Эволюция развлекательных телеформатов в 2000-х гг.
The article (Continued from #8) deals with the issues connected with the impact of the interior institutional, cultural and communicative matrices on the functioning of Russian media and television in particular, as the most popular and influential resource of public communication. The author reveals the link between institutional matrices, defining the life of the society in general, communicative matrices, regulating social communication, and media matrices setting the limits of professional activity in the sphere of television.
The collection contains articles presented by authors in frame of the XI All-Russian Scientific Conference "Modern Screen Worlds : Myths and Reality" which was held at the State Institute of Art of the Russian Federation Ministry of Culture in Moscow on 21-23 April, 2014. Different issues discussed relating to the latest trends in the field of screen arts (film, television, digital video, et al.) in a variety of aspects - art criticism, phylosophical, sociological, etc.
The article examines some issues connected with the impact of the interior institutional, cultural and communicative matrices on the functioning of Russian media and television in particular, as the most popular and influential resource of public communication. The author reveals the link between institutional matrices, defining the life of the society in general, communicative matrices, regulating social communication, and media matrices setting the limits of professional activity in the sphere of television.
This book is the first to explore the composition of television ratings in a cross-cultural, comparative manner. Using both communication history and the sociology of quantification, Television Audiences Across the World illuminates why the whole television industry, the television audiences themselves, refer to ratings as the main way to represent the television-watching public. It shows how a specific technology, the peoplemeter, has become a "state of the art" in very different cultural contexts, including major non-Western countries. It analyses how television audience measurement succeeds in homogenizing diverse ways of watching television among different populations, creating "apparent nations", and at times ignoring entire regions or parts of the population. The chapters in this volume discuss why television audience measurement has become the dominant model for the evaluation of popularity in the post-modern world, the true "voice of the masses", still powerful in supposedly fragmented societies.
The article dwells on the problem of an indefinite legal status of television parody in the Russian Federation. This has been viewed in terms of stipulations in paragraph 3, article 1274 in Civil Code of the Russian Federation, allowing free use of products made in the genre of parody. The author attempts to formulate the criteria for attribution of various materials to the genre of parody. These criteria have not been thoroughly studied in scientific literature yet, despite the growth of number and popularity of television programs referring to this genre on modern TV.
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.