Abstract
The study of the fourth dimension in the Old Russian icon painting and the XX-th century physics allows to reveal a number of regularities essential for screen writing. The range of screen presentations of non-physical sphere permits to study the 4-dimensional film space. The article includes the analysis of Yu. Lotman’s dramaturgy pattern in the chronotope of the Russian puppet film. The spatial pattern is particularly obvious when used in the animation synthesis typical for 3-D animation. The combination of different display types has nowadays become an evident tendency widely exceeding the boundaries of animation as a whole and puppet film in particular.
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