Media Education = Mediaobrazovanie

15-24

Authors: Alla Bespalova, Elena Shirina

The article analyses and summarises the experience of conducting the state final assessment of undergraduate students in journalism with regard to the competence-based examination model. The relevance of the study is related to the need to achieve systemic unity between the competence-based concept of university training of journalists and its final stage that is the assessment of the quality of the received education. Sinceprofessional competence has an integral activity nature, the knowledge paradigm of the final assessment used for many years does not meet modern requirements. The article describes the reasons and primary goals that determined the transition to a new concept of the state examination at the Southern Federal University in 2021. The article offers the rationale for choosing a case method as the main means of assessing the degree of professional competencies among graduates, including examples of developed case tasks. To assess the effectiveness of the applied innovative methods in 2021-2023 the authors surveyed 4th-year undergraduate students in journalism and members of the state examination boards. An empirical study enabled to determine the level of satisfaction of all participants in the educational process with the new model of the final exam to identify the degree of its effectiveness, as well as potential opportunities and ways to improve. The article presents the dynamics of the survey results and their interpretation. The authors conclude that a practice-based approach should be used not only in the process of training journalists but also in organising the final examination. Implementing interdisciplinary case-based tasks allows graduates to demonstrate the degree of competency formation provided by the educational program, which contributes to their confident entry into the modern media.

32-39

Authors: Igor Kozlikhin, Alexey Demidov

The article discusses using of generative neural networks in education, especially in legal education, as an example, employing formal analysis in the context of the Russian legal system. Neural networks are considered as a kind of media and hence the issue of using neural networks by students is by nature a question of media education, its application, and its limits. The core question is whether it is possible to give students the opportunity to use generative neural networks when performing tasks like writing a diploma. Neural networks are considered as a kind of “new media” that must be assessed in the context of the media philosophy dichotomy between “tool” and “body”. The article reviews several scenarios of law students using neural networks and the conclusion is provided that not in all cases it is inadmissible. However, in the cases that concern the core competences that relate to understanding law as a phenomenon of information and communication, it is inadmissible. Such core competences imply command of natural language and writing reasoning skills. It is critical to take into an account the provisions of the legislation that focus on the concept and purposes of education which clarify the matter on the formal side. Ultimately, the “blackout test” is suggested to discern the cases were using of neural networks in education is not possible.

96-112

Authors: Garima Gunawat, Vaishali Kapoor

Advancements in technology, along with increased internet and smartphone availability, have resulted in a substantial global increase in social media usage. Social media functions as a communication network. Following the COVID-19 pandemic, the importance of social media has increased. Women can now engage in conversations, debates, and discussions on a wide range of topics on different social media platforms. This study seeks to understand women's empowerment through social media. This study examines the impact of social media on women's lives and its potential to empower them. The researcher employed a quantitative research approach. The study involves empirical research conducted via an online survey. This study collected primary data from 100 women living in Jaipur, Rajasthan. Google Forms included a Likert scale with closed-ended questions. The data has been analysed using SPSS in the study. The study concludes that social media empowers women through chances for empowerment, awareness-raising, and connecting with others. It promotes women to exchange experiences, accomplishments, and resources and enhances audience engagement through the use of hashtags. As internet usage rises, women are becoming more informed about their rights and gaining access to novel opportunities. Social media disrupts social gender conventions and advocates for a fair and just world.

128-134

Authors: Li Jianmo, Hamedi M. Adnan, Fadli Abdullah

In 2020, the world witnessed the coronavirus outbreak, a significant public health crisis threatening human well-being and garnered global attention. The Credibility of media sources and the accessibility of information became pivotal not only in terms of conceptual understanding but also for safeguarding public health. A triad of stakeholders comprising scientists, medical professionals, journalists, and ordinary citizens, all occupying distinct roles, formed a multifaceted and interactive landscape for health information dissemination. The role of the media was instrumental in simplifying complex aspects of the pandemic for the general public, fostering a better comprehension of the situation, and promoting a rational response while discouraging panic. This study analyses selected social media coverage of the COVID-19 pandemic and delves into information visualization strategies and distinctive attributes.

144-150

Authors: Marina Ponomareva a , *, Yulia Andreeva

The article examines the essence of media culture, the degree of its impact on public life and corporate activities in the market of photography services, describes the features of media culture and the activities of young people in social media. Furthermore, it focuses on the principles of media culture and its main trends within the information-oriented society. The results of the study present the main mistakes that photo services businesses make in promoting, as well as ways to avoid these mistakes, and offer recommendations on key social media platforms for companies that provide photography services. Based on theoretical knowledge about the essence of media culture and the specifics of social media promotion, the essential goal of media culture is to build an identifiable brand and create positive emotions in current and potential customers. The presence of media culture can be traced in almost all spheres of human activity. It has a significant impact on human consciousness through the use of information technology in sociocultural processes. The modern information system of society in the context of media culture necessitates taking into account accumulated experience, as well as analysis of the theoretical and practical aspects of human activity, which is why social media are of particular importance.

164-171

Authors: Irina Volkova, Jin Han, Leila Algavi, Natalia Lazutova

Modern mobile technologies that allow the quick creation of short videos provide users with ample opportunities to present their information in public space. Teenagers have become the most active users of new forms of creativity, so their self-presentations on video platforms deserve attention. This study uses content analysis to examine the features of Chinese adolescents' self-presentation on Douyin, the Chinese TikTok counterpart, and the cultural factors that determine these features. We discovered that teenagers' self-presentation is characterized, firstly, by the creation of a virtual identity based on the real one, secondly, by freedom in the choice of role behavior, and thirdly, by the idealization of their image and various means of its formation. In addition to the impact of social, commercial, and network values, we also found the influence of traditional Chinese culture. Cultural stereotypes formed by upbringing are reflected in the forms of self-presentation (from external style to way of thinking) by the modern younger generation on social networks. We noted the role of celebrity culture in the daily lives of teenagers. In the future, studying the role of Chinese adolescents in the social information system, especially at the stage of changes in their self-perception and self-presentation, seems relevant.

521-530

Authors: Olga Gorbatkova

The appeal to the Russian film studies heritage is conditioned by the need to find solutions in the construct of actual contemporary problems, which today have the status of open problems. In this correlation, our research interest is aimed at appealing to scientific heritage of one of the famous Soviet and Russian film expert V.E. Baskakov (1921–1999) in configuration of his theoretical publications on the pages of Cinema Art journal. The purpose of our study is to carry out a holistic retrospective analysis of V.E. Baskakov’s film studies views presented in his theoretical works in Cinema Art journal (1975–1999). Research material: texts of V.E. Baskakov’s theoretical film studies publications in Cinema Art journal. Research methods: content analysis, comparative-historical analysis, textual, hermeneutical method of understanding and interpretation of the text, theoretical methods: analysis, synthesis, induction, deduction. The basic conceptual foundation of V.E. Baskakov’s research was a multifaceted analysis of the problems of methodological knowledge in Russian film studies. The theoretical works of the film expert outlined the following topics: the state and development of Western cinematography, the specifics of its study in the context of ideological and political, as well as social dogmas of the Soviet period; the problems of Soviet cinematography, the genre uniqueness of expressive means; the importance of studying the history of world cinematography in the focus of creation of a film work; the analysis of filmmakers’ creativity works; the relationships during the film production with the history and national culture; the development of Soviet and foreign cinematography theories influencing the cinema artists. As a result of the content-analytical discourse of V.E. Baskakov’s film studies positions presented in his theoretical articles in Cinema Art journal, several conclusions can be drawn: - in his theoretical articles, V.E. Baskakov paid special attention to the study of the main approaches and methods of film studies analysis, trying to trace their modification in the context of political, social, and cultural construct; - V.E. Baskakov’s theoretical approaches focused more on analyzing the problems of cinematographic methodology, genre specificity, and expressive means within the study of film phenomena; - the content of some V.E. Baskakov’s articles traces the problems associated with the study of the most important phenomena in the history and theory of foreign film studies; - the works of this film expert have clear tendency to reflect the ideology of the ruling Communist Party and orientation towards the study of the interrelations and influence of political and socio-cultural transformations on the development of cinematography; - V.E. Baskakov’s theoretical works are characterized by the ideological analysis of historical events and trends that shaped the Soviet cinematography in different time periods and reflection of foreign cinematography.

539-548

Authors: Tatyana Kaminskaya, Oksana Erokhina

Expert media content in conditions of instability is becoming more in demand. An important factor stimulating the active interaction of journalists and experts was a significant decrease in the level of public confidence in the media on the background of information overload. The relevance of this article is due to the widespread practice of the media to attract experts, and its research task is to describe the options for obtaining and using expert media content and based on the criterion of its use to propose a typology of modern media projects. Expert media content is socially significant content in demand by target audience of a media resource, having an educational orientation, received by the media from specialists. The need for socio-political media to receive expert comments in the shortest possible time while maintaining high quality content actualizes the use of specialized digital platforms. Mass media are characterized by the difference in the place of expert content related to their specifics. Information-centric media use expert commentary as an addition to journalistic content to reflect the current socio-political agenda. The expert-centric ones build the entire media project on expert content – these are educational projects, resources of useful tips, media of professional communities.

561-573

Authors: Roman Salny, Anastasiya Katrich

The article reflects the results of comparative hermeneutical analysis of Soviet feature films of the 1920s, including the study of cultural and historical contexts in order to consider their possible influence on the author's views, reflected in the specifics of the depiction of characters and reality, in the choice of plot motifs and other structural components of the film. Based on the results of the analysis, we describe and systematize film images, types of film characters and plot motifs that reflect the prevailing "points of view" about cultural values and traditions and characterize stereotypical models of social interaction between characters in accordance with the five types of cinematic discourse (interpersonal, artistic and aesthetic, religious and ideological, historical and cultural, mythological), which constitute the content of the structural and functional model of cultural identity developed by us. The analysis of the representation of the model of cultural identity in the Soviet art cinema of the 1920s has shown that, having lost the specific features of the national worldview that constitute the core of cultural self-consciousness, the Soviet international identity retained the characteristic features of the Russian mentality, transformed into proletarian virtues.

581-588

Authors: Nimisha Yadav, Shrutimita Mehta

Documentaries are a medium for capturing the reality of people by constructing their everyday life. They are narratives told using sound and moving pictures that highlight the world's wonder, complexity, and contradictions. These moving photographs visually express the life of people, the hardships and the events revolving around them. Non-fiction films dramatise factual information to the readers instead of presenting creatively, and are compelling, informative and appreciated as they represent the events without moulding them. Documentaries attempt to enlighten, educate, and raise awareness by utilising interviews, archive material, reenactments, and narration. They also present a non-fictional perspective that frequently challenges and broadens viewers' perception of the world. The documentaries epitomise the social, cultural and economic facets by portraying the lives of people living in different parts of the world. The present paper studies how cities are represented through documentaries and analyses non-fiction films as a platform for encapsulating the authenticity of the select cities. The analysis includes documentaries Calcutta (1969) by Louis Malle, Bombay Our City by Anand Patwardhan and Dilli by Rintu Thomas and Sushmit Ghosh. The study attempts to understand the economic disparity, social problems and other struggles in the lives of people living in cities through documentaries made on Indian metropolitan cities.

353-403

Authors: Alexander Fedorov, Emma Camarero, Anastasia Levitskaya

At the beginning of the twenty-first century, the editors of Cinema Art apparently realized that the attempts to transform the magazine into a socio-political one, made at the end of the "perestroika" era and in the 1990s, had not yielded the expected dividends. As a result, the journal returned to the format of a cinematic publication. Hence the increase in the number of theoretical articles on cinema, which in the 21st century averaged eighteen a year. Daniil Dondurey (1947–2017), who directed Cinema Art until 2017, maintained the journal's course towards a sociological understanding of the media process, while attracting leading authors in the field. The film critic Anton Dolin, who replaced him in the second half of 2017, on the one hand re-emphasized political accents and also strengthened passages in the journal texts that opposed the authorities, and on the other hand began to pay much more attention to the genres of mass culture in film. Our analysis of the concepts of film studies (in the context of the socio-cultural, historical, political situation, etc.) in the journal Cinema Art in the 21st century has shown that the theoretical works on cinematic topics in this period can be divided into the following types - Articles, discussions devoted to the analysis of the theoretical heritage of the classics and the history of Soviet cinema (A. Fomenko, N. Izvolov, N. Kleiman, O. Kovalov, E. Maisel, E. Margolit, A. Medvedev, N. Sputnitskaya, V. Shmyrov, A. Shpagin, A. Shcherbenok and others); - Articles attempting to understand the film process from a theoretical point of view (O. Aronson, D. Golynko-Wolfson, E. Maisel, L. Manovich, etc.); - articles devoted to the sociological and cultural problems of cinema, television, and film distribution (O. Berezin, K. Bogoslovskaya, D. Dondurey, D. Golynko-Wolfson, E. Maisel, I. Poluekhtova, K. Razlogov, V. Zvereva, etc.); at the same time, the analysis of the phenomenon of the Internet and virtual reality has become a new theoretical trend of the journal. - theoretical articles on foreign cinema (A. Artyukh, D. Komm, N. Tsyrkun, etc.). In general, Cinema Art in the 21st century, as in the 1990s, offered new interpretations of the history of Soviet and world cinema and tried to find theoretical approaches to the current film process.

413-424

Authors: Sharmila Kayal, Ruma Saha, Lakhan Raghuvanshi

The marketing sector in the recent pandemic of COVID-19 time has seen a massive transformation. In order to retain its consumers, different innovative approaches have been strategized to hold its brand positioning or to sustain its equity in the market. The comprehensive advertising networks globally set in motion the measures with their distinctive magnetism and quipped the branded content is imperative in today’s VUCA world. Branded content is getting more attention and is able to create brand recognition. Consumers tend to like branded content because they believe the content is more consumer focused. There comes the market confront and their struggle to build brand personality because “Advertisements are ephemeral but its residues are rock hard.” The main objective of this research is to understand the trends of digital marketing communication campaigns in the VUCA world related to covid-19 pandemic awareness in India; it explores the consumers’ perception related to the phenomenon of brand communication. The present research finds that, there is a thorough understanding of creative strategies of marketing (advertising/public relations) messages, information, and appeals emerged in pandemic period (Covid-19 and post covid scenario) in today’s imperative VUCA world. This study argues that by adopting the new embedded strategies businesses in this crisis time, companies have emphasized their continued existence and their capability to go on with the delivery to their prospective customers for the same products and value despite the disaster.

436-442

Authors: Ella Kulikova, Victor Barabash, Ludmila Brusenskaya

One of the ecological criteria is a useful variety of linguistic means of expression and a plenty of synonymic rows. In recent decades synonymic rows have been actively replenished by borrowing anglicisms. References to 2025, when new high-quality dictionaries with a list of anglicisms that have no analogues in native linguistic means and therefore allowed to use are unlikely to be correct. If these are standard dictionaries formed by analogy with explanatory ones or dictionaries of foreign words, they will not help solve the problem, and it is also impossible to hope that a "small monograph" with a list of connotations, pragmatic co-meanings, etc., will be written about every anglicism. Therefore, the urgent problem of the article is to identify in general criteria for the necessity of anglicisms. Of course, it is possible and necessary to talk about the benefits (or lack thereof) for each definite word, but some generalizations can be made. This is exactly what is done in this article. Based on the material of modern media texts, it is shown which types of anglicisms and why fully correspond to ecological thinking and can be considered not as a harm, but as a means of replenishing the Russian language. The methods of analysis were chosen based on the integration of deduction and induction, traditional for the humanities, with the methods of sociolinguistics, cognitive science and linguopragmatics.

453-465

Authors: Galina Melnik, Konstantin Pantserev

The article is devoted to the analysis of innovative approaches used in the contemporary media industry and media education. The research is based on a critical analysis of scientific literature, both national and foreign, that point out the facts of the beginning of the use of innovative technologies in the work of editorial boards in the last 5 years, as well as trends in the development of the media sphere, positive and negative factors that affect the quality of the information product. Researchers mainly point out in their articles the trend of the increase of the role of mass media in the society as well as the increase of their influence on the government, social institutions and social groups. Experts also emphasize that the media agenda, professionally generated by communicators, covers a significant number of Internet users and a significant audience of online media. Contemporary researches take into account the key parameters of the information environment – convergence, interactivity, hypertextuality and multiplatform, which give us an opportunity to find new ways for presenting the information. Experts pay increased attention to civil journalists who by their selves study the professions of commentator, reporter, photojournalist, service editor, SMM specialist, SEO manager, content manager, etc. The authors come to the conclusion that in contemporary media studies they mark the fundamental role of the audience in the exchange of information and point out the striving of the media for democratic principles, such as independence, impartiality, relevance and correctness. The functions of providing information, critical assessment, monitoring and participation are assigned to the media. The main competition unfolded for the trust of the audience, the quality of the content and the style of work of the media. Economic sectors are being integrated with the information and communication technology sector. The problem of the predominance of the technological factor over the content factor is raised. On the one hand, automated problems, improved tools, the appearance of infographics and multimedia elements have opened up opportunities for creating a high-quality information product. On the other hand, in conditions of competition and economic instability, representatives of the media industry are forced to balance between the obligation to promote certain values and the need to earn money and therefore simplify the information product, following the unassuming interests of the audience.

473-479

Authors: Frans Sayogie, Deden Dailami Majid, Farhan Iqbal Prasetyo, Fadhlan Rama Nazuli

The study focuses on the construction of gender roles in L-Men advertisements. Using a cultural studies approach and a modified circuit of culture as a methodological and theoretical framework, this study aims to identify how gender roles are associated with production, representation, identity, and consumption. Furthermore, it can facilitate a broad contextual understanding of the Indonesian male identity's complexities and contradictions. L-Men is an Indonesian brand that produces a protein-rich drink that is intended to assist men in gaining muscle mass. The gender roles in L-Men Platinum advertisements are investigated in this study. The study reveals that advertising constructs the identity of ideal masculinity in Indonesian society through representation. L-Men advertising builds a toxic mindset in society, especially for males, by consistently using muscular models or actors in the advertisement. Also, it is stated in every L-Men advertisement from time to time that it still consistently uses the tagline "Trust me, It works", which implicitly instils a perception of its achievement in accomplishing a body goal for its customers. Thus, advertising has become an effective medium for commercializing products and constructing gender roles in society, particularly for men.

492-503

Authors: Yuri Tyunnikov, Marina Maznichenko, Valentina Krylova, Yuri Yurchenko

The purpose of the article, to predict the actual content of teachers’ professional competencies that ensure the productive use of media and digital resources in solving pedagogical tasks, to propose ways to form such competencies by media means. With regard to the findings of the study, the following conclusions were made. A modern educator needs competencies related to the search and selection of media products and digital technologies for solving pedagogical tasks (orientation-constructive), designing an educational process that allows them to realize their pedagogical potential (design), organizing individual and group educational and cognitive activities of students in a virtual environment (organizational), pedagogical communication in a virtual environment (communicative), the use of media- and digital resources in the educational process, taking into account individual requests and special needs of students (inclusive), ensuring the safety of the media and digital resources used by the teacher and students (health-saving), continuous formation and self-development of digital and media literacy and culture (developing), creation of new pedagogical practices by means of integration of traditional, media- and digital means (innovative), ensuring the humanistic orientation of the process of using digital and media tools to solve pedagogical tasks (humanistic). To develop such competencies, it is necessary to involve media: cinema, educational video content, electronic educational resources, etc.

212-269

Authors: Alexander Fedorov, Anastasia Levitskaya

The subject of Western cinematography was presented in a rather limited volume on the pages of the Soviet Screen magazine in 1957–1960. However, with the appointment of film critic Dmitry Pisarevsky (1912–1990) to the post of editor-in-chief the "thaw" tendencies in the Soviet screen led to a gradual increase in the number of materials about foreign cinema on the pages of the magazine (sometimes they took up to a third of the total volume of the issue). Increasingly, photographs of Western movie stars were published (in rare cases, even on color covers), neutrally or positively presented biographies of Hollywood and European actors and directors, articles about Western film weeks and international film festivals, reviews of Western films, etc. Although, no doubt, there were also ideologically biased materials in this magazine. Based on the content analysis (in the context of the historical, socio-cultural and political situation, etc.) of the texts published during the "thaw" period of the magazine Soviet Screen (1957–1968), the authors came to the conclusion that materials on the subject of Western cinema on this stage can be divided into the following genres: - ideologized articles emphasizing criticism of bourgeois cinema and its harmful influence on the audience; - articles on the history of Western cinema (as a rule, about the period of the Great Silent, with a minimum degree of ideologization); - biographies and creative portraits of Western actors and directors (often neutrally or positively evaluating these filmmakers); - interviews with Western filmmakers (here, as a rule, interlocutors were selected from among "progressive artists"); - reviews of Western films (positive in relation to most of the Soviet film distribution repertoire and often negative in relation to those movies that were considered ideologically harmful); - articles about international film festivals and weeks of foreign cinema in the USSR (with a clear division into "progressive" and "bourgeois" cinematography); - reviews of the current repertoire of Western national cinematographies (here, as a rule, criticism of bourgeois cinematography was also combined with a positive assessment of works and trends ideologically acceptable to the USSR); - short informational materials about events in Western cinema (from neutral reports to caustic feuilletons and "yellow" gossip).

281-289

Authors: Elena Kornienko, Andrei Novikov

By 1939, the struggle for power in the “top” of the USSR was almost finished, with the “opposition” was over. The flywheel of repression began to noticeably decrease. Under these conditions, in 1939–1941, the Soviet government supported in high level of ideological control over cinema. And although by the end of the 1930s there were no cultural and artistic “groups” in the USSR, and for many years a single “method of socialist realism” was prescribed for all cultural figures, the authorities still tried to tighten the screws on ideological pressure even more, reducing, for example, to minimize the import of foreign film production. That’s why July 19, 1939 Committee for Cinematography under the Council of People’s Commissars of the USSR approved the “Regulations on the Directorate for Controlling the Film Repertoire” and the “Instructions on the Procedure for Controlling the Release, Distribution and Demonstration of Films”, where everything was subject to the strictest regulations. It is clear that in such a situation, the Soviet Cinema Screen magazine, as an organ of the Committee for Cinematography under the Council of People’s Commissars of the USSR, had to obey strict party requirements. The share of materials about foreign cinema in the magazine has become almost negligible. Moreover, the vast majority of the issues of the magazine Soviet Cinema Screen of 1939–1941 were, in general, devoid of articles about Western films... Therefore, based on the content analysis of texts published in the Soviet Cinema Screen magazine from 1939 to 1941, we came to the conclusion that practically the only genre of materials about Western cinema of this period was journalistic articles about (mainly) Hollywood cinema, ingenerally very negatively evaluating it and its ideological orientation.

302-309

Authors: Ella Kulikova, Victor Barabash, Zaira Tedeeva

The pragmatic meanings of widely used nominations are the result of the constant dynamics of socio-cultural values. Word pragmatics knowledge makes it possible for the media text author to adequately implement intentions using various markers of their expression, and for the reader to interpret the intentions of the text author such as non-literal meaning, irony, pejorativeness or, conversely, meliorativeness. The pragmatic components should include such parameters of the word as its compliance/non-compliance with the spirit of time, fashion. The article analyzes the types of pragmatic components in the meaning of linguistic units based on the material of modern media texts, shows the dynamics of pragmatic connotations depending on socio-cultural conditions. The use of contextual and sociolinguistic analysis was chosen, as well as methods such as observation and interpretation, a synchronous-descriptive approach was used, as well as elements of diachronic description (to detect the dynamics of pragmatic meanings). The pragmatic component of semantics plays an important role in generating a media text, since the social co-meaning of a linguistic unit accompanying the subject-logical content turns out to be extremely significant. As it has been shown, in the collective linguistic consciousness there really exist words-pragmems expressing all these important characteristics.

317-328

Authors: Ruma Saha, Sharmila Kayal, Lakhan Raghuvanshi

The Influence and usages of social media in contemporary times is ubiquitous. The phenomenon has changed from its navigation networking to marketing to brand building simultaneously. It is noteworthy to mention that the reach of social networking sites has increased threefold in the Indian context. While mentioning the Indian academics, their promotional tool is very conventional and usually there are hardly any paradigm shifts over the years. But nowadays, there is a shift of technique to reach out to the youths for admission purposes and to enhance the brand legacy. It is quite interesting to look through the lens of promotional tools of academics (which is not very popular and unconventional) usages of social media. The present study will describe the scenario of Indian Academics usages of social media tools for endorsement and its insinuations on the users. The study has adopted thematic interpretive phenomenological analysis to understand the user’s perception and behaviour after articulation of their attitude. The content analysis method also been used through NVivo suggests that there is a positive effect on the users to get information about the academics and through its espousal marketing approach they are quite successful to increase the views or likes for their varsity’s promotion.

337-342

Authors: Li Yingying

This article discusses issue of public information dissemination in the context of the epidemic of Novel coronavirus pneumonia. In recent years, human-oriented mass media have become widely popular, which, however, have not become the optimal model for the dissemination of public information. The author focuses on the problem of decentralized dissemination of public information on the Network media in the context of an infodemic, which derived from the epidemic of Novel coronavirus pneumonia, and the main method used in the study is desk research, that is, collecting and analyzing data from publicly available sources. The empirical base used media content from the Internet sources, media discourse from news broadcasts, international sociological surveys, etc. In this regard, from the perspective of the relationship between the Network media platforms and individual Internet users the following suggestions are put forward for the construction of an ideal model of public information dissemination on the Network media: In the period of public emergencies, the Network media should improve the connection between content of public information and individual Internet users. The Network media should also enhance their own professionalism of the media. Centralized and decentralized communication represented by the media must coexist and assist each other.

10-16

Authors: Ludmila Brusenskaya a , *, Irina Belyaeva a, Alina Kotaeva

The article deals with new phenomena in grammar (first of all morphology), which in many ways change the ideas of normativity in this area, and these new phenomena are formed and replicated by modern media. These are the expansion of the boundaries of graduality, changes in the configuration of generic oppositions of anthroponyms, a new syntagmatics of nouns with collective semantics, deepening the pluralization of abstract nouns, eliminating lacunae connected with the state category words. These processes confirm that modern normativity is largely created in the medial space (and not within the framework of artistic and fictional discourse, as it traditionally happened). In the article the authors focus on those changes in grammatical morphological forms that, in their opinion, modify the norm and increase the new normativity features. According to this article idea a number of changes in grammatical forms and categories in the media are significant not only within the relevant contexts, but also it fixes significant changes in the norm itself. Based on this, the authors propose a descriptive and analytical interpretation of grammatical forms used in modern media. Philological hermeneutics with an emphasis on explanation as well as the linguopragmatic analysis were used to explain grammatical processes. The studied “transformations” of norms in media are connected not with damage to the language. On the contrary, they may indicate a natural compensation of systemic lacunae, the realization of new system potencies, which means that they fully correspond to ecological thinking.

24-33

Authors: Olga Gorbatkova

This article reveals the theoretical approaches of the film scientist, film historian and film critic Leonid Kozlov (1933−2006), which are reflected in his articles published in the Cinema Art journal. Professional activity of L.K. Kozlov is associated with a deep analysis of the problems of the history of cinema, the methodology of film studies, the study of aesthetics and the theory of cinematography. He devoted his main theoretical works on cinematographic issues mainly to professional issues of film studies and film dramaturgy. As a result of the content analysis of the main theoretical articles of the film scientist L.K. Kozlov, published in the Cinema Art journal from 1956 to 1985, we came to the following conclusions: the author devoted his main theoretical works mainly to professional issues of film studies and film dramaturgy; the theoretical articles of the author are written at a high professional level, replete with cinematic terms, and are not devoid of expressive artistic imagery; the stated theoretical concepts are confirmed by a clear logic of presentation and consistent argumentation based on primary sources; the author's position and the author's attitude to the subject of research are clearly seen in the general content and generalizing conclusions; in structural terms, his articles are usually in a scientific style, have a clear structure and large volume; as a film critic of the leading professional Soviet journal on cinematography, broadcasting the ideology of the cinema of the ruling communist party, the author often entered into polemics with foreign film critics on the theory and history of cinematography, defending the value of Soviet cinematography; the author had a relatively wide range of scientific interests: critical articles on the theory and history of Soviet and foreign cinematography, reviews of Soviet and foreign films, reviews of works by other authors on the subject of cinematography, bibliography, discussions.

51-60

Authors: Inna Kovtunenko, Igor Kudryashov, Hadi Bak, Andrey Narushevitch

In comparison with face-to-face communication, the respondent’s contribution to the generating of the blog text is realized on a deferred basis. The blogger and his/her interlocutors’ interaction models reveal similar features with the face-to-face dialogic patterns. Compared with face-to-face communication, the dialogue in blog interaction has a more multidimensional structure. The respondent reacts with a message that contains more than one illocution, and the question-and-answer unities are characterized by a three-step scheme, since the final message is absent in the majority of contexts. On joint unfolding of the blog, the interlocutors implement many communicative strategies that are characteristic of face-to-face dialogic interaction. The system architectonics of the massage producing and transmitting plays the essential role in the implementing the effective communication models. The technical blogosphere support and the relevant communicative context largely determine the compensatory possibilities of “docking” stimuli and reactions against the general background of the whole variety of face-to-face communications. The repertoire of communicative strategies that acquire the essential importance in the process of overcoming the problems of establishing and maintaining reactions in blog communication is determined. The current aspects of designing the interfaces of blogging platforms that influence the pragmatic contexts of reactive utterances are discussed.

71-96

Authors: Anastasia Levitskaya, Alexander Fedorov

The subject of Western cinema on the pages of the Soviet Screen magazine in 1925−1927 was extensive and varied. Due to rather significant creative freedoms in the Soviet Screen in 1925−1927, photographs of Western movie stars (including photos on the covers of magazines), rather neutral or even positive biographies of Hollywood and European actors and directors, notes on filming and film distribution, reviews of Western films, etc. were widely published in 1925−1927. Although, of course, there were also ideologically biased materials on the pages of this magazine. Based on the analysis (in the context of the historical, socio-cultural and political situation, etc.) of the first years of the existence of the Soviet Screen magazine (1925−1927), the authors came to the conclusion that materials on Western cinema during this period can be divided into the following types: - ideologized articles emphasizing criticism of bourgeois cinema and its harmful influence on the audience (this included materials on censorship and perception of Western films by the Soviet public); - biographies and creative portraits of Western actors and directors (often neutrally or positively evaluating these filmmakers); - reviews of Western films (often positive); - reviews of Western national cinematographies (here, as a rule, criticism of bourgeois cinematography was combined with a positive assessment of works and trends ideologically acceptable to the USSR); - articles about Western newsreels (with approaches similar to reviews of national cinemas); - articles about foreign film technology, studios and cinemas (as a rule, ideologically neutral, containing calls to adopt technically advanced Western experience, in particular, sound film technology); - short informational materials about events in foreign cinema, about everyday details of the life of movie stars.

107-138

Authors: Andrei Novikov

The authors of sociological articles in Cinema Art journal have managed to identify the main trends characteristic of the 21st century through a thorough analysis of the film process: - the system of state support for film production in Russia began to have a negative impact on the situation with film distribution: the Ministry of Culture's financing of only the end result – film production – was reduced to a control and regulatory process, to the implementation of an economic function in the interests of a narrow circle of film producers, who make money from (almost) gratuitous state financial support in the film production process; producers do not care at all about the artistic quality or the distribution fate of the films; - the Russian media's reliance on sensationalism, scandals, crime, vulgarity, etc. (in the pursuit of audience ratings) is palpable; - a content analysis of stories from highly-rated media formats allows us to identify the following system of content attitudes for the perception of media texts: the danger and aggressiveness of the surrounding world; the need to live for today; the sphere of a person's private life becomes a material that can arouse enormous interest in the mass audience, etc; - at the same time, the demand of a significant part of the mass audience for the producers of media texts is different: show us society in such a way that we would like to live in it; - Russia (almost) does not have an artistically trained audience, so entertainment media texts predominate; - the media not only inform, educate, and entertain; the media are a powerful tool for shaping millions of people's tastes, social samples, patterns, feelings, attitudes, ideology, and so on, and ultimately, national consciousness; - the majority of Russian television viewers today make up approximately two-thirds of the urban population and unite older, less educated groups (this is the most numerous and permanent audience, dependent on television in terms of information, values, ideology) and relatively younger contingents, peripheral in the volume and nature of resources, in the type of orientations. They are characterized by a relatively low level of education, a small amount of their own financial resources, because of the dependence on more accessible and cheaper television; - against this background there is an increase in the volume and projects of television series production, including Russian online platforms; this production is largely subject to the following stereotypes: characters' feelings are presented in close-up, without half-tones; key scenes contain suspense; the intrigue is tense and based on fairy-folklore stories; socio-cultural and historical, patriotic significance of the theme; - Russian viewers' trust in these kinds of media texts is caused by their desire to return: from the disunity of recent years to unity, to the values of kindness and mutual assistance; from individual success to that "common" that continues the work of fathers and grandfathers; from the feeling of Russia's "second-rate" to its paramountcy, to the multiplication of its wealth; - against this background, the Internet has significantly transformed the media: a substantial segment of the youth audience has formed, which (almost) has no contact with television, but is in the field of social networks and other products of modern information technology; the most active representatives of this audience become the authors of media texts, many of which, being very successful, attract advertisers.

148-153

Authors: Oleg Riabov, Alexander Kubyshkin

Aspect-Press publishing house published a collective monograph “Enemy number One” in the Symbolic Politics of the Cinematographies of the USSR and the USA during the Cold War”. In this regard, the authors of the book thinks that Soviet and American cinematic images of "enemy number one" had many similarities, and the book noted parallelism in various aspects of creating these images. There were also significant differences: 1) in the United States, the opposition to the USSR was more rigid; 2) the policy of macropolitical identity pursued by the cinematographers of the USSR and the USA was based on different principles: class and national, respectively (this led to the production of images of “good Americans” as a necessary component of Soviet anti-Americanism); 3) Soviet cinema as a whole was characterized by a more balanced and cautious attitude towards representations of the main geopolitical rival; 4) American cinema created a more one-dimensional image of the enemy, while Soviet cinema created a more one-dimensional image of “Us”; 5) finally, the film images of "enemy number one" had different meanings for the American and Soviet audiences. For American viewers, the USSR, in all likelihood, was not only the main rival and the main threat, but also the embodiment of absolute evil; in this aspect, nothing could compete with the images of the "Reds". As for the Soviet film audience of the Cold War, Nazi Germany was still “enemy number one” for them; in terms of emotional intensity, films dedicated to America are incomparable with the best films about the Great Patriotic War, such as The Fate of a Man, The Cranes Are Flying, The Ballad of a Soldier.

171-178

Authors: Frans Sayogie, Ika Amalia, Nabilah Raisa, Pasha Sabila

This study investigates the phenomena of casual sexism that goes undetected in several tweets, comments, and other forms on Twitter and its relation to feminist movement culture. The study aims to analyze the tweet, comments, or texts that contain casual sexism and examine the data by looking at the feminist movement culture to prevent the existence of casual sexism on social media. The theory of feminism, which is formed from several feminist movements connected to attempts to eradicate gender-based discrimination and prejudice that mostly affects women daily, is used in this study. The result shows that, the feminist movement culture has a big role in realizing gender equality not only in society but also in social media. From several tweets containing casual sexism, it was found that each of these accounts voiced their opinion regarding the casual sexism phenomenon they encountered. In conclusion, Twitter has become a platform for many people to express themselves and voice opinions through writing and images. The data was collected in the form of texts, comments, and tweets on Twitter. Furthermore, whether intentionally or unintentionally, the feminist movement exists and keeps expanding in order to achieve gender equality and take steps to prevent casual sexism.

190-202

Authors: Aleksandr Yefanov, Maksim Pugachev

The article presents the conceptual model of media education of the television industry in the context of media communication. A set of methods such as interpretive analysis, comparative analysis, case-study are used in this research. The authors go by such basic categories as act, potency and potential. Due to its multy-paradigmal origin, the category of media educational potential of the television industry is considered from the view of interdisciplinarity. The authors refer to the achievements in social and humanitarian sciences and also in physical and engineering ones. The category of media educational potential of the television industry is put into the scientific discourse according to conducted study. This category is the complex of technical means of the company and the proficiency of television workers that are applied to train the staff members and to form media culture of the audience with developed communicative skills and high-leveled media competence. It is defined that the actors of the television industry are especially interested in improving media literacy of their audience to deal with the problem of fakes and post-truth, thus creating the environmental media. The actors of the television industry will be able to form media culture of modern society by improving the audience’s media literacy.