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.
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.
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.
The article is devoted to the events of the crucial stage of the Great North War, in particular the campaign of the Swedish King Charles XII and his army against the Moscow State in 1708-1709. Thecritical moment of this campaign was the conclusion of the alliance between the Swedish King and Ukrainian Hetman I. Mazepa. The success of this alliance could quite possibly lead to the decisivevictory of Sweden over the last of its enemies, Moscow Tsar Peter I. As a result of this victory the independent Ukrainian Cossack State under a nominal protectorate of the Sweden Kingdom couldappear on the East European map. The author of the present material considers military and strategic aspects of the possible alliance basing on the conclusions of the former historians about theinternational political component of Swedish-Ukrainian alliance. The analysis of material enables the author to state that Ukrainian-Swedish alliance was formed without the mediation of Rzeczpospolita atthe moment the Swedish army entered the territory of the Cossack Hetmanate at the end of October 1708. ; Статтю присвячено подіям вирішального етапу Великої Північної війни – походу шведської армії короля Карла ХІІ проти Московської держави в 1708-1709 рр. Поворотним моментомцього походу стало укладення союзу між шведським королем та українським гетьманом І.С. Мазепою. Успіх цього союзу реально міг привести до вирішальної перемоги Швеції над останнім із своїх суперників – московським царем Петром І. Результатом цієї перемоги на карті Східної Європи, цілком ймовірно, могла з'явитися незалежна Українська козацька держава під символічним протекторатом Шведського королівства. Автор запропонованого матеріалу розглядає військово-стратегічні аспекти вказаного союзу з використанням висновків попередників щодо міжнародно-політичної складової україно-шведського союзу. Аналіз матеріалу дає змогу автору стверджувати, що україно-шведський союз формувався без посередництва Речі Посполитої в момент появи шведських військ на теренах Гетьманщини наприкінці жовтня 1708 р.
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.
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 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.
The article deals with the issue on the correlation, study and usage of the international relations history theoretical foundations as a sufficiently specific scientific direction, combining the features of historical and political sciences, in particular world history, the history of diplomacy, political science, the theory of the international relations, etc. The emergence of the international relations history is connected with the development of national historical sciences, the study of the history of diplomacy, geopolitical concepts, the theory of international relations, etc. The results of the scientific study of the international relations history have laid the basis for the common international processes study. Throughout the XX-th century this direction was actively developing, been influenced upon by the confrontation of political systems. Accordingly, antagonistic ideologies were used, a sample selection of historical facts and sources was carried out. Such issues as the concept and the subject of the international relations history, its periodization, and relations with the world history, history of diplomacy, the theory of international relations and other scientific directions still remain controversial.
The article defines that cinema, in addition to artistic load, is today an important component of cultural diplomacy. The role and place of cultural diplomacy among other types of diplomacy are revealed. It is also argued that cultural diplomacy, as an instrument of international soft power policy, has played a decisive role in international relations, which since the 1990s has been the basis of most of the world's leading countries. It is stated that modern cinema is not only informing people about certain events, but also creating the history of one's own country with the help of "soft power". It has been proven that the use of film festivals mobilizes public opinion of both internal and external audiences and strengthens the level of trust in the actions of governments, allows a fuller understanding of foreign audiences. The main film festivals of Ukraine, which took place in different regions of Ukraine as of 2020, are analyzed, specific features of each of them are identified, in particular, the city where the film festival takes place and the year of its foundation, as well as those countries that participated. The role of the state in the organization of film festivals has been revealed. The interrelation of these film festivals with the formation of a positive image of Ukraine in the international arena is analyzed. As a result of the study, it was concluded that Ukraine is actively involved in film festivals in its country, which indicates its openness and at the same time, the presentation in the international arena. It should be noted that although the topics of film festivals are quite diverse, and the number of participants in these events is increasing every year, but the state policy in the field of culture is not very effective, in particular, in the organizational policy of film festivals. sites that cover various film festivals, however, it is often outdated and out of date, or non-existent. In addition, the article provides an overview of the participating countries that have participated in various Ukrainian film festivals during their holding, and found that their number ranges from eight to 4,000, however, it should be noted that they were mostly represented by countries with CIS and European countries. Thus, the participation of one or another country of the world in film festivals held in Ukraine is a reflection of the policy pursued within each of the states.Key words: public diplomacy, soft power policy, state image, international politics, film art, film festival. ; У статті визначається, що кінематограф, окрім мистецького навантаження, на сьогодні є важливою складовою культурної дипломатії. Обґрунтовано, що культурна дипломатія, як інструмент міжнародної політики «м'якої сили», відіграє у міжнародних відносинах визначальну роль. Проаналізовано основні кінофестивалі України. Визначено роль держави в їх організації. Визначено взаємозв'язок цих кінофестивалей та формуванням позитивного іміджу України на міжнародній арені.Ключові слова: публічна дипломатія, політика м'якої сили, імідж держави, міжнародна політика, кіномистецтво, кінофестиваль. В статье определяется, что кинематограф, кроме художественного нагрузки, сегодня является важной составляющей культурной дипломатии. Обосновано, что культурная дипломатия как инструмент международной политики «мягкой силы», играет в международных отношениях определяющую роль. Проанализированы основные кинофестивале Украины. Определена роль государства в их организации. Определена взаимосвязь этих кинофестивалей с формированием позитивного имиджа Украины на международной арене.Ключевые слова: публичная дипломатия, политика мягкой силы, имидж государства, международная политика, киноискусство, кинофестиваль. The article defines that cinema, in addition to artistic load, is today an important component of cultural diplomacy. The role and place of cultural diplomacy among other types of diplomacy are revealed. It is also argued that cultural diplomacy, as an instrument of international soft power policy, has played a decisive role in international relations, which since the 1990s has been the basis of most of the world's leading countries. It is stated that modern cinema is not only informing people about certain events, but also creating the history of one's own country with the help of "soft power". It has been proven that the use of film festivals mobilizes public opinion of both internal and external audiences and strengthens the level of trust in the actions of governments, allows a fuller understanding of foreign audiences. The main film festivals of Ukraine, which took place in different regions of Ukraine as of 2020, are analyzed, specific features of each of them are identified, in particular, the city where the film festival takes place and the year of its foundation, as well as those countries that participated. The role of the state in the organization of film festivals has been revealed. The interrelation of these film festivals with the formation of a positive image of Ukraine in the international arena is analyzed. As a result of the study, it was concluded that Ukraine is actively involved in film festivals in its country, which indicates its openness and at the same time, the presentation in the international arena. It should be noted that although the topics of film festivals are quite diverse, and the number of participants in these events is increasing every year, but the state policy in the field of culture is not very effective, in particular, in the organizational policy of film festivals. sites that cover various film festivals, however, it is often outdated and out of date, or non-existent. In addition, the article provides an overview of the participating countries that have participated in various Ukrainian film festivals during their holding, and found that their number ranges from eight to 4,000, however, it should be noted that they were mostly represented by countries with CIS and European countries. Thus, the participation of one or another country of the world in film festivals held in Ukraine is a reflection of the policy pursued within each of the states.Key words: public diplomacy, soft power policy, state image, international politics, film art, film festival.
The purpose of the article is to establish the main directions of local lore activity of S.D. Nose and systematize his work in this field of humanities. The theoretical and methodological basis of the study lies in the principles of historicism, scientificity and systematics. Biographical, historical-genetic and scientific-metric methods were also used. Scientific novelty of the study is due to the formulation of the problem and the first attempt to determine the place of S.D. Nos in the historical and local lore movement in the Chernihiv region in the second half of the nineteenth century. Conclusions. On the basis of a wide range of updated sources, S.D. Nos' participation in the editorial circle of the official government newspaper «Chernyhovskye hubernskye vedomosty», consisting of local historians, ethnographers, and writers, was established. The facts about evidence of S.D. Nos direct involvement in the project of founding a scientific society of historical and local lore profile in Chernihiv are also given. S.D. Nos' cooperation with the South-Western Division of the Russian Geographical Society is characterized. Articles, notes and documentary publications of the researcher in the journal «Chernihiv Provincial Gazette», «Osnova», «Kievskaya Starina» are analyzed.
