76. Эко. У. О членениях кинематографического кода // Философия и культура. 2008. №. 11. С. 145-164.
77. Эльзессер Т, Хагенер М. Теория кино. Глаз, эмоции, тело. - Санкт-Петербург: Сеанс, 2016.
78. Ямпольский М. Видимый мир. Очерки ранней кинофеноменологии / Научно-исследовательский институт киноискусства, Центральный музей кино, Международная киношкола. - Москва, 1993.
79. Ямпольский М. Память Тиресия. Интертекстуальность и кинематограф. - Москва: РИК «Культура», 1993.
80. Ямпольский М. Язык-тело-случай. Кинематограф и поиски смысла. - Москва: Новое литературное обозрение, 2004.
81. Янутш О. Анализ кинотекста как инструмент экспертизы кинопродукции // Культурологическая экспертиза: теоретические модели и практический опыт. - Санкт-Петербург, 2011. - С. 286-303.
82. Ярская-Смирнова Е. Гендер, власть и кинематограф: основные направления феминистской кинокритики // Журнал социологии и социальной антропологии. 2001. Т. 4. №. 2. C. 100-118.
83. Anderson J. The reality of illusion: An ecological approach to cognitive film theory. - SIU Press, 1998.
84. Andrew J. D. Concepts in film theory. - Oxford University Press, 1984.
]85. Andrew J. D. The major film theories: An introduction. - Oxford University Press, 1976.
86. Bateman J., Schmidt K. H. Multimodal film analysis: How films mean. - London: Routledge, 2013.
87. Benshoff H. Film and television analysis: An introduction to methods, theories, and approaches. - London: Routledge,
2015.
88. Bordwell D. A case for cognitivism // Iris. 1989. T. 9. №. 1989. P. 11-40.
89. Bordwell D. Cognitive theory // The Routledge companion to philosophy and film. - Routledge, 2008. - P. 376-387.
90. Bordwell D. Making meaning. - Harvard University Press, 1991.
91. Bordwell, D. Narration in the fiction film. - Routledge, 2013
92. Bordwell D. Thompson K. Film Art: An Introduction. - McGraw-Hil Publishing Company; 8th edition. 2008.
93. Carroll N. Engaging the moving image . - Yale University Press, 2008.
94. Carroll N.et al. Interpreting the moving image. - Cambridge University Press, 1998.
95. Casetti F. Theories of cinema, 1945-1995. - University of Texas Press, 1999.
96. Currie G. et al.Image and mind: Film, philosophy and cognitive science. - Cambridge University Press, 1995.
97. Eco U. The Limits of Interpretation. - Bloomington: Indiana University Press, 1990
98. K. Fahlenbrach Embodied Metaphors in Film, Television, and Video Games: Cognitive Approaches. - N.Y.: Routledge,
2015. - XIV, 300 p. - (Routledge Research in Cultural and Media Studies. Vol. 76).
99. Geiger J., Rutsky R. L. (ed.). Film analysis: A Norton reader. - WW Norton & Company, 2013.
100. Giannetti L. Understanding Movies. - Pearson; 13th edition, 2013.
101. Grodal T. Moving pictures: A new theory of film genres, feelings, and cognition. - 1999.
102. Hasson U., Landesman O., Knappmeyer B., Vallines I., Rubin N., Heeger D. Neurocinematics: The Neuroscience of Film // Projections: The Journal for Movies and Mind. 2008. Vol. 2. № 1. P. 1-26.
103. Mast G., Cohen M. Film theory and criticism: Introductory readings // Journal of Aesthetics and Art Criticism. 1975.
T. 33. №. 3.
104. Merleau-Ponty. M. Das Kino und die neue Psychologie. - GRIN Verlag; 1. Edition, 2002.
105. Munsterberg H. The Film: A Psychological Study. - Dover Publications; Dover Ed edition (February 29, 2012).
106. Odin R. Les espaces de communication. - Pu Grenoble: Pu de Grenoble edition, 2011.
107. Persson P.Understanding cinema: A psychological theory of moving imagery. - Cambridge University Press, 2003
108. Pisters P. The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture. - Stanford: Stanford University Press, 2012. (Cultural Memory in the Present).
109. Plantinga C. Cognitive film theory: An insider's appraisal. - Cinйmas: revue d'йtudes cinйmatographiques // Cinйmas: Journal of Film Studies. 2002. T. 12. №. 2. P. 15-37.
110. Ryan M., Lenos M. An introduction to film analysis: Technique and meaning in narrative film. - Bloomsbury Publishing USA, 2020.
111. Salt B. Film style and technology: History and analysis. - Starword, 1992.
112. Seeley W., Carroll N. Cognitive Theory and the Individual Film: The Case of Rear Window. - 2014.
113. Simila J.Menetetty viattomuus. Ekokriittinen analyysi elokuvasta «U ozera». - University of Tampere, 2013.
114. Smith G. M. Film structure and the emotion system. - Cambridge University Press, 2003.
115. Stam R. Film theory: An introduction. - John Wiley & Sons, 2017.
116. Surace B. Semiotics (of Cinema)'s not Dead // 13th World Congress of the International Association for Semiotic Studies (IASS/AIS). - IASS Publications & International Semiotics Institute, 2018.
117. The Cinematography of “The Incredibles” Part 1:
118. Zacks J.M. Flicker: Your Brain on Movies N.Y. - Oxford University Press, 2015.
REFERENCES
1. Agafonova N. Obshchaya teoriya kino i osnovy analiza fil'ma [The general theory of film and film analysis basics], Minsk,
Tesej, 2008.
2. Anderson J. The reality of illusion: An ecological approach to cognitive film theory. SIU Press, 1998.
3. Andrew J. D. Concepts in film theory.Oxford University Press, 1984.
4. Andrew J. D. The major film theories: An introduction.Oxford University Press, 1976.
5. Aristarko G. Istoriya teorij kino [History of cinema theories]. Moscow, Ripol Classic, 2013.
6. Bart R. Camera lucida. Kommentarij k fotografii [Camera Lucida: Reflections on Photography]. Moscow, Ad Marginem Press, 1997.
7. Bart R. “Osnovy semiologii” [Elements of Semiology]. Francuzskaya semiotika: ot strukturalizma k poststrukturalizmu [French semiotics: from structuralism to poststructuralism]. Moscow, Izdatel'skaya gruppa “Progress”, 2000.
8. Bart R. Tretij smysl [The Third Meaning]. Moscow, Ad Marginem Press, 2015.[
9. Bateman J., Schmidt K. H. Multimodal film analysis: How films mean.London, Routledge, 2013.
10. Batova K. “Analiz konflikta "NachaFnik-podchinennyj" (po materialam fil'ma "Koroleva benzokolonki")” [Analysis of the “superior - subordinate” conflict (according to the film “Koroleva Benokolonki”)]. Pedagogika i psihologiya: trendy, problemy, aktual'nye zadachi [Pedagogy and psychology: trends, problems, actual tasks]. 2016, no. 11, pp. 1-6.
11. Bellur R. “Nedosyagaemyj tekst” [The unattainable text]. Stroenie fil'ma [The structure of a film], Moscow, Raduga, 1984. Pp. 221-230.
12. Benshoff H. Film and television analysis: An introduction to methods, theories, and approaches. London, Routledge, 2015.
13. Bordwell D. “A case for cognitivism.” Iris. 1989, t. 9, no. 1989, pp. 11-40.
14. Bordwell D. “Cognitive theory.” The Routledge companion to philosophy and film.Routledge, 2008. Pp. 376-387.
15. Bordwell D. Making meaning. Harvard University Press, 1991.
16. Bordwell, D. Narration in the fiction film.Routledge? 2013
17. Bordwell D. “Poetika kino” [Poetics of Cinema]. Kinovedcheskie zapiski [Cinematic notes]. 2012, no. 100-101, p. 144-184.
18. Bordwell D. Thompson K. Film Art: An Introduction. McGraw-Hil Publishing Company; 8th edition. 2008.
19. Borisova A. “Semiotika kino kak sposob poznaniya tekstov kinematografa” [Film semiotics as a way of cognition of filmic texts]. Gumanitarnye chteniya v Politekhnicheskom universitete [Humanitarian readings at the Polytechnic University]. 2018. Pp. 106-111.
20. Bryksina I. “Analiz fil'ma "Vremennye trudnosti" i studencheskie rassuzhdeniya o probleme chyorstvosti” [Analysis of the film “Temporary Difficulties” and student reasoning about the problem of callousness]. GosReg: gosudarstvennoe regulirovanie obshchestvennyh otnoshenij [GosReg: state regulation of social relation]. 2020, no 3, pp. 113-123.
21. Bugaeva L “Kino i mozg (rec. na kn. Zacks J. Flicker: Your brain on movies; Pisters P. The neuro-image: A Deleuzian film-philosophy of digital screen culture; Fahlenbrach K. Embodied metaphors in film, television, and video games” [Cinema and brain (a book review: Zacks J. Flicker: Your brain on movies; Pisters P. The neuro-image: A Deleuzian film-philosophy of digital screen culture; Fahlenbrach K. Embodied metaphors in film, television, and video games]. Cognitive Approaches. 2017.
22. Bugaeva L. “Kinotekst: proyasnenie znacheniya” [Filmic text: clarifying meaning]. Mir russkogo slova [The world of the Russian word]. 2011, no. 4, pp. 67-74.
23. Bylyov N. “Lingvisticheskij analiz sovremennogo anglijskogo kinematografa na primere fil'ma "Filth"” [Linguistic analysis of modern English cinema through the example of the film “Filth”]. Obshchestvo, nauka, innovacii [Society, science, innovations]. 2015, pp. 2363-2369.
24. Carroll N. Engaging the moving image.Yale University Press, 2008.
25. Carroll N. et al. Interpreting the moving image.Cambridge University Press, 1998.
26. Casetti F. Theories of cinema, 1945-1995.University of Texas Press, 1999.
27. Currie G. et al. Image and mind: Film, philosophy and cognitive science.Cambridge University Press, 1995.
28. Davletshina A. “Pravovaya real'nost' odnogo "Processav (filosofsko-pravovoj analiz fil'ma "Process")” [Legal reality of one “Process” (philosophical and legal analysis of the film “Process”)]. Filosofiya prava i prava cheloveka [Philosophy of law and human rights]. 2015, pp. 91-92.
29. Davydova O. “Cena svobody (opyt eticheskogo analiza fil'ma A. Hichkoka "Golovokruzhenie")” [The price of freedom (the experience of ethical analysis of A. Hitchcock's film “Vertigo”]. Vestnik Leningradskogo gosudarstvennogo universiteta im. A. S. Pushkina [Pushkin Leningrad State University herald.]. 2012, t. 2, no. 1.
30. Denikin A. “Telesno-orientirovannyj podhod pri analize proizvedenij ekrannogo iskusstva” [Body-oriented approach to the analysis of works of screen art]. Znanie. Ponimanie. Umenie [Knowledge. Understanding. Ability]. 2017, no. 2, p. 123-131.
31. Dimuhametova A., Gayazova S. “Filosofskij analiz fil'ma Frenka Darabonta s tochki zreniya ekzistencializma i osnovnyh filosofskih voprosov” [Philosophical analysis of Frank Darabont's film from the point of view of existentialism and basic philosophical issues]. Sovremennaya nauka: aktual'nye voprosy, dostizheniya i innovacii [Modern science: topical questions, achievements, and innovations]. 2020, pp. 75-79.
32. Dibrov A., Vychuzhanina E. “Semioticheskij analiz kinematografa” [Semiotic analysis of cinema]. Nauka. Tekhnologii. Innovacii [Science. Technologies. Innovations]. 2018, pp. 96-99.
33. Eko. U. “O chleneniyah kinematograficheskogo koda” [Articulations of the Cinematic Code,]. Filosofiya i kul'tura [Philosophy and culture]. 2008, no. 11, pp. 145-164.
34. Eco U. The Limits of Interpretation.Bloomington, Indiana University Press, 1990.
35. Efimenko V. “Kinonarrativ kak ob"ekt narratologicheskogo analiza” [Film narrative as an object of narratological
]analysis]. Filologicheskie nauki. Voprosy teorii i praktiki [Philological sciences. Theory and practice]. 2013, no 9 (2),
pp. 87-90.
36. El'zesser T., Hagener M. Teoriya kino. Glaz, emocii, telo [Film Theory. An Introduction through the Senses], Saint Petersburg, Seans, 2016.
37. Fahlenbrach K. Embodied Metaphors in Film, Television, and Video Games: Cognitive Approaches. N.Y., Routledge, 2016.XIV, 300 p. - (Routledge Research in Cultural and Media Studies. Vol. 76).
38. Fedotkin S. Lejtmotivnyj analiz fil'ma: avtoref. dis. kand. Iskusstvovedeniya [The method of film analysis based on leitmotivs]. VGIK im. S. A. Gerasimova, 2017.
39. Filippov S. H. “Munsterberg. "Fotop'esa: Psihologicheskoe issledovanie" (glavy iz knigi)” [The Film: A Psychological Study]. Kinovedcheskie zapiski. 2000, no. 48, pp. 234-277.
40. Filippov S. “Percepciya i recepciya v teorii iskusstva” [Perception and reception in the theory of art]. Vestnik RGGU. Seriya “Filosofiya. Sociologiya. Iskusstvovedenie”. 2019, no. 1(15), pp. 87-97.
41. Fyodorov A. Analiz audiovizual'nyh mediatekstov [Audiovisual media text analysis]. Moscow: MOO “Informaciya dlya vsekh”, 2012.
42. Geiger J., Rutsky R. L. (ed.). Film analysis: A Norton reader.WW Norton & Company, 2013.
43. Giannetti L. Understanding Movies. Pearson; 13th edition, 2013.
44. Gorbatkova O. “Germenevticheskij analiz fil'ma "Mes'e Lazar"” [Hermeneutical Analysis of the film “Monsieur Lazar”]. Crede Experto: transport, obshchestvo, obrazovanie, yazyk [Crede Experto: transport, society, education, language]. 2018, no. 2.
45. Grodal T. Moving pictures: A new theory of film genres, feelings, and cognition. 1999.
46. Gus'kov V. “Narrativnyj analiz melodramaticheskih fil'mov” [Narrative analysis of melodramatic films]. Elektronnyj sbornik trudov molodyh specialistov Polockogo gosudarstvennogo universiteta [Electronic collection of Polotsk State University young specialists' works]. 2020. Pp. 166-169.
47. Hasson U., Landesman O., Knappmeyer B., Vallines I., Rubin N., Heeger D. “Neurocinematics: The Neuroscience of film.” Projections: The Journal for Movies and Mind. 2008, vol. 2, no. 1, pp. 1-26.
48. Ioos. E. Kak smotret' Bergmana: pokadrovyj razbor kul'tovogo fil'ma “Persona” s tochki zreniya psihologii [How to watch Bergman: a shot by shot analysis of the cult film “Persona” from the point of view of psychology]. 2018:
49. Ioskevich YA. Metodologiya analiza fil'ma (Stanovlenie sistemnogo podhoda v kinovedenii) [Film analysis methodology (Formation of a systematic approach in film studies)]. Leningrad, LGITMiK, 1978.
50. Klejman N., Kozlov L. “Nash proekt” [Our project]. Iskusstvo kino [The art of cinema]. 1967, no. 7, pp. 102-112.
51. Klyueva L. Transcendental'nyj diskurs v kino. Sposoby manifestacii transcendentnogo v strukture fil'ma [Transcendental discourse in cinema. Methods for manifesting transcendence in the film structure.]. Moscow, VGIK im. Gerasimova, 2012.
52. Konstantinov M. “Tri koncepcii semiotiki kino: Yu. Lotman, C. Metc, R. Bart” [Three conceptions of film semiotics: Yu. Lotman, C. Metc, R. Bart]. Gileya: naukovij visnik [Gileya: scientific herald]. 2017, no. 123, pp. 176-181.
53. Korte G. Vvedenie v sistemnyj kinoanaliz [Introduction to Systematic Film Analysis]. Moscow, Izdatel'skij dom Vysshej shkoly ekonomiki, 2018.
54. Kovalev V., Belavin O., Ignatova S. “Konfliktologicheskij analiz fil'ma "Garazh"” [Conflictological analysis of the film “Garazh”]. Akmeologiya. 2013, no. S1, pp. 178-180.
55. Kovalev V. “Problemy vyyavleniya mekhanizma formirovaniya iskusstvennyh stereotipov (na primere kontent-analiza fil'ma "Brat-2")” [Problems of identifying the mechanism for the formation of artificial stereotypes (through the example of content analysis of the film “Brother-2”)]. Gumanitarnye i social'no-ekonomicheskie nauki [Humanities and socioeconomic sciences]. 2008, no. 4, pp. 169-172.
56. Kurennoj V. Filosofiya fil'ma: uprazhneniya v analize [Film philosophy: exercises in analysis]. Moscow, Novoe literaturnoe obozrenie, 2009.
57. Kurova E. “Fotogramma kak osnova semioticheskogo analiza kino” [Photogram as the basis of semiotic analysis of the movie]. Gumanitarnye i social'nye nauki [Humanities and social sciences]. 2018, no. 3, pp. 2-11.
58. Leontovich O. Metody kommunikativnyh issledovanij [Communication research methods]. Moscow, Gnozis, 2011.
59. Lotman Yu. Semiotika kino i problemy kinoestetiki [Semiotics of Cinema]. St. Petersburg, “Iskusstvo - Spb”, 1998.
60. Lucenko E., Pyatkin D., Grummet V. Avtomatizirovannyj sistemno-kognitivnyj analiz fil'mov[Automated system- cognitive analysis of films]. Krasnodar, Kubanskij gosudarstvennyj agrarnyj universitet imeni I.T. Trubilina [Krasnodar, Kuban State Agrarian University], 2019.
61. Lyubaeva V. “Lingvisticheskij analiz sovremennyh mul'tiplikacionnyh fil'mov” [Linguistic analysis of modern animated films]. Problemy vnedreniya rezul'tatov innovacionnyh razrabotok [Problems of implementing the results of innovative developments]. 2017, pp. 65-67.
62. Marievskaya N. “Vremya i smysl. Opyt temporal'nogo analiza kinoproizvedeniya” [Time and essence. Study of cinema product temporal analysis]. Vestnik VGIK. 2014, no. 4, pp. 33-46.
63. Mast G., Cohen M. “Film theory and criticism: Introductory readings.” Journal of Aesthetics and Art Criticism. 1975, t. 33, no. 3.
64. Mekhonoshin V. “Sociokul'turnyj analiz fil'ma "Malen'kaya miss schast'e"” [Social and cultural analysis of the film “Little Miss Sunshine”]. F9n-nauka. 2013, no. 4, pp. 40-43.
65. Merleau-Ponty. M. Das Kino und die neue Psychologie.GRIN Verlag; 1. Edition, 2002.
66. Metc K. “Kino: yazyk ili rech'?” [Cinema: language or speech?] Kinovedcheskie zapiski [Cinematic notes]. 1994, pp. 54-90.
67. Morozova E. “Osobennosti perevodcheskogo analiza audiovizual'nyh proizvedenij s pozicij psiholingvisticheskogo i kognitivnogo podhodov” [Psycholinguistic and cognitive approaches to translation analysis of audiovisual products] Nauchnyj start.2019, pp. 161-164.
68. Munsterberg H. The Film: A Psychological Study. Dover Publications; Dover Ed edition (February 29, 2012).
69. Nazaretyan P. “Retrospektivnoe predstavlenie teorij kino v social'no-filosofskom kontekste” [Retrospective presentation of cinema theories in a socio-philosophical context]. Kul'turnaya zhizn' Yuga Rossii. 2019, no. 1 (72).
70. Nazaretyan P. “Social'no-filosofskij analiz teorij kino” [Socio-philosophical analysis of cinema theories]. Aktual'nye problemy gumanitarnyh i estestvennyh nauk [Actual problems of the humanities and natural sciences]. 2016, no. 1 (1).
71. Odin R. Les espaces de communication.Pu Grenoble, Pu de Grenoble edition, 2011.
72. Orekh E., Sergeeva O. “Zabota o starikah v interpretaciyah otechestvennogo kinematografa” [Care for the elderly interpreted in Russian films]. Zhurnal sociologii i social'noj antropologii [Sociology and social anthropology journal ]. 2019, t. 22, no. 4, pp. 120-140.
73. Pashkovska-Vil'k A. “Yazyk subkul'tur v kinodialoge - perevodcheskij analiz fil'ma ''Stilyagi''” [Language of subcultures in the film dialogue - translation analysis of the film “Stilyagi”]. Russkij yazyk i kul'tura v zerkale perevoda [Russian language and culture in the mirror of translation]. 2016, no. 1, pp. 407-416.
74. Pavlov A. “Analiz fil'ma: teper' i v Rossii” [Film analysis: now in Russia]. Korte G. Vvedenie v sistemnyj kinoanaliz [Introduction to systemic film analysis]. Moscow, Izdatel'skij dom Vysshej shkoly ekonomiki, 2018. Pp.11-13.
75. Pavlov A. “Fragment lekcii "Cinema Studies kak disciplina"”[the excerpt of the lecture “Cinema Studies as a discipline”]:
76. Pchelinova V., Tishchenko V. “Professiovedcheskij analiz hudozhestvennogo fil'ma "Bez uma ot lyubvi" (SSHA, 2005) s ispol'zovaniem sravnitel'nogo psihologicheskogo professiovedeniya dlya proforientacii lic s OVZ” [Professorial analysis of the feature film “Crazy for Love” (USA, 2005) using comparative psychological professional studies for career guidance of people with disabilities]. Obrazovanie i nauka v Rossii i za rubezhom [Education and science in Russia and abroad]. 2018, no. 2, pp. 46-56.
77. Persson P. Understanding cinema: A psychological theory of moving imagery. Cambridge University Press, 2003.
78. Pisters P. The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture. Stanford, Stanford University Press, 2012. X, 388 p.(Cultural Memory in the Present).
79. Plantinga C. “Cognitive film theory: An insider's appraisal.” Cinйmas: revue d'йtudes cinйmatographiques / Cinйmas: Journal of Film Studies. 2002, t. 12, no. 2, pp 15-37.
80. Poselyagin N. “Kinofil'm kak ob"ekt i ne-ob"ekt narratologii” [Cinema as an object and non-object of narratology]. Narratorium. 2012, no. 2 (4).
81. PostnikovaT.“Ponyatieavtokommunikacii v semiotike YU. M. Lotmana. Filosofsko-antropologicheskij analiz