Media Education = Mediaobrazovanie

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.