Screen Arts Research Articles

The “subjective microphone” technique in M. Khutsiev’s film “I am Twenty”

The object of research in this article is the actor speech in the cinema of the "Khrushchev Thaw" period. The subject of the research is the artistic specifics of the recorded speech in the film "I am Twenty." The article analyzes the use of "subjective microphone" technique in the sound landscape of the film "I Am Twenty" by Marlen Khutsiev. The aesthetic and technical aspects of the use of the above technique have been analyzed in detail. "Subjective microphone" is considered by the author as part of the updated speech style that appeared in Soviet cinema in the era of the " Khrushchev Thaw." The author pays special attention to the influence of the updated speech aesthetics of cinema of the 1950s and 1960s on theatrical art and acting. The novelty of this research lies in the study of the phenomenon of acting speech in the cinema of the "thaw" from an aesthetic and technical standpoint. The term "subjective microphone" was first introduced into scientific circulation in application to sounding speech in screen arts. The term "cross-diegesis" is proposed for inclusion in scientific circulation to determine a special sound space formed in screen arts when using the technique of a "subjective microphone." The article scientifically substantiates a special place that is occupied by the "subjective microphone" technique in the concept of dividing the sound space of the film into diegetic, non-diegetic and methadiegetic layers. Separately, the author dwells on the inclusion of the reception of the "subjective microphone" in the general documentary-poetic artistic style of Marlen Khutsiev. In conclusion, the author says that the appearance of magnetic sound recording in the 1950s had a powerful effect on the aesthetics of film monography and, in particular, the sound of acting speech.

The Specifics of the Director’s Work with a Central Figure in Film and TV Documentaries

The topic of the director’s work with a documentary’s central figure on the screen, in the conditions of active distribution of visual content, especially in the genre of interviews, is undoubtedly relevant. The interviewee’s preparation for filming, the methods of their emancipation, the achievement of the ultimate goal and the truth of life on the screen require detailed study, professional knowledge based on the experience of the classics of documentary film directing — D. Lunkov, Yu. Shiller, I. Belyaev, A. Lysenko, etc. Long-forgotten techniques are closely intertwined with innovative ideas of directors. These include what behavior the interviewer or presenter decides to adhere to. Depending on the combination of factors, the tone and course of on-screen conversation in different genres may change. By adopting a tough model of behavior, the presenter can make the conversation’s tone tense and, at the same time, more dynamic and sharp, while a soft behavioral model can make the conversation more sincere and friendly. The article analyzes the specifics of the director’s work with a central figure in the process of creating documentary screen works. The authors attempt to comprehend the experience of previous generations of documentary filmmakers, so that young specialists can take into account their mistakes and achieved results when working with the so-called non-actor — a documentary’s central figure in the audiovisual screen space. The article concludes that, despite the fact that the solutions to complex problems in the work of a director with a documentary’s central figure have already been described by leading practitioners and theorists in the field of audiovisual screen arts, the process of forming a central figure in film and television documentaries is not over. There are controversial points of view on a number of aspects of disclosing the personality of a documentary’s central figure, their emancipation on camera and the truth of life on the screen. Therefore, relying on the previous experience of the professionals and taking into account the emergence of new technologies, the younger generation of directors needs to use already well-proven techniques in their work, as well as try to find and apply new approaches (techniques) when creating documentary screen works having a central figure.

Acting creativity in audiovisual art as a type of artistic and aesthetic activity

The nature of acting, like audiovisual art, has undergone significant transformations and is deeply interdisciplinary. Scientific research is an attempt to investigate the peculiarities of acting creativity in audiovisual art as a type of artistic and aesthetic activity from the point of view of the peculiarities of the development of audiovisual art in Ukraine. The differences between the terms “audiovisual”, “cyber”, “media” and “screen art” are defined. It has been established that the reason for the extremely wide usage of the terminology is the rapid development and transformation of both art forms and the means of reproduction, creation and realization of audiovisual products. An attempt was made to structure the actor’s creative activity, as a result of which it was proposed to distinguish the actor’s personal and professional qualities as well as skills, the necessity of which is determined by the specifics of the technologies used in the creation of an audiovisual product.

ИЛЛЮСТРАЦИЯ 360° В СОВРЕМЕННОЙ ВИЗУАЛЬНОЙ КУЛЬТУРЕ

The object of the article: the works of contemporary artists working with the 360° format and creating the so-called. "spherical illustrations" or 360° illustrations, controlled panoramic images. Works were selected as material, reflecting the types of strategies for the work of artists with this medium, demonstrating the connection between the artist's intention and the formal, structural solution of the work. Subject of the article: the specifics of 360° illustration, its expressive possibilities, as well as the strategies of artists who turn to this format as an instrument of aesthetic impact on the viewer in the context of the modern communication society. The study is devoted to the actively developing phenomenon of 360° illustration, which is currently becoming increasingly popular among artists and delineates new aesthetic horizons for illustration as an art form. The main goal of the study is to identify the specifics of the phenomenon of spherical illustration in modern visual culture, the contextualization of 360° illustration in the field of modern visual culture. The author made the following conclusions: the 360° illustration is the ultimate version of the structure of the classical pictorial image with a direct perspective, which at the same time carries out a “Copernican revolution” in terms of the viewer’s attitude to the artistic image (from a passive recipient, he turns into active interpreter and co-author of the artist), thus, on the one hand, illustrators get to expand the repertoire of their own expressive means (partly borrowing the techniques of screen arts), and, on the other hand, the viewer gets the opportunity to be "inside" the image and experience it as a subjective aesthetic experience.

ОБРАЗЫ ШУТОВ И ЮРОДИВЫХ В ОТЕЧЕСТВЕННОМ КИНЕМАТОГРАФЕ

Directors of Russian cinema of the Soviet and post-Soviet periods portray jesters and fools in the development of the theme of historical formation of pre-Petrine Russia. As participants of social communication with an atypical code of visual and verbal expression, jesters, skomorokhs and fools encrypt socio-cultural codes of historical memory, which can acquire additional productivity due to the nature of the screen medium. The fools in the films of S. Eisenstein, A. Tarkovsky, and P. Lungin are depicted as denouncers of vices through direct (pleas, monologues, prayers) and indirect (public gestures) appeals to people: parodies, provocative skits, spontaneous performances and quotations. The visual techniques of screen arts are coupled with all those forms of denunciation. The unity of the line of depicting jesters and fools by Russian directors becomes evident in the technique of “theater in the theater”, “mask of masks”, when social masks put on masks in order to expose a significant character. The article shows the performative nature of screen arts and the ways for enhancing the performativity by the portrayal of social outsiders.

Historical Stages of Musical Art Development in the Context of Scientific and Technical Progress

The purpose of the work is to define the historical milestones of scientific and technological progress and to identify the interrelationship of art, technique, and technology at various stages of world culture development. The research methodology is based on philosophical and aesthetic research on the evolution of artistic culture and the understanding of the musical-communicative process, which allows the summing up and substantiating of the conclusions of the outlined issues. The scientific novelty of the work consists in gradually highlighting the historical stages of the scientific and technical revolution, demonstrating its direct influence on the development of musical art from the first stages of its development to the present day. It has been determined that in each historical formation, transformational processes are closely related to scientific and technical progress, which today are the main driving force of the musical and technical industry. Conclusions. The first stage is marked by the emergence of writing, which destroyed the monopoly of a small number of people on knowledge. At this stage, musical notation appears, with the help of which the information related to music is broadcasted. In the second stage, the invention of the printing press becomes a means of rapid dissemination of information, including musical information, through sheet music printing. The third stage is associated with the invention of mechanical sound recording and sound reproduction devices, as well as the introduction of electric current and analogue sound recording devices. In the fourth stage, because of modern technological achievements, the so-called phenomenon of "digital arts" is formed, which is characterised by interactivity, elitism, a new genre system, and innovative means of artistic expression. Modern artistic technologies, relying on the latest sound processors, computer software, and other digital innovations, help to expand the boundaries and create a new sound palette in music and concert practice, theatre performances, studio work, radio broadcasting, screen arts, and other areas of cultural and artistic life. Key words: musical art, scientific and technical progress, information revolutions, computer technologies, digital arts

Circus as Environment of Screen Action in Modern Directors’ Creative Work

The purpose of the article is to expand scientific ideas about the place and role of circus and screen directing in the system of humanitarian knowledge. Research methodology. An interdisciplinary approach based on the use of a number of general scientific methods; in particular, a system of theoretical methods (induction, deduction, identification, complex artistic analysis, and synthesis) has been used in the study of the topic, which made it possible to study the factual basis of the implementation of circus productions in the arena and on the screen. The methods of systematisation and generalisation came in handy for arguing the originality of circus directing in the context of screen arts. The typological method enabled consideration of common artistic principles in the creative pursuits of masters of screen and circus art. In addition, analytical and systematic methods have been applied in their unity, which is necessary for the study of the art history aspect of the problem. The scientific novelty of the study consists in defining the directing profession as a universal type of artistic-aesthetic and creative-production activity; revealing the original principles of making films based on circus creativity; in the clarification of mutual influence and mutual enrichment of circus and audiovisual arts in the development of directing skills. Conclusions. It is substantiated that the film directors’ creativity develops and expands knowledge about circus art, gives impetus to the development of creativity of circus directors and performers on the screen plane. The specifics of the film director's activity in the process of the screen presentation of circus work were determined, which became the subject of a special study for the first time.
 Key words: circus, audiovisual art, directing, circus creativity, trick, screen means, performing skill.

Adaptation of Traditional Screen Art – Online Theatres: A Chance to Explore New Frontiers

Adaptation of traditional screen art’ is an effort put forth by the students of Malay Folklore to present the folklore stories from oral methods to an online theater production. It imposes to bring an impact to the society with the understanding of concepts as well as the value of the myriad traditional folk literature within the country. By showcasing this online theatre, fresh new ideas are bursting and bubbling in the minds of these students as initiatives in ensuring the interests and assets of the Malay literature in Malaysia is up for further developments by upcoming generations. This study consists of the two objectives. First, to display the skill of students where students can balance aspects of physical, emotional, spiritual, intellectually and personality. Secondly, to analyzing student soft skills. Therefore, this study applies the observation method to study the changes in the behavior among the students. As a result, this study proved that `adaptation of traditional screen art’ serves as a platform where students can gain knowledge as well as new experiences in the performing arts industry especially ones that are concerned with Malaysian folklores and fairy tales. In addition to that, students are also exposed on the ropes on how to improvise and showcase these wonderful Malay literary works on stage. Such efforts to put forth a production will act as a learning process, where the students are able to truly understand and appreciate these magnificent literatures. Through this effort, the students are instilled with all the soft skills needed, from matters of management as well as the creation of performing oral traditions virtually. Findings from this research can display students' skills in creating virtual oral traditions that ultimately form students' soft skills. Hopefully further researchers can expand the study of oral tradition and its benefits among the new generation. In addition, being able to connect it with multimedia elements and technology.

SCREEN ENTELECHY: SURFACE AND PLANE

As part of the modern discourse on screen art, the article examines the phenomenon of a display surface, which represents the boundary between the screen and real spaces. The relevance of this topic is concerned with the development of the technical base, owing to which the variety of screen types is considerable. In everyday life a few decades ago, the screen as an electronic device was primarily associated with a television receiver, whereas today, the methods of modeling visual reality are becoming more complicated, and various screens of mobile devices are increasingly used. It is noteworthy that in practice the inclusion of a display surface directly into the mise-en-scene being filmed has become widespread. The article discusses this kind of creative solution when creating the material; in particular, it substantiates and proposes the concept of "substitution technique", used in the filming process and which assumes the presence of a mobile device screen in the frame, for the introduction into scientific circulation. At the same time, the researcher's attention is directed to the study of the properties of the screen as a reflective surface in the cinema hall, and the surface of the screen of a monitor or a smartphone that emits a light flux. The author takes into account the physical patterns of the screen: the shape and structure of its surface, and also considers screen space. The study analyses the nature of a multi-plane screen. Against this background, the study of the multi-image screen and the discussion of the principles of image projection on the facades of architectural structures seem to be significant. The attention is focused on the mirror surface representing the surrounding world. From the perspective of the visual component of the television material, a set of colour spaces is studied in a single colouristic construct, expressed by the technical parameters of the screen itself and the visual information received from it by the recipient. The study of the multi-plane screen structure, as well as the multi-level screen space, is of practical importance, helping to develop relevant methods for presenting video content in the modern media environment. In theoretical terms, it contributes to the formation of a holistic picture when considering the sphere of television, and also provides intermediate results of scientific work, the main direction of which is the study of the figurative structure of the screen space. The publication may be of interest to professionals and a wide range of readers and viewers.

Biographies of Russian Writers as a Target of Post-Truth

The article examines the influence of the phenomenon of post-truth on the creation of artistic images of Russian writers in the novel and screen arts. The essence, tools and role of post-truth in the construction of political and cultural life were described by Plato in the “The State.” Having spread in modern times, post-truth seeks to replace the truth of history, to infiltrate real destinies and biographies, to act in their place, to operate with imaginary things instead of authenticity, to use the “bad is more interesting than good” principle. The experience of the first Russian silent film biography of A. S. Pushkin (1910) and all the subsequent eighteen biographical films about the poet’s fate showed the flaws of artistic adaptations dedicated to real heroes: historical unreliability, untruth of character, deliberate distortion of biography, the introduction of false, politically biased versions for the sake of greater showiness and scandalousness. The central plot of the article is devoted to artistic texts related to the image of F. M. Dostoevsky. Boris Akunin’s novel “The Turkish Gambit” (1998) touches on the events of the Russian-Turkish War of 1877–1878, describing them from openly Ottomanophile positions, painting the characters fighting for Russian interests in dark colors. The novel author focuses on author of the “Writer’s Diary;” depicted namelessly, but with a full set of biographical signs, he is vindictively and scandalously defamed. Dostoevsky is present in J. M. Coetzee’s novel “The Master of Petersburg” (1994, translated from English 1999), also in the “shame and fall” perspective. The image of the real Dostoevsky is deliberately distorted, rather than elevated, in the created neo-myth — the debunking of the Russian writer was apparently the true goal of the novelist.

Dynamics of changes in the image of Ukraine in the audiovisual art of the XXI century

The article reviews some of the established stereotypes and new trends in the image of Ukraine and Ukrainians in the world audiovisual art. Traditionally, all nations rely primarily on stereotypes in their attitudes towards others. Most of the time, in the screen arts (especially when it comes to American films, television programmes, etc.), Ukrainians, russians, or Belarusians are portrayed as either «russians» or «Slavs» with a russian-centric identity. Cases of positive cinematic representation of Ukrainians in the twentieth century were an exception, the most notable of which was the film «The Fisherman’s Boots» (1968) by British director M. Anderson. The prototype of the protagonist, Cyril Lakota, the Archbishop of Lviv, who, after 20 years in a Siberian hard labour camp Gulag, is unexpectedly released and allowed to move to Rome, was Josyf Slipyj. After 1986, the theme of the Chornobyl tragedy became widespread in audiovisual artworks dedicated to Ukraine and Ukrainians. The disaster at the Chornobyl nuclear power plant was perceived by the international community primarily as a real threat of a total nature, about which it is necessary to know as much as possible in order to protect the lives and health of the population of different countries. At the same time, the study of the psychological aspect of the tragedy, its impact on the minds of the direct participants, and the change in attitudes towards Chornobyl over time became a subject of particular artistic interest. In the twenty-first century, the Orange Revolution, the Revolution of Dignity, and the Ukrainian-russian war finally put an end to the interpretation of Ukrainian characters in world cinema as marginal representatives of the Russian screen narrative. A number of fiction and non-fiction films and TV series were released about various aspects of the lives of Ukrainians, who are now clearly identified by their nationality and citizenship. A special role in this process is played by thematic programmes with historical content developed and implemented by T. Snyder.

Directing Ballet Performances on Stage and Screen

The purpose of the article is to outline the problems of directorial skill in the adaptation of the most famous ballet productions on the screen and to define scientific guidelines that will contribute to the comprehensive study and analysis of the phenomenon of ballet directing in the audiovisual space. Research methodology. An interdisciplinary approach based on the use of a number of general scientific methods was used in the study of the issue, in particular: a system of theoretical methods (induction, deduction, identification, complex art analysis, and synthesis), which made it possible to study the historical and factual basis of the implementation of ballet productions on stage and screen. The methods of systematisation and generalisation came in handy for arguing the originality of ballet directing in the context of screen arts. The typological method made it possible to consider common artistic principles in the creative pursuits of masters of screen and stage art. In addition, analytical and systematic methods have been applied in their unity, which is necessary for the study of the art history aspect of the problem. The scientific novelty of the study consists in the definition of directing as a universal and multi-vector type of artistic-aesthetic and creative-production activity; in clarifying the mutual influence and mutual enrichment of the stage and screen arts in the use and development of director's production tools; in the determined specifics of the director's work in the process of screen adaptation of works of ballet art in cinematographic and television productions, which became the subject of a special study for the first time; in revealing the original principles of the construction of screen works based on well-known ballet productions. Conclusions. It has been proven that screen directorial work contributes to the popularisation of both ballet productions and the creativity of ballet masters and ballet performers, refuting the sometimes-irrevocable judgments of practitioners and theoreticians of cinema and television about the threat of the intervention of stage culture in the screen space as a destructive factor.
 Key words: directing, screen arts, ballet, directing tools, stage production, choreographer, television.

(Not)visible in Bulgarian Cinema – to the Topic of Roma and On-screen Presentations

Film panoramas and specialized lectures related to the topic of Roma representation in the screen arts are of particular importance to the Bulgarian cultural field and society, but unfortunately they are rarely realized. The visual language’s instrumentarium could be different when try to articulate the image of the largest ethnic group in the Balkans. All autours must touch carefully the Roma filmtopics and sub-narratives in the frame area: on the one hand, they must achieve authentic representations and to demonstrate clear understanding, but on the other hand the risk of drowning in well knows stereotypes still exist. This article makes the first approach to the wide field of inisibility/ visibility of Roma in the field of Bulgarian screen arts. In our post-totalitarian cinema, the Gypsy Ethnicity affects the various types of films, their formats and genres. In the beginning (just after 1989 until the Millennium), there was a saturation and domination in documentary cinema, followed by the outflow of the subject. In that in recent years there has been an activation of the feature forms (long – and shortlength), made by new, young directors, who are trying to construct positive messages and images. An important focus is that Roma representatives (directors, screenwriters, actors etc.) are timidly included in the national cinema process. In general, however, the picture of presence is somehow marginal unfortunately.Bulgarian new cinema can fully reveal ethno-cultural differences and similarities, bring to the fore both the accordance and contrasts in the intercultural meeting. And in particular – properly and credible to paint the colorful, peculiar and distinctive world of the Roma ethnicity. Last but not least, the audiovisual arts could provoke a social change in the perception of the Other. The image of the Gypsies as a "internal foreigner", however, is gradually transformed. The research texts from the large humanity and social disciplines, and especially Film Studies, appropriatelly focusses on the diverse discussion fields in which cinema artifacts function: social anxiety, poverty, marginalization, sexualization, trauma and victimization during the Holocaust, children’s worlds and Roma childhood problems.

Theatrical Activity as a Way of Developing Musical-Choreographic Competence in Future Preschool and Primary School Teachers

The article highlights the possibilities of applying elements of theatre arts in the process of preschool and primary school teachers professional training. In particular, it reveals the issue of forming musical and choreographic competence in students by means of various forms, types and methods of drama. The main forms of musical and choreographic competence formation in preschool and primary school teachers are practical and laboratory classes (disciplines “Pedagogy”, “Fundamentals of pedagogical creativity”, “Fundamentals of stage and screen art with teaching methods”, “Organization of theater activity in preschool education institutions”, “Methods of music education”, “Musical art with methods of teaching”, etc.) and extracurricular forms of students’ theater activity (drama societies, drama studios, etc.).
 Important types of drama activities in the process of training future preschool and primary school teachers are staging and dramatization, within which it is advisable to use different methods of forming students’ musical and choreographic competence: music-motor and drama games, staging of fairytales and songs, improvisation on a given theme-image, sketches, etc. Their use contributes to the development of a holistic set of musical and choreographic abilities, formation of singing skills, stage and dance movements, upbringing of future teachers’ performance culture and so on.

Directing for ballet as an adept of literary creation on the screen

The aim of the article is to identify problems of adaptation of ballet productions based on literary sources in the audiovisual space and to determine scientific landmarks that will contribute to a comprehensive study and analysis of the phenomenon of ballet art on the screen. Research methodology. An interdisciplinary approach based on the use of a number of general scientific methods was used in the study of the topic, in particular: a system of theoretical methods (induction, deduction, identification, complex art analysis, synthesis), which made it possible to develop a historical and factual basis. Methods of systematization and generalization came in handy to argue the originality of the phenomenon of ballet in the context of the screen arts. The typological method allowed us to consider common artistic principles in the creative experiments of screen and performing arts. In addition, analytical and systematic methods were used in their unity, which is necessary to study the art aspect of the problem. The scientific novelty of the study is to define directing as a universal and multi-vector variety of artistic and aesthetic activities; in clarifying the interaction and mutual enrichment of performing, screen arts and literature in the use of pictorial and expressive means; in certain features of the director's activity through screen adaptation of literary work and stage means of ballet art in film and television productions of theatrical productions, which for the first time became the subject of special research; in identifying the original principles of construction of screen works based on ballet productions. Conclusions. It is proved that the audiovisual work of directors contributes to the widespread popularization of ballet, choreographers, and ballet dancers, as well as calls into question the claims of film and television theorists about the danger of invading stage culture on the screen.
 Key words: directing, screen arts, ballet, directing means, stage production, film adaptation.

Круглый стол «Эстетика советской кинокомедии». Эксцентрика, авторское начало, официозный контекст

In the modern period the aesthetics of comedy in cinema was on the periphery of the attention of the science of art. Not least, this was due to the fact that the analysis of the comic was relegated to the background by the study of the playful relativity characteristic of postmodern trends in the screen arts of the late 20th and early 21st centuries. Meanwhile, Soviet film comedy remains one of the pinnacles in the development of this genre in the cinema of the 20th century. And the decline of comedy in modern Russian cinema prompts a return to the experience of the masterpieces of the Soviet era. The relevance of the topic is connected with this: the contexts of the comic and laughter in Soviet comedies, their functions of a social, communicative, aesthetic nature were not studied in detail and comprehensively in their time. The novelty of approaches today is associated with the possibility of free from ideological pressure and the most detailed consideration, and in part are vision of the formal and substantive features of the film comedy of the Soviet period. This scientific process combines the methods of art history, cultural studies, folklore and anthropology. This text reviews the reports at the Round Table “Aesthetics of Soviet Film Comedy”, organized by the Mass Media Arts Department of the State Institute for Art Studies and which brought together scientists of different generations from VGIK, the Union of Cinematographers of the Russian Federation, the Russian State University for the Humanities, the Higher School of Economics, the Academy of the Media Industry, the Free University and other institutions. The purpose of the round table was to identify the main phases of the evolution of comedy in the Soviet cinema, and therefore the order of the reports took into account the historical chronology of the appearance of certain films and genre varieties of comedy. Since the formation of film comedy in the 1920s – 1940s, a change in philosophical paradigms, the transformation of an eccentric principle, the formation of new artistic images and motives have been recorded. The attention of researchers to the problems of the relationship between society and the state, concepts and theories of the comedy principle in the context of government orders was also obvious. Particular attention of researchers was directed to the polymorphic nature of comedy, capable of combining lyricism and farcicalness, serious and frivolous, openly conditional and life-like. A number of speakers addressed to the individual elements of the comedy film poetics, the relationship between visual and sound, transformations of characters’ images, inclusions of theatrical forms, grotesque, and absurdity. Aspects of the film language of Sergei Gerasimov, Ivan Pyryev, Stanislav Barei, Edmond Keosanyan, Georgy Danelia, Leonid Gaidai were analyzed.

Lung Cancer Screening with Low-Dose Chest Computed Tomography

Early detection and treatment is important to reduce mortality from lung cancer. Based on the positive results of lung cancer-related mortality reduction from large randomized trials of low-dose chest computed tomography (LDCT)-based screening in high-risk populations, LDCT-based screening programs have been implemented in several countries including Republic of Korea. This review focus on the current evidence and state of the art of LDCT-based lung cancer screening, and further discuss the ongoing efforts to develop more efficient screening programs worldwide. This article includes recent updates on the identification of high-risk population eligible for screening and management for screen-detected nodules. Additionally, aspects on future research direction would be addressed.

Цифровые и аналоговые пространства: VIII Международная научная конференция «География искусства»

The VIII International Scientific Conference Geography of Art was held in May 2022. This is a new step in a long-term project devoted to the issues of “mastering” geographical space through art, including the semiotics of spaces created by artists, sculptors, and architects. Among other aspects, the conference examined how art creates geographical images and fantasy worlds, which always have a trace of the real world’s spatial regularities. Since 1994, the project has existed in the form of collections of scientific articles, and since 2009—in the form of conferences as well. The project was conceived by Russian geographer Yury Vedenin, and later Olga Lavrenova, philosopher and culturologist, picked up the initiative. In recent years, the conference has been organized by the Institute of Scientific Information on Social Sciences of the Russian Academy of Sciences, the Russian Academy of Arts, GIRT Film and Television School, and the Russian State University for the Humanities. In 2022, the Faculty of Geography and Geoinformation Technology of the HSE University joined the team of organizers. A separate section of the conference was dedicated to media, photo and cinema. There were reports on the historical and cultural aspects of creating virtual spaces, and on the images of the territories created by screen arts. Following the tradition, conferees considered the role of territorial factors in the formation of art schools and individual art works. This year, the discussions focused on digital media. An important place was given to photography as a tool for shaping geographical images and fixing them in time. The combination of a digital replica of the world with new landscape art creates a new augmented reality as a work of art. The geography of fashion and musical culture are also expressed in digital reality. A separate subject is the structures of chaos and order in cinema—the very concepts of space, which are yet another traditional talking point at the conference. These topics are in the mainstream of the discussion of semiotics of space created through art, as well as the geographical aspects of art development, including digital art.

THEATER AND CINEMA: SOME TOUCHES FOR COMPARISON

The article analyzes the problems of correlation and comparison of Stage and screen arts; theater and film actor in the process of creating a play or film. With the help of a comparative analysis, conclusions were made about the differences and similarities that exiSt between theater and cinema in the Studied categories of time, space, acting and the viewer. Attention is drawn to theatrical convention and film reality. We have concluded about some differences and similarities that exist between theater and cinema in the Studied categories of time, space, acting and audience perception. Space and time in the cinema intersect, but will never be identical, because the action in the film is always a paSt action, and a theatrical performance is always about the present time. The basis of acting in the theater and in the cinema has common features, such as work with the body, voice, plaSticity, work on the character, work with the text. However, it has significant differences related to the presence or absence of the audience, the space of the stage in the theater and acting on camera, theatrical convention and film reality, etc. The viewer in the theater and the cinema can show and experience the moSt similar emotions, but the essential difference is that in the theater the viewer can really influence the performance, which is largely conditional, interact with the actors, while in the cinema he sees an image that he completely ignores, although it displays the image as realiStically as possible. Paradoxically, we can conclude that theater, although it involves living people in real space, has a very conventional artiStic Structure, while cinema, which is based on a moving “non-living” image and the illusion of reality, looks more realiStic for the viewer.

Всероссийская научная конференция «От “позорищных игр” до кинокомедий: история человека смеющегося»

The article reviews the reports presented at the All-Russian Scientific Conference From “spectacle plays”1 to film comedies: The history of Homo Ridens, which was organized by the State Institute for Art Studies and the GITR Film and Television School on June 2–3, 2022. The event focused on comprehension of the historical development of laughter culture, introduction of trusted research concepts, disclosure of new facts and archival materials, and revealing the relationship between the comic, its intensity and semantics in postmodernist aesthetics. The following key areas were proposed: fundamental problems of aesthetics, cultural studies, and art criticism; genre and stylistic varieties of comedy; circulation of laughter culture in film, television and other screen arts and in the Internet environment; transformations of representation of comic, laughter, and humor in the historical context; provocation, deconstruction, and citation in comics. The reports were divided into two groups: “Komos & ode: The laughter culture of Europe” and “Deconstruction—meaning—reality.” The results of the conference showed the polyvalence of comic existence, the absence of unified ways of achieving aesthetic flawlessness of the genre, and its formcontaining aspects.