Media Education = Mediaobrazovanie

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.