Suchergebnisse

The paper deals with the history of economic development of the film industry in the United States during the First World War. The beginning of XX century seems to be a very special stage of cinema development, in particular from the point of the history of national economy, since exactly at this time took place a formation of the world film market, and cinema for the first time was used not only as a commodity but also as an instrument of mass propaganda. The purpose of article is to trace the development of the American film business and its key aspects in the early XX century and during the war, based on the analysis of the relevant literature. Film industry is considered as a system of production, distribution and exhibition of audiovisual products. This article contains the conclusions concerning the global expansion of the US film industry in a specified period. Also substantiated the fact that the middle 1900s became an extremely important period in the development of the American film industry, during which the basics of the classical Hollywood business model were established.

The work is devoted to the study of the film music of one of the bright composers of the twentieth century, Alfred Garrievich Schnittke. The music scores of the composer for feature films, TV films and documentaries of major Russian film directors are in the center of attention. Among them there are E. Klimov, I. Talankin, A. Mikhalkov-Konchalovsky, Y. Karasik. In this work, the author used a "multi-step" principle of analysis: from the literary source and the actual director's revealing of the plot to the composer's music scores and music in the film, regarded as similar but not identical "texts".

В настоящее время цифровые технологии позволяют активно использовать в образовательном процессе самые разные визуальные средства. Однако, как показывает опыт, преподаватели иностранных языков довольно редко включают просмотр кинолент в процесс обучения. Цель настоящего исследования заключалась в описании роли художественных фильмов в формировании социокультурной компетенции и определении их места в процессе обучения немецкому языку. Для достижения указанной цели были проанализированы актуальные исследования о фильмах как средстве формирования социокультурной компетенции. Анализ показал, что они могут служить не только средством повышения мотивации, но и богатейшим источником социокультурных знаний, зачастую компенсируя информационные пробелы в учебниках. На эмпирическом этапе исследования был проведен опрос среди студентов, изучающих немецкий язык, и выявлены основные тенденции в использовании аутентичных художественных фильмов - студенты мало знакомы с немецким кинематографом, невысоко ценят актуальность фильмов, а преподаватели редко предлагают их к просмотру, ограничиваясь при этом лишь несколькими известными картинами. Таким образом, предположение о весьма скромной роли фильмов в процессе обучения немецкому было подтверждено эмпирически. В заключение даны рекомендации об использовании немецкоязычных художественных кинолент, обладающих богатым дидактическим потенциалом для развития социокультурной компетенции.
Nowadays, digital technology allow to actively use a variety of visual media in an educational process. However, the experience shows that foreign language teachers rather rarely include movies in their lessons. The purpose of this study is to describe the role of feature films in the development of sociocultural competence and to determine their place in teaching German. In order to achieve this goal, we analyzed the current research works on films as a means of development of sociocultural competence. The analysis showed that movies not only increase motivation, but can also be a rich source of sociocultural knowledge that often compensates for information gaps in textbooks. At the empirical stage we made a survey among the students studying German and revealed the main trends in the usage of authentic feature films. Students know little about German cinematography, value low the relevance of films, and teachers rarely offer films for watching, limiting themselves to a few famous films. Thus, our assumption about the very modest role of films in the German learning process was confirmed empirically. We conclude with recommendations for German-language feature films that have rich didactic potential for the development of sociocultural competence.

The author of the article shows that conflicts attract the attention of representatives of various fields of knowledge (philosophy, sociology, conflict studies, psychology, history, political science, jurisprudence, military science, culturology, art, ethnology, pedagogy and etc.), in particular, in order to develop optimal ways to resolve them at various levels of deployment of conflict confrontation between different parties. Emphasizes that conflict should be considered as one of the types of social interaction. Its participants can be individuals, human groups, organizations, institutions, societies, countries, states and so on. Phenomena of conflicts, from ancient times to the present, in various artistic forms reflect the reality of a certain era and features of historical time. Artistic understanding of the phenomena of conflicts complements, strengthens and facilitates the scientific analysis of the problems of conflicts and the dynamics of their course. Analyzes the reasons that, since cinema is one of the most popular art forms of today, combining creativity and production, cinema itself can be actively involved in the processes of deconflict of Ukrainian society. Indicates the specifics of feature film: it affects the deep layers of consciousness, touches all the strings of the human soul and at the same time reflects the current problems of today; forces the viewer to identify with the characters of the film and actively include their ideals, principles, behavior and thinking in their real lives. He concludes that cinema, given its subject matter and plot, plays a significant role in shaping both aggressive and peaceful behavior of people, ie it can contribute to either increasing the level of conflict situations in society, or their leveling. Proves that in order to reduce the level of conflict in society, it is necessary to reduce the number of films that contain open displays of violence, bloody scenes and large-scale plans of terror; it is necessary to increase the number of high-quality Ukrainian films of patriotic orientation.

In recent decades, financial science actively covers new segments of the financial system that have not been studied previously. One of such areas is the analysis of impact of news on pricing in particular sectors of the stock market. The paper is related to this direction and aims to reveal the influence of news on stock price performance of companies in the U. S. film industry. To reach the goal we employed the abnormal return and trade volume analysis method, as well as multiple linear regressions. Basing on the results of the calculations, we provide the estimations of the general level of return and trade volume reaction on the release of positive and negative news. The significance of the obtained results showed the possibility of their application in practical investment activity, which makes them useful for individual and corporate investors, and fund managers who consider this sector as the possible destination for funds investment. The revealed mechanisms represent a good base for further research of the film industry in different countries and similar market segments.

The study involved the fabrication of films with different roughness and scaffolds made of
poly(3-hydroxybutyrate) using various methods. Chaotic and oriented scaffolds with varying
fiber thickness were obtained through the electrospinning method, depending on the polymer
concentration and electrospinning parameters. Films with different surface roughness were
obtained using spin coating and self-assembly methods. It was demonstrated that the varying
microstructure of the surface does not affect the growth of mesenchymal stem cells over the
course of a week; however, it does influence the morphology of the adhered cells.

The aim of the article is to explore of genre and dramaturgic features of a modern historical film. The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out. The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director's and cameraman's methods and techniques and the style, which forms the aesthetic expressiveness of the film. Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society. We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multi­genre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.). The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the "plot of growing up" and "plot of the experience", when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero— is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others. The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of "democracy for the elect" is not so popular among modern fans of historical cinema. Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience. The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad. ; Досліджено сутність жанру історичного фільму, проаналізовано сучасні кінотвори з точки зору над­жанрових побудов сучасного ігрового кіно. Показано проблематику формування загальної концепції історичного фільму, вибору жанрової конструкції, підготовки сценарію з урахуванням ціннісних установок та побажань аудиторії. Окрема увага приділена еволюції теорії жанру, що мала як етапи утвердження беззаперечного авторитету жанру як запоруки цілісності твору, так і періоди повної відмови від жанру на користь вільної авторської інтерпретації та відтворення дійсності. Порушено питання достовірності зображуваних подій як в історичних фільмах, так і у фільмах, що не позиціюються як історичні. Виявлено жанрову та драматургічну трансформацію сучасного історичного фільму, що полягає в утворенні нових жанрових структур та зміні загальної драматургічної структури твору.

The aim of the article is to explore of genre and dramaturgic features of a modern historical film. The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out. The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director's and cameraman's methods and techniques and the style, which forms the aesthetic expressiveness of the film. Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society. We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multi­genre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.). The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the "plot of growing up" and "plot of the experience", when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero— is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others. The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of "democracy for the elect" is not so popular among modern fans of historical cinema. Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience. The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad. ; Досліджено сутність жанру історичного фільму, проаналізовано сучасні кінотвори з точки зору над­жанрових побудов сучасного ігрового кіно. Показано проблематику формування загальної концепції історичного фільму, вибору жанрової конструкції, підготовки сценарію з урахуванням ціннісних установок та побажань аудиторії. Окрема увага приділена еволюції теорії жанру, що мала як етапи утвердження беззаперечного авторитету жанру як запоруки цілісності твору, так і періоди повної відмови від жанру на користь вільної авторської інтерпретації та відтворення дійсності. Порушено питання достовірності зображуваних подій як в історичних фільмах, так і у фільмах, що не позиціюються як історичні. Виявлено жанрову та драматургічну трансформацію сучасного історичного фільму, що полягає в утворенні нових жанрових структур та зміні загальної драматургічної структури твору.

Розглянуто актуальність та художній потенціал воєнного фільму в контексті сучасних суспільних, культурних і політичних перетворень. Показано тісний взаємозв'язок змісту воєнного фільму та його аудіовізуального втілення з точки зору реалізації режисерського задуму й очікувань глядацької аудиторії. Визначено, що емоційна й метафорична складові воєнного фільму реалізуються, зокрема, за допомогою кольорової та світлової концепцій фільму, вмілого використання оператором багатьох прийомів і засобів. Досліджено еволюцію виражальних засобів у воєнних фільмах США та основні віхи воєнних конфліктів, що стали об'єктами висвітлення. Розкрито характери героїв, які стали результатом вмілого застосування комплексу режисерських й операторських засобів. Виявлено тенденцію поступового збідніння виражальних засобів воєнного фільму та переходу до відстороненого хронікального зображення історичних подій. ; The aim of the article is to analyze the evolution of expressive facilities in US war films, the images and cultural meanings which they form.The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical base of the study included a series of US war films, a detailed analysis of expressive facilities and content analysis were carried out.The results. The war film has a huge potential for expressive facilities to create artistically powerful portraits that reflect the characters of the epoch, landscapes and interiors, which unfold battle scenes and life of citizens. Many researchers note the fashion for aggressive and unbiased presentation of audiovisual information (like films "Fury" and "Americаn sniper" 2014). War films of XXI century are made taking into account modern technologies in color correction: in complementary or similar color schemes. Landscape and interior in the films of 2014 serve as a background; panoramas and long-range plans give way to close-ups and medium-sized, battle scenes are given general plans instead of long-range. Authors of war films of medium and end of XX century ("Apocalypse Now" and "The Last of the Mohicans") created powerful color and light conceptions of the films, which contains with dramatic history, for example using chiaroscuro effect.On the one hand, there is a kind of simplification and impoverishment of the visual solutions of war films, the convergence of feature films with TV series and documentaries about the war, made in black and white. On the other hand, we note the commercial success in the rental of all considered films, so all the films met the needs of the audience in 1979, 1992 and 2014.The expressive facilities, mentioned in the article, created powerful images of the desperate but "wise" murderer of Kurtz; the "cruel and steadfast" Magua Indian; the cold and "fair" violator and murderer Don Collier; and the "good-natured" joker, record-breaking sniper Chris Kyle. Noteworthy that the role of the victim and the killer are replaced, the killers suffer from the "cruelty" of their victims, who dared to resist. In this case, the expressive facilities help to justifying the armed presence of a US soldier thousands of kilometers from his country. This creates powerful patriotic images of the main characters, who allegedly protect the states from the military aggression of an imaginary enemy.Novelty. The article reveals the dynamics of the use of expressive facilities in a war film from the middle of the XX century to the first quarter of the XXI, the cultural and social meanings generated by them.The practical significance. The main theses and results of research may be useful for practicing directors and cameramen in the formation of a director's concept of a war film, preparing a script and choosing visual solutions. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for teaching disciplines in film schools in Ukraine and abroad.

Розглянуто актуальність та художній потенціал воєнного фільму в контексті сучасних суспільних, культурних і політичних перетворень. Показано тісний взаємозв'язок змісту воєнного фільму та його аудіовізуального втілення з точки зору реалізації режисерського задуму й очікувань глядацької аудиторії. Визначено, що емоційна й метафорична складові воєнного фільму реалізуються, зокрема, за допомогою кольорової та світлової концепцій фільму, вмілого використання оператором багатьох прийомів і засобів. Досліджено еволюцію виражальних засобів у воєнних фільмах США та основні віхи воєнних конфліктів, що стали об'єктами висвітлення. Розкрито характери героїв, які стали результатом вмілого застосування комплексу режисерських й операторських засобів. Виявлено тенденцію поступового збідніння виражальних засобів воєнного фільму та переходу до відстороненого хронікального зображення історичних подій. ; The aim of the article is to analyze the evolution of expressive facilities in US war films, the images and cultural meanings which they form.The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical base of the study included a series of US war films, a detailed analysis of expressive facilities and content analysis were carried out.The results. The war film has a huge potential for expressive facilities to create artistically powerful portraits that reflect the characters of the epoch, landscapes and interiors, which unfold battle scenes and life of citizens. Many researchers note the fashion for aggressive and unbiased presentation of audiovisual information (like films "Fury" and "Americаn sniper" 2014). War films of XXI century are made taking into account modern technologies in color correction: in complementary or similar color schemes. Landscape and interior in the films of 2014 serve as a background; panoramas and long-range plans give way to close-ups and medium-sized, battle scenes are given general plans instead of long-range. Authors of war films of medium and end of XX century ("Apocalypse Now" and "The Last of the Mohicans") created powerful color and light conceptions of the films, which contains with dramatic history, for example using chiaroscuro effect.On the one hand, there is a kind of simplification and impoverishment of the visual solutions of war films, the convergence of feature films with TV series and documentaries about the war, made in black and white. On the other hand, we note the commercial success in the rental of all considered films, so all the films met the needs of the audience in 1979, 1992 and 2014.The expressive facilities, mentioned in the article, created powerful images of the desperate but "wise" murderer of Kurtz; the "cruel and steadfast" Magua Indian; the cold and "fair" violator and murderer Don Collier; and the "good-natured" joker, record-breaking sniper Chris Kyle. Noteworthy that the role of the victim and the killer are replaced, the killers suffer from the "cruelty" of their victims, who dared to resist. In this case, the expressive facilities help to justifying the armed presence of a US soldier thousands of kilometers from his country. This creates powerful patriotic images of the main characters, who allegedly protect the states from the military aggression of an imaginary enemy.Novelty. The article reveals the dynamics of the use of expressive facilities in a war film from the middle of the XX century to the first quarter of the XXI, the cultural and social meanings generated by them.The practical significance. The main theses and results of research may be useful for practicing directors and cameramen in the formation of a director's concept of a war film, preparing a script and choosing visual solutions. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for teaching disciplines in film schools in Ukraine and abroad.

У статті досліджено способи утворення евфемізмів в американському політичному кінодискурсі (на матеріалі американських політичних серіалів). Обґрунтовано актуальність наукової розвідки та уточнено поняття політичного кінодискурсу. Проаналізовано публікації з проблематики дослідження та уточнено класифікацію шляхів досягнення евфемістичного ефекту в англійській мові, що уможливило ідентифікувати механізми евфемізації в американському політичному кінодискурсі. ; The article focuses on the ways of formation of euphemisms in American political discourse on the material of American political TV series. The relevance of the research has been justified and the notion of political film discourse has been specified. Publications concerning the main topic of our research were analyzed and the classification of the ways of formation of euphemisms in English was clarified. This contributed to identification of the mechanisms of euphemization in the American political film discourse. Special attention was drawn to the semantic means which is determined by scientists as the most productive way of euphemism formation. Eleven thematic groups of euphemisms which are widely used by politicians and public figures in political sessions, debates, political speeches, interviews and press-conferences were singled out. The reasons that made politicians use euphemisms characterized by a neutral connotation were also the focus of our investigation. The most efficient ways of euphemism formation in American political film discourse were identified. They are semantic shift, represented by metaphor, meiosis and generalization; periphrasis; word formation; borrowings and the usage of pronouns to denote certain phenomena that are undesirable or seem unpleasant to the speaker. We have observed tendencies of the usage of euphemisms and identified quantitative indicators of representing the ways to create euphemistic effect in the studied material. It was found out, that the speaker uses metaphor and meiosis to soften the refusal or to hide the genuine financial state of a person. It was revealed that generalization helps avoid unpleasant details concerning health condition and alcohol dependency of communicators. Periphrasis was found to prevent conflicts and help to eliminate possible tensions that may occur in the situation of leaving work place or when discussing delicate topics. Abbreviation was considered as a mechanism of euphemization that implements health confidentiality. Borrowings and the usage of indefinite pronouns were studied as the ways of veiling of meaning of the statement in American political film discourse.

It was established that the budget process is a complex set of interrelated stages, each characterized by a certain set of performance indicators. From a reasoned and duly executed expenditure planning depends on their implementation and reporting, so were the features of budget formulation and execution of government programs of film production. The basic stages of the budget process, system and structural relationships between them. The analysis of the budget for these programs, confirming indicators interconnectedness budget formulation and execution. The identified aspects and proposed solutions. ; Встановлено, що бюджетний процес є складним комплексом взаємопов'язаних стадій, кожна з яких характеризується певною сукупністю результативних показників. Від обґрунтованого та належним чином оформленого планування видатків залежить їх виконання та звітування, таким чином було розглянуто особливості формування та виконання бюджету державних програм розвитку кіновиробництва. Проаналізовано основні стадії бюджетного процесу, системні та структурні зв'язки між ними. Проведено аналіз бюджету за цими програмами, який підтверджує взаємопов'язаність показників формування та виконання бюджету. Визначено проблемні аспекти та запропоновано шляхи їх вирішення.

The article considers approaches to the state regulation of digital film distribution, evaluates them. The paper generalizes them in the form of proposals for anti-piracy regulation, promotion of original content of online cinemas in international markets, as well as for effective interaction of online cinemas with the Ministry of Culture and the Cinema Foundation. This will resolve the issue of serious competition to traditional cinemas, since the viewer has the opportunity to watch their favorite films without leaving home, and also related to the start of work on their own exclusive content of a large number of digital platforms. The state obliges digital platforms to provide information about the number of views of their content in a single automated information system. This information helps to assess the effectiveness of budget support for cinema, since there are examples of films that did not collect a large box office at the box office but were able to gain more than one million views on the Internet. ; Рассмотрены подходы к государственному регулированию цифрового кинопроката, дана их оценка. Сделаны обобщения в виде предложений по антипиратскому регулированию, продвижению оригинального контента онлайн-кинотеатров на международных рынках, а также по эффективному взаимодействию онлайн-кинотеатров с Министерством культуры Российской Федерации и Фондом кино. Это позволит урегулировать вопрос, связанный с серьезной конкуренцией с традиционными кинотеатрами, так как зритель имеет возможность смотреть любимые фильмы, не выходя из дома, а также с началом работы над собственным эксклюзивным контентом большого количества цифровых платформ. Государство обязывает цифровые платформы предоставлять информацию о количестве просмотров их контента в Единой автоматизированной информационной системе. Данная информация помогает оценивать эффективность бюджетной поддержки кинематографа, поскольку существуют примеры картин, которые не собрали большую кассу в кинопрокате, но смогли набрать не один миллион просмотров в сети ...

The increasing recently interest towards the art house cinema stipulates the relevance in the field of sociological investigations of the cinema proper as a social institution and directly the art cinema, as this area most brightly covers those pressing problems and cardinal social changes that occur nowadays. The article deals with the analysis of the film festival as a structural element when researching the art house cinema as a social institution. At the same time, carrying out the function of the mass media and social institution, the art house cinema represents a great interest for studying in the field of sociology. Acting as mass media, art cinema can originally influence its audience, forming specific models of behavior, social aims, and sometimes political views of its audience. A new judgment of factors of social institutionalization of art cinema is offered for consideration, one of which is the film festival. Basic research on the basis of modern scientific works of foreign researches of the cinema is conducted. This subject offers judgment of processes concerning social interaction in the framework of film festival acting as establishment for performing the function of mass media and a social institution on behalf of the art house cinema. ; Возрастающий в последнее время в мире интерес к артхаусному кинематографу определяет актуальность в области социологических исследований самого кинематографа как социального института и непосредственно арт­синема, ведь именно это направление наиболее ярко освещает те острые проблемы и кардинальные социальные изменения в обществе, которые происходят в наши дни. Статья посвящена анализу кинофестиваля как структурного элемента при исследовании артхаусного кинематографа в качестве социального института. Одновременно выполняя функции средства массовой коммуникации и социального института, артхаусный кинематограф представляет большой интерес для изучения в облас­ти социологии. Выступая средством массовой коммуникации, «арт­синема» может своеобразно влиять на свою аудиторию, формируя конкретные модели поведения, социальные установки, а иногда и политические взгляды своей аудитории. Предлагается к рассмотрению новое осмысление факторов социальной институционализации «арт­синема», одним из которых является кинофестиваль. Проводится поисковое исследование на базе современных научных работ иностранных исследователей кинематографа. Данная тема предлагает осмысление процессов социальных интеракций в рамках кинофестивалей, выступающих в качестве учреждений для выполнения артхаусным кинематографом функций средства массовой коммуникации и социального института. ; Возрастающий в последнее время в мире интерес к артхаусному кинематографу определяет актуальность в области социологических исследований самого кинематографа как социального института и непосредственно арт­синема, ведь именно это направление наиболее ярко освещает те острые проблемы и кардинальные социальные изменения в обществе, которые происходят в наши дни. Статья посвящена анализу кинофестиваля как структурного элемента при исследовании артхаусного кинематографа в качестве социального института. Одновременно выполняя функции средства массовой коммуникации и социального института, артхаусный кинематограф представляет большой интерес для изучения в облас­ти социологии. Выступая средством массовой коммуникации, «арт­синема» может своеобразно влиять на свою аудиторию, формируя конкретные модели поведения, социальные установки, а иногда и политические взгляды своей аудитории. Предлагается к рассмотрению новое осмысление факторов социальной институционализации «арт­синема», одним из которых является кинофестиваль. Проводится поисковое исследование на базе современных научных работ иностранных исследователей кинематографа. Данная тема предлагает осмысление процессов социальных интеракций в рамках кинофестивалей, выступающих в качестве учреждений для выполнения артхаусным кинематографом функций средства массовой коммуникации и социального института.

This article represents the first attempt in Ukraine of complex interdisciplinary investigation of the history of Australian film development in the XX-th century in the context of Australian culture. Analysing films in historical order the peculiarities of each decade are taken into consideration. The periods of silent films, sound films and colour films are analysed. The best film productions, their film directors and prominent actors are outlined. Special attention is paid to the development of feature films and documentaries. The article concentrates on the development of different film genres beginning with national historical drama, films of the first pioneers' survival, adventure films. It is shown how they contribute to the embodiment in films of the main archetypes of Australian culture, the development of Australian identity. After World War I and World War II war films appear to commemorate the courage of the Australian soldiers in the war fields. Later on the destiny of the Australian women white settlers' wives or native Australians inspired film directors to make them the chief heroines of their movies. A comparative analysis of films and literary primary sources underlying their scripts is carried out. It is concluded that the Australian directors selected the best examples of Australian national poetry and prose, which reveal the historical and social, cultural and racial problems of the country's development during the twentieth century. The publication dwells on boom and bust periods of Australian film making. The governmental policy in this sphere is analysed. Different schemes of film production and distribution are outlined to make national film industry compatible with the other film industries of the world, especially with the Hollywood. The area of a new discipline - Australian Film Studios - is studied as well as the works of Australian scholars. It is clarified in what Australian universities this discipline is taught. It is assumed that the experience of Australia in this sphere should be taken by Ukraine. ; Стаття представляє собою першу спробу в Україні комплексного інтердисциплінарного вивчення історії розвитку австралійської кіноіндустрії в ХХст. в контексті австралійської культури. Аналізуючи фільми в історичній послідовності особливості кожної декади беруться до уваги. Проаналізовані періоди німого, звукового та кольорового кіно. Виокремлені кращі фільми, режисери та видатні актори. Особлива увага приділена художнім та документальним фільмам. У статті розглядається розвиток різних жанрів кінофільмів, починаючи з історичної драми, фільмів про виживання поселенців-піонерів, пригодницьких фільмів. Показано, як вони сприяють втіленню у кінострічках головних архетипів австралійської культури, розвитку австралійської ідентичності. Після Першої та Другої світових воєн створюються фільми, щоб увічнити хоробрість австралійських солдатів на полях цих воєн. Згодом з'являються кінострічки, в яких режисери змальовують долі австралійських жінок, чи то дружин переселенців, чи аборигенок. Проведено компаративний аналіз фільмів та літературних першоджерел, покладених в основу їх сценаріїв. Зроблено висновок, що австралійськими режисерами були обрані найкращі взірці австралійської національної поезії і прози, які розкривають історичні і соціальні, культурні і расові проблеми розвитку країни протягом ХХст. У статті приділяється увага періодам буму і спаду у сфері австралійського кіновиробництва. Проаналізована урядова політика в кіноіндустрії. Окреслені різні схеми виробництва та дистрибуції національних фільмів, аби зробити їх конкурентоспроможними з фільмами інших кіноіндустрій світу, особливо з Голлівудом. Вивчена сфера нової дисципліни – австралійські фільмові студії так само, як і праці національних вчених у цій галузі. З'ясовано, в яких університетах Австралії вона викладається. Зроблено висновки, що досвід Австралії в цих сферах корисний для України.