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Viewpoint selection for capturing human motion is an important task in autonomous aerial videography, animation, and virtual 3D environments. Existing methods rely on heuristics for selecting the “best” viewpoint, which requires human effort to summarize and integrate viewpoint selection rules into a visual servo system to control a camera. In this work, we propose an integrated aerial filming system for autonomously capturing cinematic shots of action scenes on the basis of a set of demonstrations given for imitation. Our model, which is built on the basis of the deep deterministic policy gradient, takes a sequence of a subject’s skeleton and the camera pose as input and outputs the camera motion with an optimal viewpoint related to the subject. In addition, we design a spatial attention network to selectively focus on the discriminative joints of the skeleton within each frame. Given the demonstrations with human motions, our framework learns to predict the next best viewpoint by imitating the demonstrations for viewing the motion of the subject. Extensive experimental results in simulated and real outdoor environments demonstrate that our method can successfully mimic the viewpoint selection strategy and capture a more accurate viewpoint than state-of-the-art autonomous cinematography methods.

Previous research suggests that particular formal features of film, such as the use of close-ups, can affect the levels of empathy experienced by viewers. As empathy is a key aspect of audience’s filmic experience, creative decisions in editing and cinematography may be motivated by the filmmaker’s intention of eliciting empathy. The goal of this study is to investigate what film scenes intended to elicit empathy look like in terms of those visual formal features theoretically or empirically linked to viewer empathy, and if these features converge on something that might be dubbed an empathic style of cinema. Formal features included concern shot scale, face depiction, cut rate, camera perspective and angle, saturation, lighting, motion, and background clutter. Exploratory quantitative formal analyses of scenes sampled from contemporary popular empathy-eliciting Hollywood films (N = 100) revealed that such scenes are, at first glance, highly dissimilar in form. Further investigation through principal component analysis and correlational analysis, however, hints not so much at a singular empathic style of cinema as it does at certain general principles, namely the reduction of perceived distance through close-ups and face depiction, the balancing of arousing features with comprehensible levels of visual complexity, and the prioritization of coherence and reduced visual contrast to enable a smooth viewing experience.

In any work of art, from literary to visual, theatrical and cinematographic, the presence of shadow, most of times associated with the presence of light, emerges as a particularly motivated sign. The very act of placing a shadow in a specific context makes the shadow subject to the same area of interpretation as the rest of the artwork. Within each artistic field, there are lots of meanings associated to shadow: from philosophical, theological and psychological to symbolic and metaphorical. According to the artistic medium it belongs to, the metaphor of shadow is usually engaged in creating and modifying the atmosphere, in visualising images, in diminishing or increasing the dramatic intensity and mainly in accumulating meaning. The present study intends to explore the transposition of the metaphor of shadow from its allegorical roots, as in Plato’s allegory of the cave, into new artistic environments such as literary and cinematographic. Be it employed in the service of an idea, as in Shakespeare’s Hamlet or used for creating a visual and cinematic effect as in Zeffirelli’s homonymous film, the metaphor of shadow adapted its means of expression in order to extend the area of significances.

The world of Art History has made its way, not only through bibliography or museums but also through the audiovisual world. From here, we have to distinguish two similar entities, but at the same time very specific: the cinema itself, and on the other, the section of television series. In the case of the latter, it is important to point out the differences with cinematography, which, although it shares the same languages and codes, it is true, it raises some broader horizons in providing a closer narrative to detail and richer and abundant contextualization contributing to a better understanding of the historical and artistic fact, and this can be scrutinized through a careful selection of TV series whose main protagonist is the Art History and the artists.

Virtual reality (VR) filmmaking presents a unique cinematic experience requiring new and innovative ways to conceptualise and practice specific aspects of the production process. This article integrates a range of adapted and modified filmmaking thinking, approaches and components into the cinematic virtual reality (CVR) language and grammar in the two critical areas of cinematography and editing. This focus provides a range of possible strategies and tools for would-be VR film directors to engage more efficiently and effectively in VR film production. The article utilises an extended case study of the VR feature film Calling to present the director/editor’s observations and experiences using transmedia journaling and three-dimensional (3D) CVR previsualisation as a simulation tool to create this dynamic, interactive CVR film.

The purpose of the research is to investigate the components of virtual production, identify the structure, basic tools of virtual technologies and their benefits, to define differences between virtual processes and traditional filmmaking. The research methodology is based on general scientific methods of complex analysis of the processes that take place in virtual production, and analysis of basic virtual tools, computer programs; use a comparative method for virtual production and traditional film production technology; generalization of the work of virtual technologies, determination of their advantages and disadvantages, research of their influence on modern cinematography. The scientific novelty of the obtained results lies in the systematic analysis of modern virtual technologies components and tools, determined the features of virtual production and its impact on the film industry, proven the relevance and rationality of the use of virtual technologies, both today and in the future. Conclusions. In the course of the research, numerous advantages and new opportunities offered by virtual production were revealed. The essence of virtual processes in film production is analyzed, it is shown how modern computer tools can be creatively applied at each stage of film production. Virtual production is the next logical step in the constant evolution of the film industry, which is changing the film industry today.

Cinematography is one of the least studied and emerging areas of research in public administration. The main principles of state policy in the field of cinema are support for domestic cinema and providing access to Kazakhstani film products. The purpose of the article is to analyze the topical problems of domestic cinematography, taking into account the principles of state policy in the field of cinematography. The methodological basis of the research is based on scientific works on the issues under consideration, regulatory legal acts. The work used the official statistics of services in the field of cinema. A factorial analysis of the current state of the film industry was carried out using the analytical tool PEST-analysis. In addition, a discursive analysis of the representation of ideas of state policy in modern Kazakhstani cinema was carried out. Modern Kazakhstani films of the last 10 years were considered as additional materials. The study showed that the support of national films is an important direction in the public administration in the field of cinematography. Socially significant films have non-commercial, spiritual and artistic value. Financial profit belongs to commercial films of private companies. The sharp decline in industry statistics confirms that the global pandemic in 2020 was a tough time for the film industry. Further development of the industry should be a common task not only of the state, but also of all interested parties.

Текст кинематографического произведения рассматривается как многофункциональное выразительное средство киноязыка. Наибольший интерес представляют два современных направления: интимистский закадровый текст от лица киноперсонажа и печатный текст в стиле «скринлайф» («screenlife» – «экранная жизнь»). Исследование этих направлений выявляет основные тенденции в авторском и коммерческом кино и обозначает пути и перспективы развития кинотекста. Искусство кино подарило человечеству новый тип культуры – экранную культуру, текстом которой является не письменность, а экранное письмо, вбирающее в себя визуальные изображения, анимацию, письменные тексты, речь, музыку и т. д. В контексте эволюции онлайн-технологий и новых форм общения в статье проводится сравнительный анализ различных форм текста и его эволюция в кинопроизведениях на примере творчества режиссеров Терренса Малика и Тимура Бекмамбетова с использованием дескриптивного и герменевтического методов исследования. Два современных направления в использовании текста в кинематографе выявляют разные подходы в создании массового кино, с одной стороны, и элитарного кинематографа, с другой стороны. Интимистский закадровый текст от лица персонажей в авторских кинолентах Т. Малика и печатный текст в стиле «screenlife» – «экранная жизнь» в новой форме киноповествования Т. Бекмамбетова анализируются с точки зрения смысловых, символических и эстетических особенностей языка современного кинематографа. Основной проблемой современного кинематографа является противостояние массового кинематографа, рассчитанного на развлечение массового зрителя, основанное на чувственном восприятии, с одной стороны, и элитарного / фестивального кино, рассчитанного на шестой вид сознания – ментальный, основной задачей которого является развитие киноязыка, с другой стороны. Если «скринлайф» Тимура Бекмамбетова несет эмоционально-информационную роль в определенной форме киноповествования, то Терренс Малик использует текст как художественный прием, создающий глубинные смысловые, символические и эстетические особенности в создании кинообраза.

Introduction. The article is devoted to the general theoretical analysis of Dziga Vertov’s cinema as a language of temporal reflection. According to essential hypothesis of this research Vertov’s work expresses the feature of the temporal regime of the culture of Soviet modernity.Methodology and sources. The author uses the terms “temporal reflection” and “time regime of culture” guided by the A. Assmann’s work “Is Time Out of Joint? On the Rise and Fall of the Modern Time Regime”. The article is rethinking these concepts and point out as a methodological ground for the analysis of non-fiction cinematography.Results and discussion. As a result of the analysis of both Vertov’s films and texts and theoretical works devoted to the study of his work, it is argued that Vertov’s non-fiction films could be considered as a symbolic language of temporal reflection. Particular attention is paid to Vertov’s both theoretical works and manifestos, and at the technical level – to the cinematographic techniques and means of expression of time. The temporal regime of modernity according to the Assmann includes features such as the turning point of time, the fiction of a new beginning, creative destruction, the emergence of the concept of “historical” and the acceleration of time. The analysis of the film “Man with a Movie Camera” (1929) given in the article demonstrates that Vertov’s work expresses these features. This conclusion is also confirmed by a number of theoretical positions in Vertov’s works, some of which are presented in the article.Conclusion. Based on the analysis, it is concluded that Vertov’s cinematic experiments are inventing a new language for comprehending time of history and culture. This language functions on account of the mechanical reduction of reality and the synthesis of the resulting images-perceptions based on the principle of ideological and poetic advisability.

Lately, the research of Parody film as a part of film discourse have reached its peak in the history and philosophy of science. The polycode essence of the concept of film discourse prompts changes and modifications in the interpretation of Parody film. Therefore, the subject of this analysis is Parody film. The goal of this research consists in examination of the peculiarities, meaning, and role of the concept of “parody film”, which is a creative work intended to ridicule the plot through satirical or ironic imitation. Research methodology is based on the method of analytical study of sources for clarification of the logic and content of the concepts of “parody”, “parody film”, and “film discourse”, as well for revealing the essence of parody film as a postmodernist deconstruction in cinematography. The article also employs the methods of comparative analysis and the concept of local cultures. The scientific novelty of this research consists in systematization of the existing knowledge on parody film in the light of film discourse, which being the phenomenon at the intersection of multiple disciplines is in the epicenter of scientific inquiries in linguistics, literary studies, sociolinguistics, philosophy of semiotics and film semiotics, critical discourse analysis, and theory of cinematography. The theoretical importance lies in characterization of the concepts of “parody”, “parody film”, “comedy”, “comedy film” in the context of modern knowledge of moviemaking and cinematography. The acquired results give a better perspective on the role of parody film in art and life of the society. The Interpreters fight for cinema, on the one hand adoring it as the art with unlimited capabilities, while on the other – neglecting the fact that it should need the unpretentious demands of the audience. The author claims that in a broad context, the parody film of the XXI century is not aimed at parodying a literary text. The filmmakers rather consider and use parody film as a means for drawing attention of various life circumstances.

Although the main visual information in film is carried out by the shape of objects, their position in space and their correlation with other objects, color in the motion picture also plays a significant role because the color scale has a strong aesthetic and emotional impact on the viewer. Color is often an organic part of the dramaturgy of film. The exact coloristic solution of a frame, episode or film is able to create the desired atmosphere of action. Different screen chronotopes are often indicated with the help of color — it could be an artistic space of reality, memories, fantasies or a movie character’s dreams. Color helps to convey the subjective perception of reality by the film’s heroes. In a certain context, the color scheme of a film, shot or an individual object, can acquire a metaphorical or symbolic sound. Cinematography initially adopted many of the techniques related to compositional and light-color solutions from painting, which is especially noticeable in the works of directors who pay great attention to the plastic solution of the frame. Today with the introduction into filmmaking of digital technologies, work on the visual solution and color harmonization of the screen image is becoming in many ways similar to the art of an artist. The article analyzes and summarizes the creative experience accumulated by cinema in working with color images and investigates the functional role of color in film, the psychophysiological and emotional impact of color on the viewer, the symbolism of color, and various methods of color solutions in modern films.

On the basis of archival materials introduced into scientific circulation, analysis of regional periodicals, reference books, normative acts and published data, the history of the emergence and spread of stationary cinematic theaters in the Tobolsk province is traced. The administrative and institutional aspect of their opening is considered. Particular attention is paid to preparatory work, technical and construction rules and conditions for the official acceptance of buildings, fire safety measures of pre-revolutionary cinematographs, toponymy and their localization in the socio-cultural space of cities. The article provides information on the social and professional affiliation of the owners of the electric theaters. It is concluded that the positive dynamics of the founding of cinematographs in the studied region, characterized by speed and continuity, refers to the period 1909—1916. The organization of a network of cinemas in the provincial cities of the West Siberian part of Russia was associated with the work of provincial institutions, municipal authorities, and police officers. The functioning of these public institutions was systematically monitored by the officials of these departments, who were guided by the technical normative legal acts adopted in the empire that regulate the conditions for keeping cinemas. The development of cinematography was an important indicator of the innovative trends taking place in the leisure segment of the everyday life of citizens.

This article is devoted to the study of the binary opposition «power/people» in Soviet historical and biographical films. The research material is S. Eisenstein’s iconic films Alexander Nevsky (1938) and Ivan the Terrible (1944). Having analyzed the development and transformation of the binary opposition «power/people» in Eisenstein's historical and biographical films in terms of plot, character system and composition, the author came to the following conclusions: characters of formal authority are often negatively marked. The image of the people is represented by an indivisible monolith. The binary opposition «power/people» is removed by the introduction of a mediator, the character which becomes a key one in films. In the film Alexander Nevsky, the image of the cultural hero, the title character, removes the conflict between the opposing sides: the image of the prince is opposed to the image of the official power and absorbs the features of the people's ruler. The image of the people, when interacting with the image of a cultural hero, becomes an ambivalent carrier of both power and heroic traits. In the film Ivan the Terrible, the development of the medial image of the tsar leads to the fact that he himself becomes the embodiment of absolute power, occupying the «powerful» side of the opposition. Thus, the binary opposition is replaced by the ambivalence of the ruler. The author concludes that the development of the opposition «power/people» in the historical and biographical cinema of the Stalinist time is representative of its period and demonstrates strengthening of the imperial discourse of Soviet ideology and the role of the ruler's personality.

Virtual cinematography refers to automatically selecting a natural-looking normal field-of-view (NFOV) from an entire 360 $^{\circ}$ video. In fact, virtual cinematography can be modeled as a deep reinforcement learning (DRL) problem, in which an agent makes actions related to NFOV selection according to the environment of 360 $^{\circ}$ video frames. More importantly, we find from our data analysis that the selected NFOVs attract significantly more attention than other regions, i.e., the NFOVs have high saliency. Therefore, in this paper, we propose an attention-based DRL (A-DRL) approach for virtual cinematography in 360 $^{\circ}$ video. Specifically, we develop a new DRL framework for automatic NFOV selection with the input of both the content, and saliency map of each 360 $^{\circ}$ frame. Then, we propose a new reward function for the DRL framework in our approach, which considers the saliency values, ground-truth, and smooth transition for NFOV selection. Subsequently, a simplified DenseNet (called Mini-DenseNet) is designed to learn the optimal policy via maximizing the reward. Based on the learned policy, the actions of NFOV can be made in our A-DRL approach for virtual cinematography of 360 $^{\circ}$ video. Extensive experiments show that our A-DRL approach outperforms other state-of-the-art virtual cinematography methods, over the datasets of Sports-360 video, and Pano2Vid.

The article analyzes specific features of the Road Movie genre in a historical perspective on the example of the Western countries film production and Iran national cinematography. To that end the authors focus on genre and semantic variety of classical movies, a «proto-road-movie» and the Road Movies of nowadays. A comparative approach to the study of the genre formula provides for revealing the nuances in the stylistic techniques of directors and defining the national features of the semantic core of the Road Movie genre in both the Western movies (created in Europe and the USA) and in the films of the East (Iranian New Wave). While maintaining a number of aesthetic features that are similar in Western and Eastern Road Movies, one can nevertheless observe a significant difference in the way of representing the concept of the Path (the Road) by directors from the West and from Muslim countries. The article gives a detailed analysis of the Road concept in the context of Islamic cinema. Studying the symbolic of the Path and the Travel in Muslim tradition the authors refer to the norms of Sharia, Sufism and to the mode of the life traditions of the Middle Ages and our days. Special attention is paid to the movies of a well-known Iranian director Abbas Kiarostami. Working before and after the Islamic Revolution (1978–1979) he was the one of the founders of the New Iranian cinema.

This article attempts to explore the visual signs in Wong Kar Wai’s In the Mood for Love in the context of how they support and emphasize the topic of restraint through the film’s cinematography and misè-en-scèene. As the theoretical foundation, Peirce’s classification of signs into symbol, icon, and index is chosen in addition to Barthes’ five systems of meanings that are applied to cinema. The visual signs in focus are not limited to objects within the film, but also the characters’ actions as well as the cinematography. The findings show that certain signs are effectively displayed to signify and amplify the idea of restraint. Not only that, some signs evolve into different signs through intentional repetition to further emphasize the aforementioned idea and the arbitrary nature of the signs, and at the same time open the possibilities of different interpretations of the signs within the film.

There is no doubt that the Dutch plastic artist Rembrandt had his style separate from the artists of his time, and he influenced almost every field of Dutch art, and he was inspired by artists around the world and this influence was repeated and continued in no way in the history of art, and this influence extended until The present time includes the fields of arts, especially in cinema. For filmmakers, as well as generations of art enthusiasts, Rembrandt is the master of light and shadow, and his style of light distribution in painting has influenced many photographers and lighting designers in the history of cinema. In a study conducted to clarify the relationship between plastic art (photography and cinema or motion picture), some critics and filmmakers believed that without the paintings of the Dutch master of photography in the seventeenth century, many masterpieces of cinematography would not exist. Since the beginning of the fifteenth century, artists have used light as if it were a living element, invoking it and using it persuasively to create their own vision, light and shadow, essential components of the art of photography and cinematography, were given for the first time their true freedom by the Dutch artist Rembrandt and expanded with enthusiasm in The world of imagination, and his art was a source of inspiration for filmmakers in building the composition of the shots and the freedom of movement was given to the camera poetically through it, and he set the standard of the camera that it should be. Thus, Rembrandt, with his dramatic style, has inspired many generations in the history of art, and his influence extended to include many different branches of art, not just plastic art.

Purpose: The study aims to explore the similarities and dissimilarities between William Shakespeare’s Macbeth and its film adaptation Maqbool by Vishal Bhardwaj. The study also aims to compare both the film and the play in terms of politics and power from a psychoanalytic perspective. Methodology/ Approach: This study is based on thematic analysis and the main changes when the original play is adapted to film, in order to check the variation from stage to screen. Adaptation theory, Sigmund Freud’s psychoanalysis theory are used in this analysis. Bollywood movie Maqbool (2003) by director Vishal Bhardwaj and William Shakespeare’s great tragedy Macbeth (1606) are used as primary sources for this analysis. Findings: The result of the analysis indicates that film and drama are entirely different. When an original play is adapted into film, there are many merits and demerits.Shakespeare mounded more on poetic language than on spectacle and other scenic devices to create the necessary emotional effect. The Elizabethan theatre gores were more audiences than spectators. But the modern spectators habituated to the computer-generated technique of cinematography expect something considerably different. The result is that when the text of the play is converted into a screenplay, there will be a remarkable reduction in the number of spoken words because mainstream cinema depends for its effect largely on visual rather than dialogue. However, the director maintained the originality of play despite the additions and reductions. Conclusion: The paper throws light on the main changes from English Renaissance theatre to contemporary modern world or theatre. It depicts the Psychological behavioural differences and the power and political structures of the two different periods. The paper suggests that film adaptation is an effective and attractive tool to maintain the value and to understand the original text.

Вопросы взаимовлияния и взаимопроникновения музыкальных и кинематографических приемов изучались на уровне музыковедения и киноведения в аспекте параллельного развития видео и аудио рядов. Предлагаемый табличный метод изучения композиторского стиля и мышления Дебюсси и Равеля позволит облегчить понимание музыкального содержания сочинений и эстетических принципов композиторов, продвигавших в своем творчестве многоуровневую систему историко-стилевой категории - музыкальный импрессионизм. Задачи данной статьи обозначаются параметрами исходящими из эстетических принципов Дебюсси и Равеля, которые развивали свое творчество в конце Х1Х века под влиянием нового вида искусства – кино. Ключевые слова: музыка, кинематография, табличный стиль композитора, музыкальный язык, музыкальный импрессионизм

It is well known that cinema has one of the important roles in shaping the worldview of a person and culture with certain features. For this reason, the development of the young generation's ability to perceive works of art and the formation of their aesthetic views, as well as timely and effective satisfaction of the emerging needs, is of particular importance. In this sense, it seems more relevant to show not only the graphic row but the full-fledged images in films. When analyzing and interpreting images based on the achievements of modern cinematography, recognizing each film as an integral system, as well as the role of the image in the system of the constituent components of the film should be established on the basis of dialectical philosophy and dialectical categories and laws of logic. Although the image is a general category for all types of art, its analysis and interpretation require a special approach based on the specifics of each type.

Lope (Andrucha Waddington 2010) and Teresa (Ray Loriga 2007) have much in common. Both biopics center on a revered literary figure of the Spanish Golden Age. However, in spite of their many commonalities, these films embody two distinct tendencies in the contemporary literary biopic genre: one more “typical,” represented by Lope, that focuses heavily on plot development and another, represented by Teresa, that aspires to visually transpose to the screen aspects that relate to the main character’s interiority. Although Teresa has features of the “typical” contemporary literary biopic, it innovates the genre significantly by moving its focus from the life to the mind of the writer. Loriga uses the language of cinematography to depict the imagery and affective qualities of the mysticism of Teresa de Ávila—the force behind her writings—, creating a film that emphasizes image and emotions over plot. Teresa thus brings a different sensitivity to the literary biopic, which deviates from more formulaic films. Centering on the author’s mind can indeed be a new path for filmmakers to innovate the biopic genre, particularly in its literary strand. Finally, these two biopics illustrate the need to expand the scholarly conversation about the contemporary literary biopic genre, as they both engage with and deviate from the formula established by Anglo-Saxon biopics.

The genre of historical and contemporary cinema, which takes as its source of plot and characters the Bible has long enjoyed a welcome from the viewing public (whether in theaters or streaming on t...

The creative role of a cinematographer as a key contributor to the artistic vision of a film was firmly established during the photochemical era. The cinematographer is responsible for overseeing the creation of a photographic “look” established in collaboration with the director. The cinematographer must have a practical knowledge of, and experience with, the film-based photographic system to effectively practice the art of cinematography.

The decade 2010–2020 saw fast-paced developments in professional lenses and cameras—moving on the fronts of both broadcast television production and digital cinematography. The long-established 2/3-in. image format made a surprisingly smooth transition from two decades of high-definition television (HDTV) to 4K ultrahigh definition (UHD)—although, behind the scenes, this posed significant challenges to both lens and image sensor developments. The 2/3-in. B4 lens–camera mount standard remained a foundation for this transition. The decade bore witness to extraordinary international standardization activities that produced the parameter values for 4K UHD and 8K UHD for production and international program exchange—closely following with allied standards on high dynamic range (HDR) and wide color gamut (WCG). The current hesitancy in the U.S. to inaugurate 4K UHD delivery services propelled camera manufacturers to introduce broadcast television cameras that are multiformat—switchable between HD and UHD and between 2K and 4K digital cinema initiative (DCI)—and also multipurpose in being able to switch between HD colorimetry and WCG, and between HDR and standard dynamic range (SDR). Optical manufacturers applied major resources into developing 2/3-in. 4K broadcast television lenses. Meanwhile, amidst this uncertainty, 8K UHD broadcasting became a major agenda in some Asian regions, and the attendant developments in lenses and cameras significantly contributed to technological advances in the parallel 4K systems. The year 2010 saw the transition from the first generation HD/2K Super 35-mm digital cinematography lenses and cameras to 4K acquisition systems. New international manufacturers arrived in both arenas, and vigorous competitive activities escalated the pace of their respective technological developments. Within this decade, the full promise of HDR and WCG became evident for moviemaking and episodic television production. Within this same time span, the extraordinary emergence of the over-the-top (OTT) tech giants into the world of content creation, and international distribution, soon witnessed an upsurge in both the quantity of high-end scripted content and high expectations in quality .

We propose an approach to capture subjective first-person view (FPV) videos by drones for automated cinematography. FPV shots are intentionally not smooth to increase the level of immersion for the audience, and are usually captured by a walking camera operator holding traditional camera equipment. Our goal is to automatically control a drone in such a way that it imitates the motion dynamics of a walking camera operator, and, in turn, capture FPV videos. For this, given a user-defined camera path, orientation, and velocity, we first present a method to automatically generate the operator’s motion pattern and the associated motion of the camera, considering the damping mechanism of the camera equipment. Second, we propose a general computational approach that generates the drone commands to imitate the desired motion pattern. We express this task as a constrained optimization problem, where we aim to fulfill high-level user-defined goals, while imitating the dynamics of the walking camera operator and taking the drone’s physical constraints into account. Our approach is fully automatic, runs in real time, and is interactive, which provides artistic freedom in designing shots. It does not require a motion capture system, and works both indoors and outdoors. The validity of our approach has been confirmed via quantitative and qualitative evaluations.

The process of gradual reform of property relations in cinematography in order to transition to a competitive market has been considered. The possible consequences of a reduction in the public sector in this area of activity have been analysed in detail. As a part of the research, the development of the film industry under the influence of a global global challenge-the spread of a new coronavirus infection (COVID-2019) has been reviewed also. In this regard, a hypothesis about the need for transition to extrabudgetary financing of the film business, has been formulated and proved. The influence of COVID-2019 on other sectors of the cultural sphere (museum, library, theater and others) has been analysed. The study was based on the regulatory legal acts of the Russian Federation, industry analytics of the Federal Fund for Social and Economic Support of Domestic Cinematography.

Rad se bavi filmskim adaptacijama mita o Orfeju koje su nastale u Brazilu 1959. i 1999. godine. Budući da se u oba filma Orfej pojavljuje kao Afro-Brazilac, novo ispisane verzije mita se dovode u vezu sa Sartrovim konceptom Crnog Orfeja i pokretom crnaštva koji se pojavio 1930-ih u Parizu kao odgovor crnih frankofonih intelektualaca na rasne mitove i kolonijalne stereotipe. U radu se razmatra evropski odnos prema an-tičkoj Grčkoj utemeljen u kolonijalnom stavu kojim se polaže ekskluzivno pravo na ovu prošlost, te se recepcija antičkog mita pojavljuje ne samo kao ogledalo ovog odnosa veći kao prostor subverzije i moguće intervencije. U kojoj meri filmovi Crni Orfej (1959) i Orfej (1999) podrivaju koncept evropskog kulturnog elitizma, rasnih stereotipa i klasnih nejednakosti, a u kojoj meri ih potvrđuju, biće predmet analize ovog rada. The paper deals with two film adaptations of the myth of Orpheus that were made in Brazil in 1959 and 1999. In view of the fact that in both films Orpheus appears as Afro-Brazilian, these two versions of the myth may be related to Sartre’s concept of Black Orpheus, and the movement of Negritude that appeared in Paris in the 1930s as an answer of the black francophone intellectuals to racial myths and colonial stereotypes. Regarding the fact that the European attitude towards ancient Greece is also characteristic of another kind of colonialism that is cultural, based on the claim of exclusive right to this past, the ancient myth that often appears only as a mirror of this relationship, functions in these films as a space for subversion and resistance to different types of colonial power. The films that are the focus of this paper are Black Orpheus (1959) directed by Marcel Camus, which is a French-Italian-Brazilian coproduction, and Orpheus (1999) by Carlos Diegues, an entirely Brazilian production. Both films were inspired by the theatrical play written by Vinícius de Moraes, Orfeu da Conceição (1953). Although he himself participated in the production of Camus’s Black Orpheus, in the end he refused to be credited because in the film, the main idea of his drama was lost, which was to show Afro-Brazilians as the main protagonists of the Greek myth pointing out injustices and difficulties of Afro-Brazilian people in social reality, but also in the context of cultural and racial hegemony that clearly claimed the ancient Greek myth to be the heritage of European white men. Similarly, disappointed, Carlos Diegues decided to make another film together with Vinícius de Moraes. However, the plan was interrupted by Moraes death in 1980, but Diegues succeeded in filming it in 1999. The paper compares the two films focusing on the question to which extent these films challenge or confirm European cultural elitism, racial stereotypes and class inequalities. Cet article traite les adaptations cinématographiques du mythe d’Orphée produites au Brésil en 1959 et 1999. Étant donné qu’Orphée est dans les deux films représenté comme un Afro-Brésilien, les nouvelles versions du mythe sont mises en relation avec le concept sartrien d’Orphée noir et le mouvement de la négritude apparu dans les années 1930 à Paris comme une réponse des intellectuels francophones noirs aux mythes raciaux et aux stéréotypes coloniaux. Dans l’article est traité le rapport européen envers la Grèce antique fondé sur l’attitude coloniale consistant à réclamer un droit exclusif sur ce passé, de sorte que la réception de ce mythe antique apparaît non seulement comme un miroir de ce rapport mais aussi comme un espace de subversion et d’intervention possible. Dans quelle mesure les films Orphée noir (1959) et Orphée (1999) minentils le concept de l’élitisme européen culturel, des stéréotypes raciaux et des inégalités de classe, et dans quelle mesure les confirment-ils?

The aim of the research is to determine the peculiarities and essence of conflict in dramaturgy, to analyze from the theoretical point definitions action-opposition is and what place it occupies in cinema and literature. In addition, to find out for what reasons an external conflict arises and how it differs from the internal one. The research methodology is based on a systematic approach, which consists of a study of conflict in cinema. For this purpose, empirical and theoretical research methods were used. Scientific novelty. For the first time, the dramatic conflict in modern cinematography was studied and analyzed using practical and theoretical methods of research, as well as different levels of conflict in cinematography and artworks, and their peculiarities were defined. Conclusions. The characteristics and significance of the battle in dramaturgy are analyzed, what is the action and counteraction in cinematography and literature are determined. Using empirical and theoretical research methods, it was found out how a dramatic conflict in artistic works is created and the classification of conflict in society is considered in detail.

Se presenta la reflexión producto de investigación del análisis del film Vivre sa vie (Godard, 1962) el cual se basó en la propuesta de Jacques Aumont y Michell Marie (1990), en las teorías de Bordwell, Burch y Bergala así como en entrevistas a expertos de cinematografía en la ciudad de Medellín. La manera de vivir el cine implica la idea canónica del entretenimiento, para Godard, también involucra la capacidad de construir metáforas e ideas para un espectador reflexivo. Éste director propone un modelo desafiante y transgresor con un discurso collage, que se constituye en desafío mental para el público. En Vivre sa vie, presenta modelos “nuevos” de cinematografía tales como el teatro épico y la narrativa paramétrica, los cuales aportan argumentos renovadores al cine.

Film is a medium that is impossible to exist without light. Essential to its production process is cinematography, a discipline in filmmaking that is directly responsible with visually presenting the information of a shot through a camera using the manipulation of time, lighting and framing. Frame distance describes the distance between a subject and the camera but more vital is the intent of application of frame distance as it is capable of implying meaning or eliciting a feeling in the viewer. The grammar of frame distance can be utilized to present structures, themes and styles of a film. Experimental, abstract films, although non-conformist to the rules of conventional cinema, may still be confined to the concepts and techniques in cinematography. Frame distances can help to distinguish patterns as well as emphasize details in an experimental film. The abstract, short film “Trapped Light”, explores the possibility of depicting the movement of light through transmissive and reflective materials.

The article devoted to analyzing cinematic entertainment and connections between traditional techniques and computer graphics technologies. Have been analyzed the historical development and the popularity of computer graphics and digital effects. Have been identified difference between special and visuals effects, revealed the most popular techniques at the filmmaking, such as scale modelling, animatronics, stop-motion, slow-motion, time lapse, and the main of tracking methods − motion capture, match-moving, deepfake, also chroma- and lumakey. Have been revealed of their essence. All methods and techniques are compared by the number of highly qualified specialists involved, the budget spent, the time of creation and the audience's attention. Determined the most popular and effective visual method for viewers. Have been identified the perspectives of computer graphics and digital visual effects. Identified the relevance of combining computer graphics with footage.

The Polish film press in the first half of the 20th century (1913-1939) tried to find its place in the Polish publishing market. Inspired by film thought and still developing Polish and global cinematography, the Polish press wanted to uphold true art. However, the times of censorship, interference of state authorities, fragile publishing politics, and omnipresent commercialism have all strongly influenced the history of the Polish film press. The article mainly presents the history and characteristics of film journals, dividing them into those loyal to the art of cinematography, as well as those that have been commercially influenced by film in general. It describes their profiles, forms, language, as well as editorial policy of individual editorial offices used to get valuable readers.

The authors consider the peculiarities of using cinematographic genres in communication activities by organizations of aerospace industry. As organizations form an information space around them, it is important that the information that is present in it is positive and allows them to effectively influence the key audience. In today’s environment, information broadcast by traditional media is perceived with less interest. Therefore, organizations have to look for and develop new communication channels such as social networks, blogs, etc. Cinematography is of particular importance. It allows to realize such functions as entertainment, information, education, organization of social community, education. In the aerospace field, the implementation of an effective impact on the target audience has its own peculiarities, as this industry is strategically important for the country, potentially crisis-prone, and it is constantly riveted on public and media attention. In addition, the dissemination of certain information may be restricted by classifying data as part of a government, commercial or other secret specifically protected by law. Cinematographic works as a means of forming the information space of aerospace industry organizations in Russia are effective. They are used to form a positive image of the industry, organizations, professions, to promote products and services. Full-length and short films created in fiction and non-fiction genres allow transforming ways of interaction between communicator and audience, expanding communicative possibilities of space, accelerating information exchange.

In this article, the author investigates the possibility of conceptualizing the anthropological body of the person as a moving, dissolving in the environment of inhuman materiality. Using Chantal Ackerman's "Je, tu, il, elle", "Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles", the author explores how specific elements of the cinematic production of reality interact with each other and produce concepts. The purpose of this article is to clarify the specific aspects of this cinema, such as work of images, built through montage, special attention is given to the sound that organizes the "speech" of the object. The author of the article demonstrates, based on the Deleuze’s position on cinematography as a reality and cinema as thinking, Ackerman's organization of heroes through de-subjection responds to the demand for flatness - the destruction of the hierarchy between the human and the inhuman by organizing one emergent whole. Researching the creation of the concepts of Deleuze and the third meaning of Barthes, the author analyzes the film. This research made it possible to see how, through noise and de-subjectivation, Akermans's lined up poses come together in assemblages, where each element serves as a producer of change as a whole, creating a reality of direct access and mutual influence. This article is intended for philosophers, those who work with cultural studies and everyone interested in the theory of cinema.

The objective of this study is to explore the interactions between music and films, the progress, styles, forms, and means of film scoring, as well as to analyze the trends in the development of film music in Ukraine in the 1920s. The article outlines the array of challenges associated with the formation of various approaches to film scoring in the Ukrainian cinematography. Different styles and forms of film scoring molded in the 1920s in USSR in general, and in Ukraine in particular, are investigated. Analysis of the contemporaries’ debate in specialized magazines showed that three types of film scoring prevailed at those times: improvisation (music reflects the external action of the movie, the atmosphere where that action is happening); compilation (music is used as an illustrative tool to render the sentiment of each separate episode, without plotting a seamless musical piece for the entire movie); and composition (thematic musical illustration for the entire movie). The article also addresses major means of musical scoring for cinema shows — “complex”, “orchestra”, “piano”.

The article defines the essence of authorship in cinematography, reveals features of the author’s directing through the prism of moral and ethical categories and concepts, explores the specificity of Milos Forman’s work in the interpretation of the concept of freedom as a universal value, which succeeded in relying on literary and musical works, to realize its potential, to realize its potential cinema on television

This paper focuses on the problem of restoring and developing the film distribution and exhibitionsystem in Leningrad in the first years after the end of World War II. The purpose of the article is to studycinema-going as the most popular form of Soviet citizens’ leisure. Such topics as availability and comfortof watching films, activities of film distribution management, and attitude of Leningrad citizens to cinemaare considered. The study turned to such sources as records management documentation, statisticaldata, and reminiscences of film distribution staff and cinema-goers. There are very few special workson the history of Soviet people’s leisure and, in particular, the organization of film service. Dissertationson film production and distribution in the USSR were not written until recent years. New approaches toand research concepts of the history of film distribution are being developed in modern historiography.Individual works on film production, distribution and exhibition, as well as on the relationship betweenthe film service system and the viewer are being published. This study is based on the materials of twoarchives: St. Petersburg Central State Archives and St. Petersburg Central State Archives of Literatureand Art. It should be noted that records management documentation is the most informative type ofwritten sources, as it contains comprehensive data on the functioning of the film service and distributionsystem at various levels, from the relationship between the state authorities and film organizationsto the work of film distribution offices and individual cinemas with viewers. The main stratum of thistype of sources is the documentation of the Leningrad City Council of People’s Deputies, the ChiefDirectorate for Cinema Development and Film Distribution of the State Committee for Cinematography,the Leningrad Regional Lenkinoprokat Office, and the Directorate for Cinema Development of theExecutive Committee of the Leningrad City Council of People’s Deputies. This paper is the first attemptin scientific literature to study the organization of mass leisure activities in the Soviet Union after the endof World War II, the effectiveness of film distribution in Leningrad, and the role of cinematography in thelives of citizens.

The article concerns the issue of mystification and hoax in Czech culture. It demon-strates historical aspects of this phenomenon and, basing on the example of various cul-tural texts, shows that the mystification as a means of artistic expression is deeply rooted in Czech culture. Surrealistic and illogical themes that are characteristic for Czech humour are used by artists, especially filmmakers, in creating successive mystifications. The article examines films such as Oil Gobblers (1988), Year of Devil (2002), Czech Dream (2004), Jara Cim-rman Lying, Sleeping (1983), in order to analyse the role of this phenomenon in both films that speak of mystification and the ones that are mystifications themselves.