir. Bend Sinister. New York: McGraw-Hill Book Company, 1947.
  9. Pasternak, Boris Leonidovich. I Remember: Sketch for and Autobiography. New York: Pantheon Books, 1959.
  10. Pasternak, Boris Leonidovich. Perepiska s Ol'goj Frejdenberg [Correspondence with Olga Freidenberg]. New York: Harcourt Brace Jovanovich, 1981.
  11. Schnitzer, Luda, and Marcel Martin, eds., Cinema in Revolution: The Heroic Era of the Soviet Film. New York: Hill And Wang, 1973.
  12. Shakespeare, William. "The Tragedy of Hamlet, Prince of Denmark." The Riverside Shakespeare. Eds. G. Blakemore Evans and J.J.M. Tobin. Boston: Houghton Mifflin Company, 1997. 1189-1234.
  13. Volkov, Solomon. Testimony: The Memoirs of Dmitri Shostakovich. Pompton Plains, NJ: Limelight Editions, 2004.
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Irina MARTYANOVA

Russia, St. Petersburg.
Russian State Pedagogical University. Philology Department.
Professor, PhD.

Textual Features of the Russian Screenplay

This paper examines the value of Russian screenplays (both adapted and original) as verbal texts, and how they relate to other text types.

Key words: screenplay, pre-text, after-text, development, textual features, interpretation

References

  1. Chudakova, Marietta (1988), Life of Bulgakov, Moscow: Kniga.
  2. Eisenstein, Sergei (1964), Selected Works, Vol. 2, Moscow: Iskusstvo.
  3. Eco, Umberto (2006), Telling Almost The Same: Experiences in Translation. St. Petersburg: Simpozium.
  4. Kagan, Moisei (1972), The Morphology of Art. Leningrad: Iskusstvo.
  5. Kozintsev, Grigori (1981) Time and Conscience, Moscow— Leningrad: Kino.
  6. Kruchechnikov, Nikolai (1971), Screenplays and Screenwriters of Pre-Revolutionary Cinema, Moscow: Izdatelstvo MGU.
  7. Lotman, Yuri (2003), On Art, St. Petersburg: Iskusstvo.
  8. Price, Steven (2010), The Screenplay. Authorship, Theory and Criticism, UK: Palgrave Macmillan.
  9. Prieto, Antonio (1983), Narrative Work // Semiotics, Moscow: Raduga, pp. 370–399.
  10. Richardson, Robert (1969), Literature and Film, Bloomington-London: Indiana University Press.
  11. Rodina, Tatyana (1984), Dostoyevsky: Narration and Drama, Moscow: Nauka.
  12. Sokurov, Aleksandr (1996) 'Do what only you can do ', Iskusstvo kino, 8, August, pp. 56–63.
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Michail KOLOMENSKY

Russia, Rostov-on-Done.
Member of Union of Russian Writers.
Member of Russian Association of Professional Scientists.
Member of Academy of Cinema Arts 'Nika'

Yury KALUGIN

Russia, St. Petersburg.
Member of Russian Association of Professional Scientists.
Member of Academy of Cinema Arts 'Nika'

Dealing with Well-known Literary Characters from a New Perspective

Sholokhov`s characters: Old-man Shchukar and the representative of a new power, Makar Nagulnov, in the 1930 novel "Virgin Soil Upturned" — reappeared in 1994, on a small island not far from Rostov-on-Don. As a well-known classic couple, such as Don Quixote and Sancho Panza, Don Juan and Leporello, and Ostap and Kisa, Shchukar –and Makar Nagulnov have appeared at just the right time. Each of these famous pairs always appears on the scene at a precise time, and serve a definite purpose. The aim of Sholokhov`s characters in their new lifeform is to understand whetherthe social experiment of their previous life achieved its goal.
In total, U. Kalugin and M. Kolomensky made about 30 short films about this popular duo.

Key words: U. Kalugin and M. Kolomensky, "Virgin Soil Upturned", speech

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Film as Kino-Text

Vsevolod KORSHUNOV

Russia, Moskow.
Russian State University of Cinematography, named after S. A. Gerasimov (VGIK).
Chair of Screenwriting, postgraduate student.
Chief Editor of the documentary films and serials department, the "Culture" channel

"Ivan the Terrible" ("Ivan Grozniy") by Sergey Eisenstein: A Movie with an "Overturned" Genre Structure"

Sergey Eisenstein defines his film, "Ivan the Terrible" ("Ivan Grozniy"), as a tragedy. However, this tragedy has a very complicated structure, as Eisenstein imposes two genre structures on the film. In the first part, Ivan the Terrible is a tragic hero, and Efrosiniya Staritskaya is the antagonist; in the second part of the film, Eisenstein imperceptibly changes this system of coordinates. Ivan the Terrible loses the status of tragic hero, while Efrosiniya instead occupies his place. This "overturned" genre structure can become a key to understanding a cinematic art form called a "hieroglyph film" or "palimpsest film".

Key words: scriptwriting, genre, Sergey Eisenstein, "Ivan the Terrible" ("Ivan Grozniy"), cinema

References

  1. Jejzenshtejn S.M. Izbrannye proizvedenija v 6 tomah. Tom 6. M., 1971.
  2. Jejzenshtejn v vospominanijah sovremennikov. M., 1973.
  3. Istorija otechestvennogo kino. Hrestomatija. / Ruk. proekta L.M. Budjak. Avt-sost. A.S. Troshin, N.A. Dymshic, S.M. Ishevskaja, V.S. Levitova. M., 2011.
  4. Frejlih S.I. Teorija kino: ot Jejzenshtejna do Tarkovskogo. M., 2007.
  5. Cukerman V. Dvojnaja «myshelovka», ili Samoubijstvo fil'mom. // Iskusstvo kino.–1991. — №9.–s. 93-102.
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Olga DZHUMAILO

Russia, Rostov-on-Don.
Southern Federal University. Department of World Literature and Criticism.
PhD in Philology, Assistant Professor.

Postmodern Confession in Michael Winterbottom's Tristram Shandy: A Cock and Bull Story (2005)

In the proposed article, I examine Michael Winterbottom's Tristram Shandy: A Cock and Bull Story (2005), as a means of considering how postmodern confession reveals itself through the film media. As an early example of the strategies of evasion and self-conscious artfulness found in later confessional writing, Lawrence Sterne's The Life and Opinions of Tristram Shandy, Gentleman (1767) is a peculiar case of mock confessional performance. The film is structured in relation to a set of narrative, visual, and cultural frames. The idea of performance manifests itself in different layers of the film's construction: the main focus of M. Winterbottom's film is on the professional 'performers'—actors, their professional and personal self-exploration, suggesting close ties with the postmodern identity crisis, semiosis, and other aspects. Special attention is paid to the foregrounding of the film-making process and a set of means aimed at the specific visual aestheticization of self-exploration, such as the role-playing motif, doppelganger characters, mise-en-abyme, and similar structures, including memory and dream visualization. A profound skepticism about the language of truthfulness gives way to the idea of a constructed confession, which is opposed to an acute and painful experience that fails to find an adequate verbal form. The film's visual devices make this idea even more ambivalent.

Key words: postmodern confessional performance, self-conscious strategies, representation of traumatic experience, unreliable narrator, Laurence Sterne, Michael Winterbottom, Tristram Shandy

References

  1. Gill J. Introduction // Modern Confessional Writing. New critical essays. Ed. by Jo Gill. London and New York: Routledge, 2006. P.1.
  2. Brooks P. Troubling Confessions (2001), Modern Confessional Writing. New critical essays (2006), Dzhumajlo O.A. Anglijskij ispovedal'no-filosofskij roman. 1980-2000 (2011).
  3. Lodge D. The Art of Fiction. L., 1992. P. 154.
  4. Booth W. The Rhetoric of Fiction. Chicago, 1961. R. 304.
  5. Chatman S. Story and Discourse: Narrative Structure in Fiction and Film. Ithaca, 1978.
  6. Cohn D. Discordant Narration // Style 34 (2000). Pp. 307–16.
  7. Olson G. Reconsidering Unreliability: Fallible and Untrustworthy Narrators // Narrative 11 (2003). Pp. 93–109.
  8. Rimmon-Kenan S. Narrative Fiction. Contemporary Poetics. L., 1986; Yacobi T. Package Deals in Fictional Narrative: The Case of the Narrator's Unreliability // Narrative 9 (2001). Pp 223-229.
  9. Zerweck B. Historicizing Unreliable Narration: Unreliability and Cultural Discourse in Narrative Fiction // Style 35 (2001). Pp. 151–78.
  10. Nünning, A. Unreliable Narration: Studien zur Theorie und Praxis unglaubwürdigen Erzählens in der englischsprachigen Erzählliteratur. Associate eds. Carola Suhrkamp and Bruno Zerweck. Trier, 1998. P. 27-28.
  11. Towers A.R. Sterne's Cock and Bull Story // ELH, Vol. 24, No. 1 (Mar., 1957), pp. 12-29.
  12. Watt I. The Rise of the Novel. London: The Hogarth Press, 1957.
  13. McHale B. Postmodernist Fiction. NY and L., 1987. Pp. 230-233.
  14. Nash Ch. The Unravelling of the postmodern mind. Edinburgh, 2001.
  15. McHale B. Cognition En Abyme: Models, Manuals, Maps. Partial Answers // Journal of Literature and the History of Ideas. Vol. 4, Num. 2, June 2006. Pp. 175-176.
  16. Dallenbach L. The Mirror in the Text. Chicago, 1989.
  17. Magny Cl. Histoire du roman francais depuis 1918. Vol. III. P.: Seuil. 1950.
  18. Dallenbach L. P. 15.
  19. New M. Tristram Shandy: A Cock and Bull Story // Eighteenth-Century Studies, vol.39, no.4 (2006). P.580.
  20. Slethaug G.E. The Play of the Double in Postmodern American Fiction. Carbondale, 1993.P. 3.
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Michael STEPANOV

Russia, St. Petersburg.
St. Petersburg branch of the Russian Institute of Cultural Research.
Researcher, PhD.

Machine-Dress Generates Desire or Dispositif vs. Apparatus

The article investigates the difference between two concepts — "dispositif" and "apparatus" in Baudry's film theory and introduces a third concept — "machine", which is understood through the structure of Alex van Warmerdam's film, entitled "Dress." The film's "protagonist", like Gogol's "Nose", is not a man, but a thing — a brightly-colored dress, whose "life" is depicted — from the creation of the cotton to the smoke of the crematorium. Using the concept of "machine", the article maps out the contours of human nature beyond the oppositional dualities of artificial/natural, natural/social, beautiful/ugly, alive/dead, etc.

Key words: movie, apparatus, dispositif, machine, Baudry

References

  1. Baudry, Jean-Louis. Ideological Effects of the Basic Cinematographic Apparatus . Pp. 287-298;
  2. Baudry, Jean-Louis. The Apparatus: Metapsychological Approaches to the Impression of Reality in the Cinema.–In: Narrative, Apparatus, Ideology.
  3. A Film Theory Reader, cd. by Ph Rosen, New York, Columbia University Press 1986, Pp. 299-318.
  4. The Cinematic Apparatus. Ed. Teresa de Lauretis and Stephen Heath.–New York: St. Martin's Press, 1980.
  5. Baudry, J.-L. Ideological Effects of the Basic Cinematographic Apparatus // Film Quarterly, 1974, Vol. 28(2), pp. 39-47. R. 40.
  6. Al'tjusser L. Ideologija i ideologicheskie apparaty gosudarstva (zametki dlja issledovanija) // Neprikosnovennyj zapas.- 2011–№3 (77)
  7. Baudry Jean-Louis. Le dispositif: : approches métapsychologiques de l'impression de réalité// Communications, 1975, № 23. pp. 56-72
  8. David-Menard, M. Was tun mit dem organlosen Koerper? // Biographien des organlosen Körpers / hrsg. von Éric Alliez u. Elisabeth von Samsonow.–Wien: Turia + Kant, 2003. S. 88-89.
  9. Deljoz, Zh., Gvattari, F. Tysjacha plato: Kapitalizm i shizofrenija. / per. s fr.–Ekaterinburg: U-Faktorija; M.: Astrel', 2010. S. 257-258.
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Andrey FOMENKO

Russia, St. Petersburg.
St. Petersburg branch of the Russian Institute of Cultural Research.
PhD, seniour rearcher.

Body and Soul

This article presents the transformation of the body horror genre in David Kronenberg's films. The text gives a number of examples of complex connections between body and soul in horror films. Analyses of concepts such as body, mind, Other, monster, and death are provided.

Key words: body horror, monster, Other, death

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National Experience of Kino-Narrative

Andrey CHUKUROV

Russia, St. Petersburg.
Russian State Pedagogical University.
Department of theory and history of culture, Senior lecturer, Professor, PhD.

Loneliness and Gender in Finnish Cinema

The article is devoted to the representation of the social and cultural phenomenon of loneliness through Finnishcinema, and also to the detection of the national features of this phenomenon. The main focus of attention is on the analysis of Finnish cinema's general tendencies, its art and institutional specifics, within the context of contemporary gender discourse.

Key words: artistic culture, loneliness, cultural identity, cinema, art, feminist critics, gender analysis

References

  1. Jonsson B. Desjat' razmyshlenij o vremeni: per. so shvedsk. Ju. Kolesova. — SPb. : Izd-vo Ivana Limbaha, 2006. S. 56.
  2. Skjerderud F. Bespokojstvo. Puteshestvie v sebja: per. s norv. M. Jeskina. — Samara: Izdatel'skij Dom «Bahrah-M», 2003. S. 26.
  3. Kainulainen Pauliina. Wisdom Theology and finnish nature spirituality reflections on Ivone Gebara's ecofeminism. // Scandinavian Critique of Anglo-American Feminist Theology. Journal of the European Society of Women in Theological Research, 15. — Belgium, Leuven: Peeters Publishers, 2007. R. 138.
  4. Kivelja M. Ty ili nikogda: Roman: per. s finsk. Starodubceva L. — M. : Lajvbuk, 2010. C. 27.
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Danila LIPATOV

Russia, Moskow.
Russian State University for the Humanities.
History of Art faculty, History of World Arts department.
Postgraduate student.

Aesthetics of Minimalism in Contemporary German Cinema: Narrative Strategies

The aim of this article is to determine the narrative strategies applied to works of art under the label of minimalism. This particular type of aesthetics was simultaneously developed in painting, sculpture, design, literature and film. Most art experts agree that in most of these art practices, minimalism manifests itself through the severe economy of artistic devices. In minimalistic films, directors usually resort to different methods of cinematic reduction and de-dramatization. In this article, basic techniques of narrative minimalism are systematically examined in relation to the films of the "Berlin School" — the German "nouvelle vague".

Key words: minimalism, film narrative, the Berlin School, slow cinema, realism, reductionism, ellipse/ellipsis

References

  1. Grob, N. Kino des Minimalismus. Bender, Mainz, 2009.
  2. Gansera, R. Glücks-Pickpocket. Thomas Arslans traumhafter Film "Der schöne Tag", 2001.
  3. Seidel, G. Angela Schanelec Interview. Hollaender, 2010.
  4. Karpovec, M. Ben'jamin Hajzenberg. Kino kak sportivnyj interes. Cineticle. Vypusk 8. Berlinskaja shkola, 2011.
  5. Bazen, A. Chto takoe kino? — M.: Iskusstvo, 1972.
  6. Margulies I. Nothing Happens. Chantal Akerman's Hyperrealist Everyday, Durham, N.C., 1996, S. 42–64.
  7. Bordwell D. Narration in the Fiction Film. University of Wisconsin Press, 1985.
  8. Grob N., Kiefer B. Mauer R. Kino des Minimalismus. Bender, 2008.
  9. Gan, A. Angela Schanelec Interview. Revolver, Berlin, 2001.
  10. Suchsland R. Langsames Leben, schöne Tage. Annäherungen an die "Berliner Schule." Film-dienst no. 13, 2005.
  11. Nord C. Notizen zur Berliner Schule. New filmkritik. 2007.
  12. Bekket S. Tri dialoga// Kak vsegda — ob avangarde: Antologija francuzskogo teatral'nogo avangarda. M.: Sojuzteatr; GITIS, 1992.
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Books Reviews

Michael STEPANOV

Russia, St. Petersburg.
St. Petersburg branch of the Russian Institute of Cultural Research.
Researcher, PhD.

To Production!
A Review of the Collected Writings of Walter Benjamin: 'The Doctrine of Mimesis. Media-Aesthetical Works"

The works of Walter Benjamin have a tendency to be published and republished under different names. Recently, for the first time, the book has been translated into Russian, and several works have already been released under the subtitle "Media aesthetical works". Now, Benjamin's classic media theory appears in Russia, but with a special focus — the media aesthetic. What this is, exactly, has yet to be seen, but undoubtedly the leading line separating the assembly from the other Benjamin is the problem of creative production and the role of the media in intellectual activity.

Key words: Walter Benjamin, language, media, machine, aesthetics, author, production, mimesis

References

  1. Benjamin, Walter: Medienästhetische Schriften / Hrsg. und Nachwort von Detlev Schöttker.–F.a.M.: Suhrkamp Taschenbuch, 2002.–448 S.
  2. Boldyrev I., Chubarov I. Posleslovie sostavitelej / Ben'jamin V. Uchenie o podobii. Mediajesteticheskie proizvedenija.–M.: RGGU, 2012. S. 273.
  3. Schöttker, D. Benjamins Medienästhetik. In: Benjamin, W. Medienästhetische Schriften / Hrsg. und Nachwort von Detlev Schöttker.–F.a.M.: Suhrkamp Taschenbuch, 2002. S. 411-433.
  4. Ebenda. S. 411ff.
  5. Krämer, S. Medium, Bote, Übertragung. Kleine Metaphysik der Medialität —F.a.M.: Suhrkamp Verlag, 2008. S.41-53.
  6. Ben'jamin, V. Rasskazchik. // Maski vremeni. Jesse o kul'ture i literature. / Perevod s nemeckogo i francuzskogo. Sostavlenie, predislovie i primechanija. A. Belobratova.–Sankt-Peterburg: Symposium, 2004. S. 383-418.; do jetogo v knige sostavlennoj T. V. Adorno «Ozarenija»: Ben'jamin, V. Ozarenija / Perevod N. M. Bernovskoj, Ju. F. Danilova, S. A. Romashko.–M.: Martis, 2000.
  7. Perevod posleslovija dissertacii: Ben'jamin, V. Teorija iskusstva u rannih romantikov i pozdnego Gjote // Logos.–1993–№4. S. 151-158.
  8. Benjamin, W. Der Begriff der Kunstkritik in der deutschen Romantik
  9. / Hrsg. u. Kommentar von Uwe Steiner. // Werke und Nachlass. Kritische Gesamtausgabe, Band 3.–F.a.M.: Suhrkamp Verlag, 2008.- 398 S., gde na 160 stranic teksta Ben'jamina, prihoditsja 240 stranichnyj kommentarij izdatelja Uve Shtajnera.
  10. Ben'jamin V. Pis'mo Martinu Buberu. // Uchenie o podobii. Mediajesteticheskie proizvedenija.–M.: RGGU, 2012. S.28.
  11. Tam zhe. S. 28-29.
  12. Ben'jamin V. O jazyke voobwe i o jazyke cheloveka // Uchenie o podobii. Mediajesteticheskie proizvedenija.–M.: RGGU, 2012. S.16.
  13. Mediateoretik Vilem Fljusser v konce 1980-h, nabrasyvaet koncept «lestnica abstrakcij», opisyvaja stanovlenija media v dvizhenii ot tela k digital'nym tehnologijam: Fljusser, V. O proecirovanii. / per. s nem. // Hora. Zhurnal sovremennoj zarubezhnoj filosofii i filosofskoj komparativistiki. ‑ № 3/4, (9/10)–2009. S. 72-73.
  14. Ben'jamin V. Uchenie o podobii. Mediajesteticheskie proizvedenija.–M.: RGGU, 2012.
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Anna KONEVA

Russia, St. Petersburg.
St. Petersburg branch of the Russian Institute of Cultural Research.
Head of department. PhD in philosophy, senior lecturer.

The Other in the Space of Representation: The Book on E. N. Shapinskaya's "Image of the Other in Culturaltexts"

The paper analyzes the image of the Other from the position of contemporary philosophical reflection, as presented in E. N. Shapinskaya's book. In the reviewed work, the Other is presented as a concept with variousrepresentations. Particular attention is paid to some criticism of the concepts introduced by the author — such as the "existential other"; anthropological and social reasons of representation of the Other are also analyzed and discussed in this book.

Key words: image of the Other, gender, subculture, post-subculture, the ethnic Other, tolerance, representation

References

  1. E. N. Shapinskaja. Obraz Drugogo v tekstah kul'tury. Krasand, 2012 g. — 216 s.
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Irina MARTYANOVA

Russia, St. Petersburg.
Russian State Pedagogical University. Philology Department.
Professor, PhD.

Videoman
A Review of Igor Smirnov's Book, entitled: 'Image Sequence. Historic Semantics of Film'

The article investigates the potential relevance to literary critics of I. Smirnov's (2009) theory of relations between sinematic art and Russian text.

Key words: literary cinematography, text philosophy, sinematic art

References

  1. Smirnov I.P. Videorjad: Istoricheskaja semantika kino. SPb.: Petropolis, 2009.
  2. Jakobson R. O. K voprosu o zritel'nyh i sluhovyh znakah // Semiotika i iskusstvometrija. — M., 1972. S. 82—87.
  3. Jejhenbaum B. M. O literature: Raboty raznyh let. — M., 1987.
  4. Tynjanov Ju.N. Ob osnovah kino // Tynjanov Ju.N. Pojetika. Istorija literatury. Kino. M., 1977.
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