Russian web series: Mastering the new format
The article studies how domestic screenwriters and directors are exploring the web series format that started actively developing in Russia only five years ago. Both series produced for major internet platforms and indie projects created by independent studios in the past five years are reviewed. The article analyses how Russian authors understand and take into account in their work the specifics of the new field, as well as the format-forming features of web series that have developed abroad. Such aspects as the lack of censorship, freedom from severe restrictions on story genres and heroes’ types have a significant impact on the dramaturgy of native web series. Those are the things that determine the attractiveness of this new format for experienced Russian authors moving to the internet from related fields: cinema and television. The results of the study show that Russian dramatists and directors rely on foreign experience of creating web series, but at the same time they try to modify certain features of this format and sometimes manage to find their own unique solutions.
The article explores the characteristics of modern digital writing and questions about its interaction with modern culture as a whole, studies the modification of the contemporary bodily experience of everyday life in comparison with the pre-digital era and translates these changes into texts produced by the present digital culture.
The traditional life style changes as business and personal communications are moving to the Internet, and a new type of people – digital nomads – is emerging. Most activities, including commerce, transfer to WWW. Storytelling has started playing a greater role in promotion of goods and services, politicians and parties than direct advertising.
Stories seem to be true-to-life from the first sight, but most of them have definite mythological elements. The word creates images, and myths are made out of images. Virtual narrators involve «settlers» as well as «nomads» into the brand culture creating their own “heroes” and villains. The process of constructing and deconstructing different myths is going on in the «global village». Digital nomads may take part in myth-building or destroy «sacred images» being contracted employees or doing it for fun and pleasure.
Young active users, especially nomads, are a specific breed. Mobility and an opportunity to stay connected to the Net practically in every place of the world are typical for them. As a rule they have a broad outlook. In marketing terms they usually belong to a group of «innovators», «early adopters». They are independent, enjoy non-standard thinking, and at the same time have their own opinion leaders. All these should be taken into account when one is working out an effective marketing communication with digital nomads.
Typology of narratives as well as myths and archetypes which are used by marketers while communicating with nomads are presented in the paper. The role of visualization in creating involving content is being emphasized. Several cases in which storytelling is used as a marketing instrument are being analyzed.
The following article presents the results of an individual academic research, dedicated to the analysis of structure, functions and effects of political storytelling in terms of so-called “era of post-truth politics”. The author would like to introduce some concepts and approaches to storytelling from the points of view of Russian literary studies and comparative literary criticism, which includes ideas and insights of major literary historians of Russian Empire and Soviet Union. The author claims these ideas important, adaptable and relevant for the key ideas about storytelling that were drawn by Western social studies, as literature has a unique position and approach in Soviet Unioin, being regarded as “ideological add-on of society”. The following analysis leads to schemas of deconstruction of the acts of political communication worldwide through the lens of so called “shared narratives” (in Western tradition) and “wandering (migrating) plots” (in tradition of Russian Empire and Soviet Union literary studies` tradition). The last part of the article presents narrative analysis of three cases of modern political communication in Europe, Russia and U.S.A. The intention of the author was to show three of so called “wandering plots” elements in political communications of international leaders. Case of Europe covers political communication of Iens Stoltenberg, Prime Minister of Norway, during the election rally in 2013. Case of Russia covers political communication of current president Vladimir Putin during the reconstruction of his biography in 2015. Case of U.S.A. covers political communication of Donald Trump, the elected president of U.S.A., during the election rally in 2016.
This article answers the question of how contemporary Russian TV series portray the police. The results derive from a single-case thematic and functionalist study of the popular Russian TV series Glukhar’ (which aired from 2008 to 2011). The show merits special attention because it was on air when the Russian police were undergo- ing a legitimacy crisis, which lead to the 2009 police reform. The series recognized the crisis and responded to it with a set of justifications. I analyze the show’s social and cultural contexts, its plot patterns, and the functions of its characters. I build a typology of justifications and claim that the show justifies the police through an open discussion about the reasons for and consequences of their lawlessness. The series shows that the legitimacy of the police is repeatedly questioned, but trust in the police is always restored because police officers are depicted as estranged from the state but not from the community. Thus, the show contains an interesting example of overcoming a legitimacy crisis through its recognition. The study opens the floor to further discussions about how popular culture resolves intense social debates about policing by symbolic means in a moment when police legitimacy is contested.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
The article is devoted to the formation of the image of the pre-revolutionary history of Russia on the example of Yuri Tarich's film Wings of Serf (1926). In the first post-revolutionary decade, there was a departure from previous standards in the image of national history. Authors searched for new forms of screen representations of past events. Although the film inherits the tradition of depicting the king as a murderer and tyrant, the creators – director Yuri Tarich and screenwriter Victor Shklovsky – tried to transfer on screen revolutionary understanding of history. The film is influenced
by historical theory of Mikhail Pokrovsky, and Shklovsky introduced the economic element in the scenario as the main engine of the plot.
The avant-garde figures who came to cinema (Shklovsky, first of all, was a literary critic) came up with the rules of screenwriting craft on the go and challenged the boundaries of cinema's possibilities in practice. The purpose of Wings of Serf’s screenplay was to move away from the one-sided image of Ivan the Terrible and determine his actions as of economic basis. Shklovsky and Tarich developed the idea of the revolutionary remaking of the image of the past in their next work, the film version of Captain's Daughter.
The article covers the history of foreign screenings of Wings of Serf, focusing on the history of censorship bans and re-editing of the film for USA. The author shows in the article the possible influence of Wings of Serf on Ivan the Terrible by Sergei Eisenstein, which is implicitly present in both artistic and plot terms.
Despite success and foreign distribution, the movie was visually traditional, realistic, and researchers considered, most often, as the prologue before radical change of the relation to Ivan the Terrible in the thirties. The article shows how filmmakers of the first decade after the revolution used to work with historical material.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.