Статья: К вопросу о методологии анализа фильма

Внимание! Если размещение файла нарушает Ваши авторские права, то обязательно сообщите нам

fil'ma” [The concept of autocommunication in Yu.M. Lotman's semiotics. Philosophical and anthropological analysis of the film]. Aspekty: Sb. statej po filosofskim problemam istorii i sovremennosti: Vyp IV [Collection of articles on philosophical problems of history and modernity: Issue IV]. Moscow, Sovremennye tetradi. 2006, pp. 120-132.

82. Puzanova,ZH.,Trocuk I.“Narrativnyj analiz: ponyatie ili metafora?” [Narrative analysis: concept or metaphor?]

Sociologicheskij zhurnal. 2003, no. 17, pp. 56-82.

83. Razlogov K. Stroenie fil'ma. Nekotorye problemy analiza proizvedenij ekrana [The structure of a film. Some problems of the analysis of screen products]. Moscow, Raduga, 1984.

84. RoslyakovaV.“Social'nyekommunikacii posredstvom kinematografa i analiz cveta v kartine B. Bertoluchchi

"Konformist" (1970)” [Social communications through cinema and color analysis of B. Bertolucci's film “The Conformist”]. Sociodinamika. 2015, no. 10, pp. 109-137.

85. Ryan M., Lenos M. An introduction to film analysis: Technique and meaning in narrative film. Bloomsbury Publishing USA, 2020.

86. Salt B. Film style and technology: History and analysis. Starword, 1992.

87. Sal'nyj R.“Germenevticheskij analiz fil'ma na studencheskuyu temu (na primere fil'ma P. Todorovskogo "Kakaya

chudnaya igra")” [Hermeneutical analysis of the film on a topic related to studying (through the example of the film by P. Todorovsky “What a wonderful game”)]. Mediaobrazovanie. 2017, no. 4, pp. 158-166.

88. Salynskij D. Kinogermenevtika Tarkovskogo[Tarkovsky's film hermeneutics]. Moscow, Kvadriga, 2009.

89. Samutina N. Slovo iz dvuh problemnyh chastej: kinoissledovaniya 2010-h o svoem uskol'zayushchem ob"ekte[The 2010s cinema studies on their elusive object]. Moscow, Izdatel'skij dom VSHE, 2010.

90. Schtein. S. “Granicy kinovedeniya kak subdisciplinarnoj predmetnosti iskusstvovedeniya” [The boundaries of cinema studies as a subdisciplinary subject of art studies]. Logika vizual'nyh reprezentacij v iskusstve: ot ikonopisnogo prostranstva i arhitektury k ekrannomu obrazu[Logic of visual representations in art: from icon-painting space and architecture to screen image]. Moscow, RSUH, 2019. Pp. 234-314.

91. Schtein S. “Konstantnyj metod i metod ontologizacii v obrazovanii, svyazannom s sozdaniem ekrannyh form” [Constant method and method of ontologization in education associated with the creation of screen forms]. Aktual'nye problemy ekrannyh i interaktivnyh media: Sbornik materialov III nauchnoj konferencii , Moscow, 17 noyabrya 2020[Actual problems of screen and interactive media: Collection of materials of the III scientific conference. Moscow, November 17, 2020]. Sost. i na-uch. red. d-r iskusstvovedeniya, professor N. G. Krivulya, Moscow, HST MSU, 2021. Pp. 87-96.

92. Schtein S. Matrica gumanitarnoj nauki[Matrix of humanities]. Moscow, RSUH, 2020.

93. Schtein S. “Metodologiya v iskusstvovedenii” [Art history methodology]. Dekorativnoe iskusstvoipredmetno-

prostranstvennaya sreda[Decorative art and subject-spatial environment]. Vestnik MGHPA. 2017, t. 1, no. 4, pp. 35-37.

94. Schtein S. Teoreticheskieosnovyformiskusstva, baziruyushchihsyanafenomeneavtomaticheskojfiksacii.Ucheb. Posobie [Theoretical fundamentals of art forms based on the automatic fixation phenomenon]. Moscow, Institut kino i televideniya (GITR), 2019.

95. Seeley W., Carroll N. Cognitive Theory and the Individual Film: The Case of Rear Window.2014.

96. Serbin V. “Problemy semioticheskoj interpretacii znacheniya v kino” [Problems of semiotic interpretationof meaningin

cinema]. Vestnik Tomskogo gosudarstvennogo universiteta. Filosofiya. Sociologiya. Politologiya[TSU herald. Philosophy. Sociology. Politology]. 2014, no. 4 (28), pp. 202-210.

97. Shatova E. “Vektory semioticheskih metamorfoz kinoznacheniya: popytka metateoreticheskih postroenij”[Vectorsof

semiotic metamorphosis of film meaning: an attempt at metatheoretical constructions]. Vestnik Leningradskogo gosudarstvennogo universiteta im.A.S. Pushkina[Pushkin Leningrad State University herald]. 2014. T. 2, no. 1, pp. 147156.

98. Simila J. Menetetty viattomuus. Ekokriittinen analyysi elokuvasta “U ozera”: dis. University of Tampere, 2013.

99. Smith G. M. Film structure and the emotion system.Cambridge University Press, 2003.

100. Sokolova E., Horoshilov D. “Glubinnaya germenevtika v vizual'nom analize (na primere fil'ma V. Allena ''Zelig'')” [Deep hermeneutics in visual analysis (through the example of W. Allen's movie Zelig)]. Social'naya psihologiya i obshchestvo [Social psychology and society]. 2018, t. 9, no. 3, pp. 118-126.

101. Stam R. Film theory: An introduction.John Wiley & Sons, 2017.

102. 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.

103. The Cinematography of “The Incredibles” Part 1:

104. Tihonova R. Hudozhestvennoe reshenie fil'mov Aleksandra Sokurova: izobrazitel'nye osobennosti : dis.[Visual analysis of Aleksandr Sokurov's films] VGIK im. S. A. Gerasimova, 2011.

105. Tymchuk A., Ustyuzhaninova E. “Analiz eticheskih problem v fil'me "Elizium: Raj ne na zemle"” [Analysis of ethical issues considered in the film “Elysium”]. GosReg: gosudarstvennoe regulirovanie obshchestvennyh otnoshenij[GosReg: state regulation of social relation]. 2020, no. 3.

106. Usmanova A. Interv'yu[The interview]. 2017:

107. Usmanova A. “Nauchenie videniyu: k voprosu o metodologii analiza fil'ma” [Teaching the vision: on the film analysis methodology]. Vizual'naya antropologiya: novye vzglyady na social'nuyu real'nost' [Visual anthropology: new views on social reality.]. Saratov, 2007. Pp. 183-204.

108. Vdovina T. “Vizual'nye issledovaniya: osnovnye metodologicheskie podhody” [Visual studies: basic methods of research]. Vestnik Rossijskogo universiteta druzhby narodov. Seriya: Sociologiya[RUDN University herald. Series: Sociology]. 2012, no. 1, p. 24.

109. Yampol'skij M. Pamyat' Tiresiya. Intertekstual'nost' i kinematograf[The Memory of Tiresias: Intertextuality and Film]. RIK “Kul'tura”, 1993.

110. Yampol'skij M. Vidimyj mir. Ocherki rannej kinofenomenologii[Visible world. Essays on film phenomenology]. Nauchno-issledovatel'skij institut kinoiskusstva, Central'nyj muzej kino, Mezhdunarodnaya kinoshkola, Moscow, 1993.

111. Yampol'skij M. Yazyk-telo-sluchaj. Kinematograf i poiski smysla[Language-body-case. Cinema and search for meaning]. Moscow, Novoe literaturnoe obozrenie [The New Literary Observer], 2004.

112. Yanutsh O. “Analiz kinoteksta kak instrument ekspertizy kinoprodukcii” [Filmic text analysis as an expert film review tool]. Kul'turologicheskaya ekspertiza: teoreticheskie modeli i prakticheskij opyt [Cultural expertise: theoretical models and practical experience], Saint Petersburg, 2011. Pp. 286-303.

113. Yarskaya-Smirnova E. “Gender, vlast' i kinematograf: osnovnye napravleniya feministskoj kinokritiki” [Gender, power, and cinema: main directions of feminist film criticism]. Zhurnal sociologii i social'noj antropologii [Sociology and social anthropology journal ]. 2001. T. 4, no. 2, pp. 100-118.

114. Zacks J.M. Flicker: Your Brain on Movies. New York, Oxford University Press, 2015.

115. Zajchenko S. “Nekotorye osobennosti kinodiskursa kak znakovoj sistemy” [Some features of film discourse as a sign system]. Filologicheskie nauki. Voprosy teorii i praktiki [Philological sciences. Theory and practice]. 2011, no. 4, pp. 8286.

116. Zhdanova S., Chudova I. “Ideologii i utopii sovremennogo obshchestva: vizual'nyj analiz kinoteksta” [Ideologies and utopias of modern society: visual analysis of filmic text]. Sovremennyj diskurs-analiz [Contemporary discourse analysis]. 2011, no. 1, p. 51-71.

117. Zhukova N. “Pozitivnye i negativnye srezy iskusstva obrazca "Matrica": kul'turologicheskij analiz” [Positive and negative

cut art sample “Matrix”:cultural analysis]. Visnik Mariupol's'kogo derzhavnogo universitetu. Ser.:Filosofiya,

kul'turologiya, sociologiya [Mariupol State University herald. Series: Philosophy. Cultural studies. Sociology]. 2012, no. 3.

118. Zmitrochenko D. “Narrativnyj analiz v issledovanii hudozhestvennyh fil'mov” [Narrative analysis in feature film research]. Elektronnyj sbornik trudov molodyh specialistov Polockogo gosudarstvennogo universiteta [Electronic collection of Polotsk State University young specialists' works]. 2019, pp. 173-175.

СПИСОК ИЛЛЮСТРАЦИЙ

Рис. 1. Дэвид Бордуэлл. Восприятие фильма.

Рис. 2. Подходы к анализу фильма.

Рис. 3. Bateman J., Schmidt K. H. «Multimodal film analysis: How films mean». Основные направления FilmStudies.

Рис. 4. Транскрипция фрагмента фильма «Идентификация Борна» (00:11:36-00:12:10).

Рис. 5. Интертекстуальные отношения.