Media Education = Mediaobrazovanie

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.