The paper is dealt with theory and practice of screenplay elaborated within the conceptual framework of Russian Formalist School in Humanities, in particular with the legacy of Yuri Tynjanov.
The book is dedicated to the Leningrad architect Nikolai Alexandrovich Miturich (1891–1973), whose work has so far remained virtually unexplored in Russian historiography. His long and incredibly rich creative career will be a discovery for anyone interested in Russian art of the first half of the 20th century. Miturich took part in the most important events in the history of the Leningrad architectural school during the first post-revolutionary decades. His legacy is very diverse: from park kiosks and sports pavilions to Palaces of Culture and theater buildings. This book contains unique materials from the architect’s personal archive. For the first time, more than 100 documents are published: photographs, architectural projects, furniture sketches, theatrical stage designs, as well as a diary and drawings created during his trip to the battle front during the First World War.
The present article aims to investigate some vocal effects that came into play in Soviet films of the early 1930s. In the course of the early Soviet experiments with sound recording, performed by broadcast engineers Alexander Shorin (Leningrad) and Pavel Tager (Moscow), the Soviet Union has become able to set up an independent sound film production. It was probably not so highly advanced in Russia as in Hollywood, but still it was sufficient to shoot films with impressive sound effects. During the earliest period, human voices recorded to film simultaneous to the picture, underwent certain distortions, not only due to the shortfalls of sound technology but also for a clear conceptual reason. For example, a voice was being alienated from the body and tended to become a kind of supreme instance that represented the Soviet state existing ‘anywhere and nowhere’. Such films as ‘Alone’ by Grigorij Kozintsev & Leonid Trauberg (1931), ‘Ivan’ by Olexander Dovzhenko (1932) and ‘Deserter’ by Vsevolod Pudovkin (1933) give evidence of how this concept was implemented in the early film. A kind of supernatural voice that belonged to the state was set to be emitted via loudspeakers. It was then gradually getting inside human mind and started ruling it from the inside like a personal voice. The aim of the analysis is to examine how the dominant (transcendent) voice of the state triggers the protagonist’s identity loss while forcing the individual to get his self-adjusted to alien’s voice.
The article about the late Vladimir Mayakovsky
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.