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Поступила в редакцию: 25.05.2020. Принята к печати: 20.04.2021. Submitted: 25.05.2020. Accepted: 20.04.2021. Статья посвящена актуальной, но практически неисследованной в отечественной науке теме — визуальной антропологии как средству научного познания, конструирования и репрезентации образа территории. Определяющую роль в формировании образов фронтирных регионов страны в имперский и советский период играли профессиональные исследователи и путешественники. Предлагаемая работа открывает малоизвестную страницу в истории изучения Сахалина — творчество Петра Игнатьевича Полевого (1873–1938), одного из первопроходцев научного освоения острова. Основанная на архивных данных, многие из которых публикуются впервые, статья фокусируется на анализе визуально-антропологического наследия ученого, структурированного по основным направлениям его работ — антропология, геология и краеведение. Отражение в трудах исследователя посткаторжного периода в истории Сахалина, связанного с трансформацией колонизационной политики, дает особые сюжеты в плане изучения и позиционирования образа острова — форпоста страны в Азиатско-Тихоокеанском регионе. Путем сопоставления печатных и фотографических материалов выделяются и анализируются ключевые образы Сахалина в работах П. И. Полевого — «остров нефти», «остров инородцев» и «остров колонистов». Связанные между собой сквозной темой колонизации, они наглядно иллюстрируют положения исследователя о бесперспективности Сахалина как сельскохозяйственной колонии и рациональности его промышленного освоения. В теоретическом плане данная работа на конкретном примере развивает понятия из области визуальной антропологии («визуальная репрезентация региона», «этнографическая фотография») и культурной географии («образ региона», «культурный ландшафт»). Делается вывод о том, что наследие П. И. Полевого, включающее материалы междисциплинарного научного изучения Сахалина, в том числе его фотографические репрезентации, представляет собой информативный исторический источник для изучения динамичного образа дальневосточного фронтира в антропологии и смежных гуманитарных науках. This paper considers a relevant but practically unexplored topic, i.e. visual anthropology as a tool of scientific cognition as well as constructing and representing the image of a territory. Professional researchers and travellers contributed considerably to the formation of images of the frontier regions of Russia in the imperial and Soviet periods. This work opens a little-known page in the history of the study of Sakhalin — the work of Pyotr Ignatievich Polevoy (1873–1938), one of the pioneers in the scientific development of the island. Based on archival data, many of which are published for the first time, the article focuses on the analysis of the scientist’s visual and anthropological legacy and follows the main directions of his work — anthropology, geology, and local history. The reflection of the post-penal period in the history of Sakhalin related to the transformation of the colonisation policy, gives special ideas in terms of studying and representing the island’s image in the Asia-Pacific. The authors compare text and photographic materials and specify the key images of Sakhalin in the works of Polevoy, an “island of oil”, “island of foreigners” and “island of colonists”. Interconnected by the cross-cutting theme of colonisation, these images clearly illustrate the researcher’s position on the futility of Sakhalin as an agricultural colony and the rationality of its industrial development. The paper also develops concepts from visual anthropology (“visual representation of a region”, “ethnographic photography”) and cultural geography (“image of a region”, “cultural landscape”). The authors come to the conclusion that the legacy of Pyotr Polevoy (his scientific works and photographic representations) can be considered an informative historical source for studying the dynamic image of the Far Eastern frontier in anthropology and related humanities. Статья подготовлена за счет гранта РНФ № 19-18-00116 «Визуализация этничности: российские проекции науки, музея, кино» (рук. А. В. Головнёв). This article was supported by the Russian Science Foundation (RSF) as a part of project 19-18-00116 “Visualisation of Ethnicity: Russian Projections of Science, Museum, and Cinema” (supervised by A. V. Golovnev).

In modern anthropology, researchers pay increasing attention to photographic data as a category of historical/ ethnographic documents. This article is based on visual and anthropological materials of Bronislaw Pilsudsky (1866-1918), a renowned researcher of Sakhalin ethnic groups, collected by the authors from the archives and museums in the Far East during the expedition in June - August 2019. The study is focused on Pilsudsky's photographic and manuscript collections on the ethnography of the Nivkhs reposited in holdings of the Sakhalin Regional Museum (Yuzhno-Sakhalinsk) and the Society for Research on the Amur Region (Vladivostok). Many of these photographic documents, being unique evidence of the evolution of the material and spiritual culture of the indigenous people of Sakhalin at the turn of the 19thand 20thcenturies, are introduced into the scientific discourse for the first time. The photographic materials are analyzed from the historical and anthropological perspectives, in conjunction with the published papers and archival manuscripts of the scientist (in particular, "Wants and needs of the Sakhalin Gilyaks"). Correlation of the textual and visual materials shows that B. Pilsudsky represented Sakhalin in a series of images: the island of native dwellers (traditional lifestyle of the Gilyaks) - the island of convicts (colonization of the territory, involuntary-settlement community) - the island of autonomies (cultural and economic zoning). In the course of his studies, B. Pilsudsky used concurrently textual description of the impressions and their photographic capture. The key feature of the scientific work of B. Pilsudsky of this period was the absence of a "metric" perspective - he photographed his characters in their natural habitat, in their daily routine. The conclusion is drawn on the archive photographs as multi-layered visual-anthropological documents on their time, which under a proper critical research perspective constitute valuable historical sources of scientific interest for studies in a wide range of the humanities. © 2021 Tyumen Scientific Centre of Siberian Branch of the Russian Academy of Sciences. All rights reserved. This work was supported by the Russian Foundation for the Humanities as part of project No 18-59-23007 “Visual anthropological research of Russian and Soviet frontier territories in the first half of the 20th century: Russian and Hungarian scholars and filmmakers”.

The article examines a unique phenomenon of Soviet cinema – the anti-religious film of the 1920s–1930s – a question insufficiently explored in humanitarian historiography so far. Being an organic part of the “cultural revolution”, on the one hand, anti-religious films of this period acted as an effective tool for the propaganda of the Soviet state in the fight against both the official church and manifestations of everyday religiosity. On the other hand, their creation was accompanied by detailed theoretical and methodological recommendations on the forms of interaction of party propagandists with the audience, and on the formats for the presentation of anti-religious attitudes. Based on previously unpublished archival materials, the authors bring to the fore one of the most indicative of such films titled “Sectarians” shoot by Vladimir Korolevich (Sovkino, 1930). The authors consider the film as a document of that time and analyze processes that ran parallel with one another in the Soviet culture and policy. Taking the film “Sectarians” as a case-study, the authors explore cinematic methods of constructing a negative image of sectarian organizations in the USSR and its broadcast to a wide audience in ideological way. The authors came to the conclusion that the Soviet anti-religious cinema, combining the techniques of avant-garde cinematography and scientific atheism, successfully fulfilled its propaganda mission. In this context, the film “Sectarians” is a valuable historical source, that represented the contradictory phenomena of its time and was aimed at the visual reconstruction of “Sovietness” as a new religion. © 2021, Amur State University. All rights reserved. This research was supported by the Russian Science Foundation (RSF) as a part of the project № 21-18-00518, https://rscf.ru/en/project/21-18-00518/.

This article investigates the representation of traditional culture in ethnographic films among the indigenous peoples of the Russian North. The special attention is paid to childhood in traditional culture of Khanty peoples in Ugra. The article focuses on the documentary film Malen’kaia Katerina (Tiny Katerina; Ivan Golovnev 2004), which depicts the childhood of a Khanty girl in northwestern Siberia over the course of three years. Authors analyze the child’s relation to nature, adulthood, and the development of gender identity. The article looks into the cinematographic techniques used for the film creation and major episodes of the film such as “a child`s role in Khanty culture”, “play”, ‘the adult world”. Also explored are objective and subjective conditions in which the cinematographic image is created, with a special emphasis being put on studying filmmaker's (director's) role in film production. The conclusion drawn is that, on the one hand, the ethnographic film is a valuable contribution to Anthropology that adds to the corpus of documents on traditional culture of the indigenous peoples of the Russian North. On the other hand, the film contains evidence of scientific criticism and allows one to explore cinematographic material from anthropological, historical, and psychological positions. Authors came to conclusion that ethnographic cinema can be seen as promising research methodology in the field of contemporary anthropology. This essay reelaborates and enriches some of the themes already present in a previous contribution The Representation of Childhood in Ethnographic Films of Siberian Indigenous Peoples: The Case of the Documentary Film Malen’kaia Katerina (Tiny Katerina) [Golovnev I., Golovneva E. 2016, 83-106]. This work was supported by the Russian Foundation for Basic Research (RFBR) as part of project No.18-09-00076 The traditional Northern communities in ethnographic film.

Исследование посвящено изучению образовательного потенциала особого жанра антропологического кино — этнографического фильма. В качестве предмета анализа выст упает проект «ЭтноКино» и его презентация в цифровом пространстве. The paper deals with the exploring of the ethnographic film as well as its educational potential. As a case study the project “EthnoFilm” and its presentation on Internet is considered. This work was supported by the Russian Foundation for Basic Research (RFBR) as part of project No. 18–09–00076 “The traditional Northern communities in ethnographic film”. Работа выполнена при поддержке гранта РФФИ, проект № 18–09–00076 «Традиционные этнокультурные сообщества Севера в этнографическом кино».

The article examines the photographic representations of Sakhalin in the end of XIX century, in the period of A. P. Chekhov’s stay on the island. Sakhalin is viewed as a peculiar cultural and geographical space with clear frontier characteristics. Sakhalin regional identity is seen as formed on the basis of ideas of “the remote island – continent” and “the place of nameless misery”. Beginning with an analysis of Sakhalin in the context of imperial imagination, authors rediscover a photofixation of the island in the above-mentioned period. Analysis of Chekhov’s photo collection is addressed to the works of frontier and memory studies as well as visual anthropology. The article is based on empirical data of Archive of Amur region Research Society (Vladivostok) and photos from Benedict Dybovsky’s (1833–1930) album that is stored in Kamchatka Regional United Museum (Petropavlovsk-Kamchatsky). Developing a discourse about photography as a valuable resource for visual representation of the frontier territories, the authors give systematization and classification of the main images of Sakhalin at the end of XIX century (a case of photographer I. I. Pavlovsky), present the correlation between photographic and literary images as well as reveal the role of those photos in perception of Sakhalin inside and outside of an empire. The article argued that visual criteria of Sakhalin’s life were created by means of typical protagonist’s positions and scenes (labor and everyday life of hard laborers), physical anthropology (indigenous faces, faces of criminals), architect and natural landscape of the island. The authors came to the conclusion that photos of Sakhalin as well as literary works on the island depict the visible margins between Sakhalin and other parts of Russia and present the specifics of Sakhalin regional identity. © 2020 Tomsk State Pedagogical University. All rights reserved.

The article in the methodological way reveals the term “frontier discourse” and demonstrates the opportunities of its application towards Vladimir Arseniev’s works. The scientific and literary texts of Vladimir K. Arseniev (1872–1930), a traveller, writer and researcher of the Far East, author of the bestseller “Dersu Usala”, have long been an important source for constructing the image of the Far East as a “remote” region of the Russian Empire and the USSR and as a peculiar frontier zone. Using the frontier methodology, the writer’s literary texts and unpublished archival data (field diaries, author`s pictures, photo, and documentary), the authors emphasize the key ideas of Arseniev’s works as well as analyze his activity in the sphere of literature and cinematography. In the writer’s works, the Far East appears as a region marked by a complex of ideas combining pictures of nature, ethnic diversity, colonists and a frontier zone. The foundations and context of frontier discourse in Arseniev’s biography are shown, the Arseniev’s basic topics in literary texts (“Forest”, “Mountains”, “Sea”, “Dersu Usala”, “Colonists”, “Frontier”) are defined. The outlined topics are considered to be structural factors, a base for reproduction of the frontier discourse about the Far East. © 2019 Institute of History and Archeology of the Ural Branch of RAS. All rights reserved.