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Using the Western Australian (WA) film industry as a case study, this article revisits the framework proposed by Susan Dermody and Elizabeth Jacka in their anatomy of a film industry project. Acknowledging the power of Dermody and Jacka's work, the article highlights a lack of detail surrounding the WA case. Drawing on the idea of an 'imaginary' industry as a key construct, it argues that a modified version of the framework is needed to account for the WA case, especially at the organizational level. The article proposes that the period 1969/70 to the present can be analysed in terms of three distinct eras and focuses on the first two (1969–1983; 1983–1993). It discusses the organization of film industry policy according to a logic of industry development, and a persistent tension between constructions of industry as production and culture. It gathers the extant scholarly resources for an anatomy of the WA industry (including works by Brian Shoesmith, Tom O'Regan, Tim Fetherstonhaugh, Vincent O'Donnell and others). Drawing on this writing, this article represents a belated contribution to the anatomy of a film industry project and a call to action in relation to the analysis of contemporary industry discourse in WA. [ABSTRACT FROM AUTHOR]

This article critiques the ongoing dominance of the Hollywood monomyth in the film and television industry, at least in the UK if not more widely. It considers how this is impacting on the teaching of narrative and story in university film and media departments as they move towards stronger collaborations with industry. It argues for the importance of two-way dialogue to help equip students and their future employers for a world facing complex global challenges. Drawing on the author's extensive experience in teaching and practice-led research, it advocates for a creative problem-solving approach which decentres conflict-driven models of narrative development, such as the Hero's Journey, placing them alongside alternative models which engage with the relationship between conflict and harmony in a variety of different ways. Considering narrative structures such as Kishōtenketsu, indigenous storytelling methods and the author's own work with the Polyphonic Documentary project, the need for a genuinely inclusive and expansive approach is brought to the fore. A mixed economy is considered to be essential, with experimental and traditional approaches preparing students for current industry demands whilst also encouraging them to shape future storytelling landscapes. The argument is made that this is crucial to foster a nuanced understanding of narrative and story that can respond creatively and effectively to the demands of a rapidly changing world. [ABSTRACT FROM AUTHOR]

The digital tsunami, the invasion of which was unimaginable just a generation ago, raises numerous questions among philosophers, cultural scientists, and specialists in other professions. Some of these questions run as follows: is the transition from book culture to screen culture irreversible; are there intermediate stages of this transition; and, why is there no reverse development of the book from the film? Answers are offered in this article. The accepted view is that the standard of book culture is literature (presumably a novel), and in particular, philosophical treatises; and the genuine “screen” paragon is cinema (a film), and a play on television, as a mediator. Other forms of cultural phenomena, events and facts are also discussed, which are associated with the indicated invasion of “digitals” into the life of society and of the individual, causing a restructuring of private and public consciousness.

The article aims to explore the role of national cinema in the early 20th century and its contribution to the development of the Soviet anthropological project. Any significant transformation of society involves the human factor. This factor can be observed in two ways: as a consequence of changes, which shape the new social experiences acquired through individual socialization, and as the unique qualities of those organizing the transformations. The beginning of the 20th century marked a period of active formation of mass society, urban lifestyles, and entertainment industries. Within this landscape, cinema held a special, perhaps even crucial, position—probably due to its accessibility and the condensed intensity of content presentation. The adventure genre, in particular, played a dominant role and greatly contributed to the success of film distribution. The interplay between commercial and creative aspects has been influential in shaping the development of cinema from its inception. However, during the Soviet era, the balance between entertainment and creativity began to shift, influenced by socio-political circumstances. Firstly, there was an increasing emphasis on social themes in films. Secondly, by the 1930s, these circumstances had evolved into direct political pressure, significantly impacting the content requirements for films and even the fate of their creators. This resulted in a clear contradiction: while cinema content portrayed the ideal of an initiative, responsible, and creative individual, in reality, individuals, including film authors, were expected to conform to ideological requirements. This contradiction between the broadcast content and the real lives of people led to the squandering of the resources of the anthropology project and the creative potential of cinema. Nonetheless, it did not impede the development of models and technologies that shaped the personalized power of mass society, which have retained their significance to this day. Hence, cinema, which initially emerged as a form of entertainment with adventure genre for a dominant, not only played a role in shaping the concept of the “mass man,” but also laid the groundwork for the models and technologies that defined a “person in power.” Статья содержит попытку выявить роль отечественного кинематографа первой четверти ХХ столетия в реализации советского антропологического проекта. Любое существенное преобразования общества предполагает человеческий фактор. Он проявляется двояким образом: как последствие изменений, которое влияет на осваиваемый новый социальный опыт в процессе социализации личностей, и как особые человеческие качества организаторов преобразований. Начало ХХ века — время активного формирования массового общества, городского образа жизни, развлекательных индустрий. Кинематограф в этом процессе занимает особое, возможно, ключевое место. Это было обусловлено его доступностью, компактной интенсивностью презентации контента. При этом авантюрно-приключенческий жанр играл доминирующую роль, что обеспечивало принципиально важную успешность кинопроката. Соотношение коммерческого и творческого аспектов детерминировало развитие кинематографа с самого его начала. Однако в советский период баланс развлечения и творчества стал проявлять зависимость от социально-политических обстоятельств. Во-первых, социальная тематика приобретала нарастающую акцентуацию. Это обстоятельство к 1930-м года превратилось в прямое политическое давление, которое начало серьезно сказываться на требованиях к содержанию фильмов и даже на судьбах их авторов. Итогом стало явное противоречие. Содержание кино участвовало в трансляции идеала инициативной, ответственной, творческой личности, в то время как в реальной жизни от человека (включая авторов кино) требовалось соответствие идеологическим требованиям. Это противоречие между транслируемым контентом и реальной жизнью социума привело к растрате материала антропологического проекта и творческого потенциала кинематографа. Оно не помешало выработать образцы и технологии формирования персонифицированной власти массового общества, сохранившие свое значение и в наше время. Таким образом, возникший как развлечение с доминирующим авантюрно-приключенческим жанром кинематограф сыграл свою роль в формировании проекта нового массового человека, одновременно заложив образцы и технологии формирования человека власти.

The purpose of the work is to investigate the development of mass entertainment culture in the paradigm of its visualization and the spread of screen forms. The methodological basis of the research was made up of the following methods: systemic, cultural, semantic, analytical, which fully allowed to consider the defined perspective of the research issues and obtain substantiated results and conclusions. The scientific novelty of the research is revealed in the consideration of spectacular culture as a subsystem of mass culture, which is formed by its semantics and the identification of trends in its visualization in further development, in particular, screen forms mediated by digital information technologies. Conclusions. Mass spectacles in the paradigm of visualization and screen forms are an integral part of modern culture. They not only reflect technological progress, but also influence the way we perceive and interact with the world. At the turn of the 20th and 21st centuries, it became obvious that audiovisual communication had significantly supplanted other types, and screen forms of creativity gradually changed traditional arts and began to serve as new means of their distribution. In the conditions of the information society, mass culture becomes a priority form of living cultural phenomena. Spectacle culture in the conditions of visualization and digital technologies is a powerful force that shapes our ideas about the world, influences social processes and determines new directions for the development of the entertainment industry, it constantly evolves, responding to technological innovations and changes in society. Spectacularity is one of the important constituent technologies of creating a modern cultural product, one of the properties of expressiveness, which is achieved through the synthesis of various artistic means. It should also be noted that modern challenges related to ethics, privacy and ecology require us to take a deliberate approach to the consumption and creation of content that becomes part of the entertainment culture. [ABSTRACT FROM AUTHOR]

Focusing on the introduction of a new government film policy in 2017, this article explores how the audience for Swedish cinema – little-watched art films in particular – is conceptualized in the context of film policy and as a topic of debate within the Swedish film industry. The analysis shows that the new film policy contributes – against its own explicit aims – to reproducing a deep-seated distinction between 'wide' and 'narrow' films. In addition, Swedish film policy has yet to adapt to the conditions of today's digital screen culture. As a result, 'narrow films' are subject to low audience expectations and a de facto lack of performance accountability. This, the article argues, could be more a blessing than a curse, suggesting a need to rethink the notion of 'failure' and to further explore the prospects of 'failure studies' in the context of Swedish cinema. [ABSTRACT FROM AUTHOR]

The problem of analyzing the approaches, theories and concepts of cinema therapy in working with children with mental disorders is an urgent problem. The article analyzes the approaches, theories and concepts of cinema therapy, reveals their essence and gives characteristics in relation to work with children with mental disabilities. The subject of the research is the analysis of the approaches, theories and concepts of cinema therapy in relation to work with children with mental disorders. The object of the research is the use of cinema therapy in working with children with mental disorders. The objective of the work is to identify and analyze approaches, theories and concepts of cinema therapy used in working with children with mental disorders. The article explores the real theoretical constructs of cinema therapy in working with children with mental disabilities. The methods used are: a comparative method for comparing approaches, theories and concepts of cinema therapy in different countries; the historical method as a way of studying historical patterns through specific manifestations of historical facts in the form of the emergence and development of cinema therapy approaches, theories and concepts; analysis method as analysis of an integral object of cinema therapeutic theory into parts for its detailed study; a synthesis method as a process of combining disparate concepts of cinema therapeutic theories into a whole; a systematization method as an organization of the studied theoretical approaches of cinema therapy into a specific system; typologization method for identifying similar and distinctive features in approaches, theories, concepts of cinema therapy. The following approaches have been used: the structural-functional approach of T. Parsons and E. Shils, the concept of a representative culture of F. Tenbrook, and the systems theory of society as a communication of N. Luman. The research has shown that approaches, theories and concepts of cinema therapy are used basically in work with minors with mental disabilities, and the characteristics of these theoretical foundations for the use of cinema therapy are tightly connected with the practical implementation of the methods and ways of cinema therapy in working with such clients.

Purpose. The purpose of this study is to identify and fix the nature of the changes associated with the emergence and subsequent change in the role of television within the sociocultural universe of modern man. An analysis of its features, characteristics and factors that are currently causing the most significant changes within this sphere, which actually creates its own “second reality”. Methodology. The study used the historical method, analysis of textual materials, as well as content analysis and cross-factor analysis of sources in terms of parameters that have content, the study of which was important to achieve the intended goal. To consider this problem, the author turns to the socio-philosophical and anthropological analysis of the role of the screen in modern culture. The article uses comparative analysis, historical-philosophical and anthropological methods. Results. This article explores the historical socio-cultural genesis of television as a mass media, from the moment the first television devices were created to the present. A number of modern views on the peculiarities of the influence of the fact of the appearance of television on the perception and consciousness of the viewer in the process of informing him through the television screen are consistently considered, and their comparison is made. Particular attention is paid to the analysis of the factors of influence of television on the foundations of modern mass culture formed by it. According to the results of the study, the origins and reasons for the gradual transformation of the main function of television from mass information to equally massive manipulation are identified and analyzed, within which the basic types of social impact and the formation of a different, television reality are identified. In conclusion, the processes of mediatization of the social existence of an individual, as well as the crisis of his cultural identity, are considered separately.

Hongchen Zhang,1– 3,* Shanshan Hu,1– 3,* Dongchao Xu,1– 3 Hongzhang Shen,1– 3 Hangbin Jin,1– 3 Jianfeng Yang,1– 3 Xiaofeng Zhang1– 3 1The Department of Gastroenterology, Affiliated Hangzhou First People’s Hospital, Zhejiang University School of Medicine, Zhejiang, People’s Republic of China; 2Key Laboratory of Integrated Traditional Chinese and Western Medicine for Biliary and Pancreatic Diseases of Zhejiang Province, Zhejiang, People’s Republic of China; 3Hangzhou Institute of Digestive Disease, Zhejiang, People’s Republic of China*These authors contributed equally to this workCorrespondence: Xiaofeng Zhang, Department of Gastroenterology, Hangzhou First People’s Hospital, NO. 261 HuanSha Road, Hangzhou, 310006, People’s Republic of China, Tel +86-13588296257, Fax +86-571-56005600, Email moonshadowing@126.comBackground: With the increasing number of critically ill patients in the gastroenterology department (GED), infections associated with Carbapenem resistant gram-negative bacteria (CR-GNB) are of great concern in GED. As the turn-around time (TAT) for a positive screening culture result is slow, contact precaution and pre-emptive isolation, cohorting methods should be undertaken immediately on admission for high-risk patients. Accurate prediction tools for CR-GNB colonization in GED can help determine target populations upon admission. And thus, clinicians and nurses can implement preventive measures more timely and effectively.Objective: The purpose of the current study was to develop and internally validate a CR-GNB carrier risk predictive nomogram for a Chinese population in GED.Methods: Based on a training dataset of 400 GED patients collected between January 2020 and December 2021, we developed a model to predict CR-GNB carrier risk. A rectal swab was used to evaluate the patients’ CR-GNB colonization status microbiologically. We optimized features selection using the least absolute shrinkage and selection operator regression model (LASSO). In order to develop a predicting model, multivariable logistic regression analysis was then undertaken. Various aspects of the predicting model were evaluated, including discrimination, calibration, and clinical utility. We assessed internal validation using bootstrapping.Results: The prediction nomogram includes the following predictors: Transfer from another hospital (Odds ratio [OR] 3.48), High Eastern Cooperative Oncology Group (ECOG) performance status (OR 2.61), Longterm in healthcare facility (OR 10.94), ICU admission history (OR 9.03), Blood stream infection history (OR 3.31), Liver cirrhosis (OR 4.05) and Carbapenem usage history within 3 month (OR 2.71). The model demonstrated good discrimination and good calibration.Conclusion: With an estimate of individual risk using the nomogram developed in this study, clinicians and nurses can take more timely infection preventive measures on isolation, cohorting and medical interventions.Keywords: carbapenem resistant gram-negative bacteria, carrier risk, gastroenterology department, predictive nomogram, screen culture

Copyright of Journal of Soochow University Educational Science Edition is the property of Soochow University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the discourse surrounding the possible issue of a fatwa haram (legal advice) to ban the online game PlayerUnknown's battlegrounds (PUBG), which occurred in the Indonesian public sphere between March and July 2019. The article firstly scrutinises the framework and preconditions facilitating the formation of the discourse, after which it will try to disentangle the layers of public discourse to investigate underlying tensions, complications, and interactions between gaming and Islam. I find it problematic to argue that Indonesia's Muslim community is for or against gaming. Instead, I propose to consider the discourse as a negotiation between different voices within Indonesia's Muslim community, and in the multifarious currents of thought and practice in developing its own model of popular consumption in connection with religious ideals. [ABSTRACT FROM AUTHOR]

The article reviews the reports presented at the All-Russian Scientific Conference From “spectacle plays”1 to film comedies: The history of Homo Ridens, which was organized by the State Institute for Art Studies and the GITR Film and Television School on June 2–3, 2022. The event focused on comprehension of the historical development of laughter culture, introduction of trusted research concepts, disclosure of new facts and archival materials, and revealing the relationship between the comic, its intensity and semantics in postmodernist aesthetics. The following key areas were proposed: fundamental problems of aesthetics, cultural studies, and art criticism; genre and stylistic varieties of comedy; circulation of laughter culture in film, television and other screen arts and in the Internet environment; transformations of representation of comic, laughter, and humor in the historical context; provocation, deconstruction, and citation in comics. The reports were divided into two groups: “Komos & ode: The laughter culture of Europe” and “Deconstruction—meaning—reality.” The results of the conference showed the polyvalence of comic existence, the absence of unified ways of achieving aesthetic flawlessness of the genre, and its formcontaining aspects. В данной статье представлен обзор докладов, прозвучавших на Всероссийской научной конференции «От “позорищных игр” до кинокомедий: история человека смеющегося» 2–3 июня 2022, организованной Государственным институтом искусствознания и Институтом кино и телевидения (ГИТР). Целью мероприятия стали: осмысление исторического развития смеховой культуры, знакомство с авторитетными исследовательскими концепциями, обнародование новых фактов и архивных материалов, выявление соотношения комического, его интенсивности и семантики в контексте эстетики постмодернизма. Организаторами данной конференции были предложены ключевые направления, такие как фундаментальные проблемы эстетики, культурологии, искусствоведения; жанровые и стилистические разновидности комедии; циркуляция смеховой культуры в кино-, теле- и других экранных искусствах, в интернет-среде; трансформации репрезентации комического, смеха, юмора в историческом контексте; провоцирование, деконструкция, цитирование в комическом. Доклады были разделены на две группы: «Komos & ode: смеховая культура Европы» и «Деконструкция — смысл — реальность». Результаты конференции показали поливариантность существования комического начала, отсутствие единых способов достижения эстетической безупречности жанра и его формосодержательных аспектов.

Screen culture and conglomerates are starting to echo the green shooting phenomena; roles such as sustainability director, eco-manager, eco-consultant, and eco-assistant are taking a more prominent space in the entertainment and cultural industry to achieve the goal of creating sustainable productions. In this current context, there seems to be a need for an agent to catch the attention of the audience to make a claim about green policies and contribute to a green literacy fabric. This opinion article recognizes that there are two types of voices, internal (scholars and practitioners) and external (celebrities and audiences), that have arisen in the audiovisual industry from different perspectives. Hence, through a theoretical approach, it tackles the particularities, typologies, and the role celebrities play as hot spots to push both viewers and creators into better decision-making models. The results show two main typologies: celebrification, in which a person becomes famous due to their sustainable actions, provoking a metonymic effect, and recelebrification, when famous people or well-known figures redefine their status by acting sustainable, producing a synecdoche effect. In conclusion, it is difficult to define what goes before and what goes after: whether it is the celebrity who passes the attributes onto production or whether it is the production that, by its characteristics, passes its attributes onto the celebrity. [ABSTRACT FROM AUTHOR]

In Australia, the most visible film festivals are clustered around urban centres, yet there is a flourishing network of film festivals outside of major cities. In the state of Queensland, the festivals in regional and rural areas provide crucial visibility for the industry, local community and emerging filmmakers. Following the growth in film festival scholarship, and research on global digital distribution, the impetus for this research was to examine why so many film festivals continue to operate in Queensland. Using a broader mapping project as context, this article examines how the specificity of place shapes the identity of two case study festivals, their audience, and connection to community. The research identifies three key concerns: the distinctions between regional and metropolitan festivals; the duality of these festivals as both inward and outward facing events; and the challenges of viability that face the future of Queensland's festival sector. In 2020, the COVID-19 global pandemic caused further disruption to the national and international screen industries. While this upheaval continues to affect the screen industry, it is important to understand the role that film festivals already play in cultivating and sustaining local audiences and communities, and consider strategies to support their ongoing viability. [ABSTRACT FROM AUTHOR]

Purpose. The article is devoted to the analysis of the screen as a special socio-cultural phenomenon that produces simulacra and fakes in modern culture. The peculiarity lies in the fact that continuous reproduction of screen technologies is supported through simulations. At the same time, screen technologies are defined as the leading factor of modern socio-cultural changes affecting the consciousness and behavior of the subject of culture – a person. His dependence on the screen is being formed, and today we can talk about the emergence of a philosophical and anthropological type of “screen man”. Methodology. To consider the problem, the author turns to the socio-philosophical and anthropological analysis of the role of the screen in modern culture. The article uses comparative analysis, historical-philosophical and anthropological methods. Results. The results of the study are that the author explicates the essence of Hobbes’ maxim that man can fully know only what he himself can do. As such an artifact in the philosophy of T. Hobbes is the body, and the social-political body, established by the man himself. The author supposes that the modern European project “social physics” can be considered a prototype of active theoretical-epistemic model describing social reality. Practical implications. This allows, from the author’s point of view, to consider the role of the screen and the digital effects produced by it in modern culture, as well as to develop an integrative approach to understanding screen culture as a whole.

Book review: Poznin, V. F. (2021). Screen space and time. Structural-typological and perceptual aspects. St. Petersburg: Publishing House “Petropolis”.

Analysis of the text and the context of screen production is a necessary link for comprehending social processes. Capturing time through the screen and film images allows us to form an idea of the actual cultural, aesthetic, ideological (value) specificity of society. Whether cinema is a reflection of the truth of life, or a form of secondary communication, or a means of formation of viewers’ worldview positions, are the questions, the relevance of which has increased significantly against the geopolitical background of the first quarter of the 21st century. This article is an attempt to analyze how it works today in the US—using some examples of political cinema in conjunction with the media agenda. According to my study, the specific potential of cinema, combining different ways of communication and information, clearly highlights the American socio-political realities. As the traditional frameworks of filmmaking expand (meaning the Internetization of space and the possibility to shoot a movie on a mobile device), the specifics of filmmakers’ work are transforming too: a more active use of media principles of presenting socially significant information is noted, and the stylistics of materials change as well (shifting to journalism, keen satire or sharp documentary style). The article traces the influence of modern media on the film content and examines the most famous “politically charged” films against the background of the centerpiece of the American domestic politics—the presidential elections. Анализ текста и контекста экранной продукции — необходимое звено в системе осмысления общественных процессов. Фиксация времени через экран и кинообразы позволяет составить представление о реальной культурной, эстетической, идеологической (ценностной) специфике общества. Является ли кино отражением «правды жизни», или формой «вторичной коммуникации», или средством формирования мировоззренческих позиций зрителей — вопросы, актуальность которых значительно повысилась на фоне геополитических событий первой четверти XXI века. В данной статье предпринимается попытка проанализировать, как это «работает» сегодня в США — на некоторых примерах «политического кино», смыкающихся с медийной повесткой дня. По мнению автора, специфические возможности кино, соединяющего в себе различные способы коммуницирования и информирования, отчетливо высвечивают американские общественно-политические реалии. По мере расширения традиционных рамок кинопроизводства (интернетизации пространства и возможности «снимать кино» на камеру мобильного устройства) трансформируются и особенности работы кинематографистов: отмечается более активное задействование медийных принципов подачи социально значимой информации, меняется стилистика материала (сдвигаясь в публицистичность, едкую сатиру или острую документалистику). В статье прослеживается влияние современных медиа на контент кинопродукции, рассматриваются примеры наиболее известных «политически заряженных» фильмов в контексте главного американского внутриполитического события — президентских выборов.

Copyright of Revista Venezolana de Gerencia (RVG) is the property of Revista de Filosofia-Universidad del Zulia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article studies the work of Frank Joseph Malina (1912–1981), scientist, rocket engineer and artist, within the discourse space of screen culture. Modern screen science aims to explore the broad intermedia connections and cultural contexts associated with analyzing the technological, informational, and communicative features of digital screen surfaces, as well as determining their influence on the human cognitive and sensory apparatus. Technological art can be perceived as one of the discourses of media archaeology, within which the topoi of modern screen forms are identified and aestheticized. The prospects of research within the declared discourse field are associated with the fact that the creative response to intensive scientific and technological development concentrated on the key problems of the changing system of cultural communications. The screen as a boundary, as a window into the reality of representation, as a place for the “assembly” of corporal and sensory response to interaction with the information space—these and other meanings were addressed by envoys of technological art. Curiosity about the work of F. Malina in the context of screen culture is associated with his lumino kinetic experiments. They were aimed at the artistic mastering of the world standing on the verge of entering the digital virtual space. The article emphasizes that at the heart of his research was a screen form in which light fluxes gathered together thanks to electromechanical systems; in which light radiation came into contact with the human eye and body. Through his art, Malina explores the possibilities and limits of human perception, inevitably changing in the era of intensive scientific and technological development. The directions of his exploration testify to the discourse modeling of the modern computer screen. They can be taken as harbingers of the cultural communications of the digital age. Статья посвящена изучению творчества ученого, инженера-ракетостроителя и художника Фрэнка Джозефа Малины (1912–1981) в рамках дискурсивного пространства экранной культуры. Современная экранология ставит перед собой задачи исследовать широкие интермедийные связи и культурные контексты, связанные с анализом технологических, информационных, коммуникационных особенностей цифровых экранных поверхностей, а также определить их влияние на когнитивный и сенсорный аппарат человека. Технологическое искусство может быть воспринято как один из дискурсов археологии медиа, в рамках которого выявляются и эстетизируются топосы современных экранных форм. Перспективность исследований в рамках заявленного дискурсивного поля связана с тем, что творческая реакция на интенсивное научно-техническое развитие концентрировалась на узловых проблемах меняющейся системы культурных коммуникаций. Экран как граница, как окно в реальность репрезентации, как место «сборки» телесной и чувственной реакции на взаимодействие с информационным пространством — эти и другие смыслы входили в сферу внимания представителей технологического искусства. Интерес к творчеству Ф. Малины в контексте экранологии связан с проводимыми им светокинетическими экспериментами. Они были нацелены на художественное освоение мира, стоящего на пороге вхождения в цифровое виртуальное пространство. В статье подчеркивается, что срединной составляющей его поисков была экранная форма, собирающая электромеханическими системами световые потоки, служащая местом соприкосновения светового излучения с глазом и телом человека. Своим искусством Ф. Малина исследует возможности и пределы человеческой перцепции, неизбежно меняющейся в эпоху интенсивного научного и технологического развития. Направления его поисков свидетельствуют о дискурсивном моделировании современного компьютерного экрана. Они могут быть восприняты как провозвестники культурных коммуникаций цифровой эпохи.

The paper focuses on the features of emotional perception of screen-displayed videos and images, when the neural response of the viewer is included into the subject field of neuroaesthetics--an interdisciplinary sphere of knowledge at the intersection of art studies, philosophy, psychology of perception, and neuroscience. The study describes innovative methods of neuroscientific research for studying the reception of a "screen product." One of such methods is determining the algorithm of evoking certain impressions in the mind of the viewer--"consumer" of the screen culture. Further ways of development of dialectical ties between neuroscience and screen studies are formulated as a research hypothesis. Practical significance of the study is determining the parameters of regulatory/manipulative influence of the audiovisual stimuli on the viewer's behavior in the contemporary situation when objective and subjective realities are gradually substituted by the virtual reality. [ABSTRACT FROM AUTHOR]

The following introduction to the Special Issue addresses the problematic definition of the notion of precarity by highlighting its multifaceted value and possible interpretation in relation to the moving image. It also aims, at the same time, to show some directions in which, in accordance with the work of many scholars, it is possible to come with effective transversal modes of adopting and applying the concept. In this sense, the introduction also shows how the various papers of the Special Issue are capable to contribute to this understanding in unique and productive ways. [ABSTRACT FROM AUTHOR]

The text reviews the Arts and Machine Civilization International Scientific Conference. The conference took place on March 30—April 2, 2021, and was organized by the State Institute for Art Studies, GITR Film and Television School, and the Saint Petersburg State University. SIAS has been hosting conferences on contemporary culture, screen art and television for 17 years. This year, for the first time in the history of such forums, the researchers were tasked with analyzing the new things that machines have brought to the arts and, in general, to human life. The conference took its special place among the forums held over the past year in Russia and abroad in the following areas: artificial intelligence (Artificial Intelligence Journey, Moscow,Russia); machine learning (International Conferenceon Machine Learning, Vienna, Austria; 3rd International Conference on Machine Learning and Machine Intelligence, Hangzhou, China); civilization of knowledge (Civilization of Knowledge: Russian Realities, Moscow, Russia), etc. The novelty of the conference lies in the unification of the seemingly incompatible phenomena: art and machine civilization. As is commonly known, art was traditionally opposed to technology as something alien, sometimes hostile, although the both were born in human mind and created by human hands. Until now, the expression “machine civilization” in art has been used mainly in the genre of fantasy and with an emphasis on its negative connotations. The purpose of the conference was to comprehend the artistic practices in the era of machine civilization, get acquainted with current hypotheses, publish new facts and discuss modern terminologies (law of spontaneity, law of semantic uncertainty, algorithmic apophenia, post-opera, artificial life and new vitality). Along with the study of new challenges, old issues were raised, which became in demand in the machine civilization: originals and copies of artworks, the boundaries of conventionality and overcoming distrust in new media, narratives and poetics in serious and entertaining screen genres. The conference reports were divided into six blocks: Theoretical Models, Screen Arts—Cinema, Fine Arts, Music, PC Games, and Digitalization. Данный текст представляет собой обзор международной научной конференции «Искусство и машинная цивилизация», прошедшей с 30 марта по 2 апреля 2021 года. Организаторами конференции выступили Государственный институт искусствознания, Институт кино и телевидения (ГИТР) и Санкт-Петербургский государственный университет. Конференции, посвященные современной культуре, экранному искусству и телевидению, проводятся в ГИИ на протяжении 17-ти лет. В этом году впервые за историю подобных форумов перед исследователями была поставлена задача проанализировать то новое, что привнесено машинами в сферу искусств и в целом в человеческую жизнь. В числе прошедших за последний год в России и за рубежом форумов в области искусственного интеллекта (Artificial Intelligence Journey, Москва, Россия); машинного обучения (International Conference on Machine Learning, Вена, Австрия, 3-я Международная конференция по машинному обучению и машинному анализу, Ханчжоу, Китай); цивилизации знаний («Цивилизация знаний: российские реалии», Москва, Россия) и др. данная конференция заняла свое особое место. Новизна ее концепции состоит в объединении, казалось бы, несовместимых явлений: искусства и машинной цивилизации. Как известно, традиционно искусство противопоставлялось технике как чему-то чуждому, иногда враждебному, хотя и то, и другое явилось результатом творения рук человеческих и его ума. До сих пор выражение «машинная цивилизация» в искусстве использовалось главным образом в жанре фантастики и с акцентом на отрицательные коннотации. Цель конференции — осмыслить художественные практики искусства в эпоху машинной цивилизации, познакомиться с актуальными гипотезами, обнародовать новые факты и обсудить современную терминологию («закон спонтанности», «закон смысловой неопределенности», «алгоритмическая апофения», «пост-опера», «искусственная жизнь и новая витальность»). Наряду с изучением новых проблем, были подняты и старые, которые стали востребованы машинной цивилизацией: оригинал и копия художественного произведения, границы условности и преодоление недоверия к новым медиа, нарративы и поэтика в серьезных и развлекательных экранных жанрах. Весь корпус докладов конференции был разделен на шесть блоков: «Теоретические модели», «Экранные искусства — кино», «Изобразительное искусство», «Музыка», «Компьютерные игры» и «Цифровизация».

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The article analyzes the fundamentals of the moral philosophy of Andrei Tarkovsky, a unique Russian film director, thinker, and art theorist whose films are recognized as masterpieces of screen culture along with the works of M. Antonioni, I. Bergman, L. Buñuel, L. Visconti, A. Kurosawa, F. Truffaut, F. Fellini, S. Eisenstein, and others. The subject under study is the concept of self-sacrifice in the works of Tarkovsky as a distinctive “code” of his spiritual heritage. Creating his own original artistic world, Tarkovsky dwelled upon such vital philosophical categories as “life and death”, “faith and faithlessness”, “man’s spiritual existence”, “problems of conscience”, “self-sacrifice”, etc. This is evidenced not only by his screen works, but also by archives, diaries, and theoretical works, based on which the author provides an interpretation of the philosophy of Andrei Tarkovsky’s work focusing on the concept of self-sacrifice and the specifics of its artistic interpretation. [ABSTRACT FROM AUTHOR]

The research presented in the article aimed to diagnose the profound changes that have taken place in education as a result of the expansion of screen technologies and the introduction of distance interaction in pedagogy. The live-sounding speech of a teacher is the true historical form of paideia as such and the technique of maieutics in particular. Any intermediary, even a writing process, let alone the screen, reduces the effect of pedagogical dialog and produces significant and radical changes in the understanding of meaning. The article deals with the problems of understanding in the pressing context of two turns of educational philosophy: linguistic and medial. The empirical background of these turns is represented, on the one hand, by the increasing extent of the visualized (“printed,” “screened”) word in educational procedures vs. the sounding word, and by the irreversible introduction of screen technologies, digitalization, and distance learning, on the other hand. The consideration is made through the prism of the comprehension-based approach focusing on the values and meanings of professional-pedagogical activity, namely, the systemic approach, the principles of language sign ambivalence, the method of stylistic decoding, the method of analysis of vocabulary definitions, and intertextuality.

Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities. Видео как инструмент художественного высказывания набирает все большую популярность среди художников постмодернистской, постструктуралистской, постконцептуалистской ориентаций. И хотя эти практики еще не выработали своей экономической модели и существуют главным образом в рамках фестивального и биеннального показа, «видеоарт», «видео-инсталляция», «видео-скульптура», «видео-перформанс», «фильм» и другие формы экранного искусства представлены на биеннале в множестве вариаций. Из авангардных контркультурных практик они вышли в мейнстрим современных выставочных проектов. Можно отметить сильное влияние кино и экранной культуры на изобразительные искусства и выставочное производство. Для реализации биеннальных проектов повсеместно привлекаются профессиональные режиссеры, сценаристы, специалисты по звуку и свету. Кинематографический поворот описывается в статье сквозь призму включения видео в экспозиции основного проекта и национальных павильонов 58-й биеннале в Венеции, среди которых можно выделить создание фильмов в жанре документалистики, журналистского расследования, художественной мистификации, интерактивной инсталляции. Наиболее востребованными у критики и публики становятся масштабные проекты, диалогизирующие изобразительное искусство с кино и театром. По аналогии с термином экранной культуры биеннале можно отнести к «большому формату» в современном искусстве. Экспансия экранных форм в реальную жизнь происходит при помощи полноэкранных интерактивных инсталляций, проекций на здания, конвергенции обычной и виртуальной реальностей — за счет использования digital-форматов, таких как трансляция «арт-кино» в различных сервисах. Пандемия коронавируса в ситуации невозможности проведения международных проектов и соблюдения новых регламентов провоцирует институции на более активный поиск стратегий использования экранных форм как под- час единственного выхода для большой выставочной практики. Изучение и описание этих стратегий становится важной задачей современных исследований. В статье приводится опыт Рижской биеннале современного искусства, Штирийской осени в Граце, которые были переформатированы в сторону большего использования видео. Фильм не просто становится языком международного искусства, сама выставка подчас сближается с производством фильма. В рамках этого обмена создаются новые оптические и телесные модели. Созерцательная сущность искусства замещается новыми способами восприятия человеком информации, пространства и времени, построенных на конвергенции средств коммуникации — видео, музыки, танца, взаимо- проникновения объективной и виртуальной реальностей.

Aesthetization is the concept of the theory and practice for understanding reality through non-utilitarian perceptions and experiences that go beyond ordinary experience. This is what the attractiveness of artifacts of both artistic creation and art as a whole—as a socio-cultural practice—is based on. The twentieth century has brought the expansion of aesthetization into the sphere of everyday experience—up to mass consumption and public policy. However, today the situation has changed radically: the everyday practice itself has appeared defamiliarized on the screens of computers and gadgets. Contemporary screen culture contributes heavily to a further radical transformation of aestheticization. This involves two interconnected processes. The first process is associated with a changing emphasis in the translation of the artifacts content: from translating a stable social significance to fixation and translation of fluctuating personal emotions and experiences. The second process is related to the acceleration of such translations, which are hard to be comprehended and reflected. As a result, the presentation of social life experience, its understanding and comprehension is reduced to processing of digitized data streams. Therefore, the interpretation of aesthetization is a real challenge today: it is either these data streams on the screens of computers and gadgets that make our reality “defamiliarized” is aesthetization; or de-subjectification of such data streams eliminates aesthetization. Thus, on the one hand, a complex humanitarian expertize becomes urgent for analyzing these processes. On the other hand, if the whole world is a field for artistic comprehension, then the current life presentation technologies allow us to raise the question about the revival of the parrhesia institution as a personal responsibility for participating in such a stream of presentations. Эстетизация — суть концепция теории и практики осмысления действительности посредством неутилитарного восприятия и переживания, которые выводят за рамки обыденного опыта. На этом основана привлекательность как артефактов художественного творчества, так и искусства в целом — как социально-культурной практики. XX столетие принесло расширение эстетизации на сферу повседневного опыта — вплоть до массового потребления и публичной политики. Однако в наши дни ситуация радикально изменилась — сама повседневная практика предстала остраненной на экранах мониторов компьютеров и гаджетов. Современная экранная культура в немалой степени способствует дальнейшей радикальной трансформации эстетизации. Речь идет о двух взаимосвязанных процессах. Первый процесс связан со сменой акцентуации в трансляции содержания артефактов: от трансляции устойчивого социального значения к фиксации и трансляции текучих личностных смыслов (эмоций и переживаний). Второй процесс связан с ускорением таких трансляций, мало доступных для осмысления и рефлексии. В результате презентация социального жизненного опыта, его понимание и осмысление редуцируется к потоку обработки оцифрованных данных. Тем самым, трактовка эстетизации в наши дни испытывает серьезный вызов. Либо сам этот поток данных, «остраняющих» реальность представляемых на экранах мониторов и гаджетов, буквально и есть эстетизация. Либо фактическая десубъективация этого потока элиминирует эстетизацию. Тем самым, с одной стороны, актуальной становится задача комплексной гуманитарной экспертизы упомянутых процессов. С другой стороны, если весь мир есть поле художественного осмысления, то нынешние технологии экранной презентации этого поля позволяют ставить вопрос о возрождении практики и института парресии как личной ответственности за участие в этом потоке презентаций.

The article discusses the results of the annual scientific conference, the organizers of which are traditionally the State Institute for Art Studies (GII) and the Film and Television School (GITR). Unlike all previous forums, the Attractions of Screen Civilization and Human Concept conference of April 6–8, 2020 was held online. Surprisingly, this compelled format of a scientific event revealed its productivity. As one of the participants in the conference said, researchers of screen reality and new media had the opportunity to “relocate” to screen reality and experience it from the inside. The novelty of the format was manifested not only in the intimacy of the event, but also in the greater importance of joint discussions. There appeared an opportunity for collective discussions, which were no less significant than the reports themselves. Participants to the conference were scientists from the GII, GITR, the Higher School of Economics, the Russian State University for the Humanities, the Saint Petersburg State University, Maykop State Technological University, Rostov State Rachmaninov Conservatoire, Saint Petersburg University of the Humanities and Social Sciences, ITMO University in Saint Petersburg, University of Genoa (Italy). The conference discussed the influence of new media on people and their cognitive abilities; the correlation of new and “old” media and the specifics of their artistic languages; the phenomenon of attraction and attractivity in the history of art; veracity of screen images; the impact of screen culture on the mode of existence of traditional arts in the contemporary socio-cultural environment; the specifics of film adaptations of literary works; the consequences of the transition of spectacles into an online format, etc. Among the main results of the conference was the clarification of the meaning of “an attraction” as a concept and the contexts in which this concept is applied. The circumstances of human interaction with the digital environment are changing rapidly, a number of conclusions about the impact of new communication technologies on people can be preliminary, and the situation should be further researched. Technological development does not cancel the demand for the first-person self-awareness, endowed with imagination. Education does not boil down to the transfer of information—it requires reflection, feelings, emotions, evaluation, etc. The online format will obviously be actively used in the future for conducting scientific and educational events. В статье обсуждаются итоги ежегодной научной конференции, организаторами которой традиционно выступают Государственный институт искусствознания (ГИИ) и Институт кино и телевидения (ГИТР). Конференция «Аттракционы экранной цивилизации и концепт человека» состоялась 6–8 апреля 2020 г. и в отличие от всех предшествующих форумов проходила в режиме онлайн. Этот вынужденный формат проведения научного мероприятия неожиданно оказался продуктивным. У исследователей экранной реальности и новых медиа появилась возможность, как сказал один из участников конференции, «переселиться» в экранную реальность и пережить ее изнутри. Новизна формата проявилась не только в камерности мероприятия, но и в большей значимости совместных обсуждений. В конференции принимали участие ученые из ГИИ, ГИТРа, НИУ «Высшая школа экономики», Российского государственного гуманитарного университета (РГГУ), Санкт-Петербургского государственного университета, Майкопского государственного технологического университета, Ростовской государственной консерватории им. С.В. Рахманинова, Санкт-Петербургского Гуманитарного университета профсоюзов, Университета ИТМО в Санкт-Петербурге, Социологической ассоциации Украины, Университета Генуи (Италия). В рамках конференции обсуждались вопросы о влиянии новых медиа на человека и его когнитивные способности, о соотношении новых и «старых» медиа, специфике их художественных языков, феномене аттракциона и аттракционности в истории искусства, о проблеме достоверности экранных изображений, о влиянии экранной культуры на способ бытия традиционных видов искусства в современной им социокультурной среде, об особенностях экранизации литературных произведений, о последствиях перехода зрелищ в онлайн-формат и др. В числе основных выводов конференции — прояснение значений понятия «аттракцион» и контекстов, в которых это понятие применяется. Обстоятельства взаимодействия человека с цифровой средой достаточно быстро меняются, ряд выводов о влиянии новых технологий коммуникации на человека могут быть предварительными, а сама ситуация нуждается в дальнейших исследованиях. Развитие технологий не отменяет запрос на самосознание от первого лица, обладающее воображением. Образование не сводится к передаче информации — необходимы рефлексия, переживания, эмоции, оценочные отношения и т.д. Онлайн-формат, очевидно, будет активно использоваться в дальнейшем при проведении научных и образовательных мероприятий.

This article aims to investigate desktop films as ‘meta-media’ audiovisual forms and to analyse their aesthetics and their meta-reflective potential in the broader framework of contemporary visual and media culture. Screens and interfaces, re-mediated into these films, constitute a second-level media space into the filmic space. They are the only space visually accessible to the spectator, whereby the characters’ gesturality emerges as a form of performing relationship with digital technology, as a posture or a more general engagement with the (media) environment, as an ‘operational trace’ on the screen. Resulting from this visual and narrative structure is the centrality of ‘media performativity’, a concept that will be widely problematized in this article on a theoretical level and analysed as a behavioural pattern that characterizes our daily interaction with the screens surrounding us, as a part of an eco-media system in which action (of the user) and reaction (of the interface) are intervolved and entangled. The concept of media performativity relies on the idea that the individual is no longer separate from the medium throughout the mediation process but is instead deeply and radically involved in the medium itself.

This essay takes an in-depth look at Roland Barthes' seminal text Leaving the Movie Theater [En sortant du cinéma], originally published in the 1975 theme issue Psychanalyse et cinéma of the journal Communications. Almost half a century later, film artist Herman Asselberghs offers a close reading situating the much-discussed text in Barthes' approach to film, all too often erroneously reduced to diffidence. Asselberghs meticulously exposes Barthes' love of and surrender to the cinema experience, drawing attention to the succulent, suggestive choice of words as well as to the theoretical provocation of providing the analytical apparatus theory with physical subjectivity. Foregrounding Barthes' notion of a modern, metropolitan erotics, Asselberghs also highlights his lesser known but no less important 1978 Vogue piece, At Le Palace Tonight [Au « Palace » ce soir]: an ode to la discothèque, just like le cinéma "an apparatus of sensations" enabling its visitor to parry any Brechtian strategy of critical detachment with amorous distance. [ABSTRACT FROM AUTHOR]

The article is devoted to the socio-cultural phenomenon of the television Studio and its theatrical and literary background. Partly this research can be attributed to the archeology of media, more precisely, to the archeology of modern television formats aesthetics. One of the most typical television programmes is considered - the combination of Studio conversation and broadcast screen works of different genres. The author supposes that the most important elements of Studio programs are their regularity and controllability, as well as the atmosphere of safe distance from the big world or from many virtual and real worlds. Civilized, planned communication and management of information streams is modeled in the Studio. Therefore, violations of this pattern make such a strong impression. The origins of the necessity for a Studio atmosphere are largely associated with the ancient culture and, to an even greater extent, Renaissance images and moods – the existence in the “charming corner” (locus amoenus), the search for the lost Paradise harmony, awareness of the high value of the spectator and commentator security. … In the Internet era videoblogger’s home becomes the Studio and synthesizes privacy and virtual publicity. The idea of a secure public space of communication no longer prevails, giving way to the idea of total integration of the local "place of action" into the space of infinite real and virtual worlds, which should increase the socio-cultural status of the private territory and its inhabitants. Статья посвящена социокультурному феномену телевизионной студии и его театрально-литературной предыстории. Частично данное исследование может быть отнесено к археологии медиа, точнее, к археологии эстетики современных телевизионных форматов. Рассматривается один из наиболее типичных видов телевизионного вещания — совмещение студийного действа и трансляции экранных произведений различных жанров в рамках единой программы. Автор полагает, что важнейшими элементами студийных программ являются их упорядоченность и контролируемость ведущими, а также атмосфера безопасной дистанцированности от большого мира или от множества виртуальных и реальных миров. В студии моделируется цивилизованное общение и управление информационно-образными потоками. Коммуникация рационализирована, спланирована. Поэтому столь сильное впечатление производят нарушения этого паттерна. Истоки потребности в студийной атмосфере во многом связаны с античными и, в еще большей степени, ренессансными образами и настроениями — пребыванием в «прелестном уголке» (locus amoenus), поисками утраченной райской гармонии, а также развитием индивидуализма и осознанием высокой ценности защищенности человека-зрителя и человека-комментатора. Неслучайно именно в процессе развития ренессансных форм рождается театр, в котором зритель дистанцирован от разыгрываемого представления и не может быть подвергнут никакому воздействию со стороны исполнителей. Неслучайно в трех наиболее показательных для Ренессанса сборниках новелл Чосера, Боккаччо и Маргариты Наваррской созданы своеобразные обрамления для отдельных рассказов – смоделированы ситуации многодневного рассказывания историй и их комментирования в приятном обществе. Телевизионные студийные программы унаследуют функцию безопасного для участников и зрителей, занимательного и эстетически привлекательного действа – наблюдения за большим миром и размышления о нем вслух в светском обществе собеседников. В ХХ в. комфортный, лишенный прозаических бытовых черт интерьер, разновидностью которого является телестудия, занимает место центрального образа идеального публичного пространства. В эпоху интернета комната-студия видеоблогера синтезирует в себе приватность и виртуальную публичность. Идея безопасного публичного пространства общения уже не главенствует, уступая место идее тотальной интегрированности локального «места действия» в пространство бесконечных реальных и виртуальных миров, что должно повысить социокультурный статус приватной территории и ее обитателя.

The author examines the motives of the Homeric epic poems associated with the concept of the transition zone and the screen as a surface presenting separated, frequently changed visual imagery. The word screen has many meanings, including those of a protective surface, screen, shield, or barrier. The author considers it useful in the context of Homer’s epos, always to keep in mind the possibility of the screen as an external layer for a certain core, a certain content, independent of the screen and concealed behind it. For Homer the earth is the meeting point of the two worlds, the human and the superhuman. The air space in Homer is regarded by the author as the territory of sacred messages (for example, in the form of the bird flight), which people should be able to read correctly. The plane of the earth, on which the battle of the Greeks and the Trojans took place, reveals features of a screen displaying its dynamic “content” whenever the gods begin to follow the battle from Olympus or mount Ida, or the Trojans view it from the top of the city wall. The wall built by the Achaeans functions as another platitude of the screen. It also presents a kind of decoration, a background against which the battle scenes unfold. The motives of the divine polymorphism are viewed as a manifestation in the essence of the gods of the magical living screen. The option of turning the screen off, of concealment of the visual forms is shown by the ability of the gods to hide themselves and humans in clouds or in the darkness. The phenomenon of Achilles ‘ shield as a platitude with a dynamic image consisting of different, simultaneously developing scenes of action is analyzed. The image of Penelope weaving and disbanding the thread of the funeral veil becomes important as the image of management of time by means of modeling the visual form. The article outlines the line of development of the spectator-actor position in European culture – from the gods watching the world of humans and intervening in the course of events, to players of computer games. The author comes to the conclusion about the great importance of the images of permanent play and spectacle in the magical universe of the “Iliad” and the “Odyssey.” Автор рассматривает мотивы гомеровского эпоса, связанные с развитием понятий транзитной зоны и экрана как поверхности с отчуждаемым, неоднократно изменяемым изображением. Слово экран имеет множество значений, в том числе – защитная поверхность, ширма, щит, заслон. Автор считает полезным в контексте гомеровского эпоса помнить о возможности экрана быть внешним слоем для некоей сердцевины, некоего содержания, автономного от экрана и спрятанного за ним. Весь земной мир для Гомера – это зона встречи двух миров, человеческого и сверхчеловеческого. Воздушное пространство у Гомера рассматривается автором как территория сакральных посланий (например, в виде полета птиц), которые люди должны уметь прочитать. Плоскость земли, на которой происходят битвы греков и троянцев, обнаруживает черты экрана с динамическим «контентом», как только на битвы начинают смотреть боги с Олимпа или с горы Иды, и троянцы – с городской стены. Стена, которую строят ахейцы, функционирует как еще одна экранная плоскость. Также это своего рода декорация, на фоне которой разворачиваются мизансцены битвы. Мотивы божественного полиморфизма рассматриваются как проявление в их сущности богов свойств магического живого экрана. Вариантом «выключения», сокрытия визуальной формы является умение богов прятать себя и людей в облаке или покрывать тьмой. Анализируется феномен щита Ахиллеса как плоскости с динамичным изображением, состоящим из различных, симультанно развивающихся сцен. Образ Пенелопы, ткущей и распускающей погребальное покрывало, важен как образ управления временем с помощью моделирования визуальной формы. В статье намечена линия развития позиции зрителя-актора в европейской культуре – от богов, наблюдающих за миром людей и вмешивающихся в ход событий, до игроков компьютерных игр. Автор приходит к вы-воду о высокой значимости образов игры и зрелища в магической вселенной «Илиады» и «Одиссеи».

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Animated informational imagery about Covid-19 has become omnipresent; so too have imaginative depictions of how life has changed under lockdown, animating both the psychological and physical aspects of life in quarantine. This article examines the reasons why animation is an apt visual language to engage with Covid-19 and the wider epistemological and ethical issues that this raises about animated imagery in the digital era. I claim that animation has become so omnipresent in the visual culture of Covid-19 because of an interesting relation between (1) the definitions of animation; (2) animation's qualities as informational aesthetics; and (3) animation's central role in digital screen culture. As imagery that engages with a global epidemic, animation plays a dual role: as an increasingly dominant informational aesthetic in contemporary visual culture and as self-reflexive imagery about the nature of life. [ABSTRACT FROM AUTHOR]

In the midst of drought in Central Queensland, the small town of Winton triples its population for the Vision Splendid Outback Film Festival. Even when facing challenges, the local community values the way the festival brings the community together, injects tourist dollars into the local economy and provides visibility to the local screen industry. However, staging a film festival in a regional location can be challenging. There are often less local funding and sponsorship opportunities available and the geographical distances involved increase pressure on time, resources and costs. Combined with increasingly accessible digital content and changing audience habits, regional film festivals face significant disadvantages in comparison to their metropolitan counterparts. This article examines the role of Queensland's film festival network, focusing on how regional festivals are central to the development of the screen industry beyond the metropolitan centres. The research is based on a mapping project of film festivals in Queensland undertaken in 2018, which included interviews with festival organisers and industry professionals. 68 active festivals were identified across Queensland, of which 45% took place in Brisbane. This article investigates both the value of film festivals and the challenges for their economic sustainability in Queensland's screen culture and industry. [ABSTRACT FROM AUTHOR]

Under the conditions of mediatization as the most important factor shaping modernity along with globalization, individualization and commercialization, an individual receives the nomination of a "media man" on and acquires new functions in the development of media civilization. The "media man" acts as a new kind of not only "the product" and "the consumer", but also "the producer" and "the translator" of works of screen culture, including screen documentaries. General scientific and special scientific methods of research are used for writing the article. The article presents the results of systematization, understanding and analysis of the theoretical and historical scientific literature on mediatization and documentary films, as well as empirical observations of the practice of the Russian documentary. Prospects of the development of the documentary technologies in the changing conditions, including - within a new type of screen documentary - interactive and collaborative documentary cinema - idoc are outlined. [ABSTRACT FROM AUTHOR]

The article explores «the hero's journey» - a universal mythological formula widely used in the cinema - as it is applied to the film «The Return» by A. Zvyagintsev. Myth here is seen as a way in which the author (director) expresses his concept, as well as a frame through which the reality and the individual destiny are perceived. It is a new mythology that has its origins within archaic and classical mythology, but also absorbs the entire spectrum of current sociocultural transformations. [ABSTRACT FROM AUTHOR]

The author considers a special kind of movie advertising, —the trailers of the films, preparing for the release. This format has its own characteristics, the genre, the style and the uniqueness of the individual phenomenon of contemporary screen culture. It is a rapidly growing format, which is, increasingly, separated from its source and lives its own life, becoming for most culturally significant event due to the special structure, dynamics, clipvote, saturation of emotions and events, archetypal characters that are relevant to the viewer. Автор рассматривает особый вид рекламы фильмов, готовящихся к прокату, – трейлеров. Такой формат имеет свои особенности, жанровость, стилистику и своеобразие отдельного феномена современной экранной культуры. Это стремительно развивающийся видеоформат, который все больше отделяется от его первоисточника и живет своей собственной жизнью, становясь для многих культурно значимым событием благодаря особой структуре, динамике, клиповости, насыщенности эмоциями и событиями, архетипическими символами, актуальными для зрителя.

Since its inauguration in 2003, the annual Irish Screen Studies Seminar has acted as a platform for researchers in the area of film and screen cultures to share their work. The seminar is specifically aimed at postgraduate and postdoctoral scholars working out of Irish universities and colleges or with Irish topics, but covers screen culture in the broadest sense, ranging from the audio to the visual, film, television and digital media to transmedia and gaming. This diversity of topic was reflected at the 12th Irish Screen Studies Seminar, which was a one-day event featuring four panels and a keynote address by Catherine Grant (Sussex).