The article is devoted to the study of web series’ main dramaturgic features and key characteristics that have developed in the process of emergence and establishment of this format. The author reveals main dramaturgic differences between web series and TV series and analyzes the reasons of such differences. Particular attention is paid to how and why does the internet transform the traditional principles of television series plot construction. These changes are inextricably linked not only with the specifics of the new environment, but also with the characteristics of its audience.
The article is devoted to the concept of "rasa" (aesthetic experience), one of the key concepts of Indian aesthetics. The author briefly traces the features of the interpretation of this concept at different stages of its existence, in relation to different types of art. The initial phase is traditionally associated with the sphere of theatrical reflection and the theory of painting (“Natyashastra” and “Chitrasutra” treatises respectively). Subsequently, through efforts of a number of theorists, rasa became one of the key categories of Indian poetics. However, it retained significance for other arts, firstly for stage practices, including music. Here rasa became an inherent feature of the ragas, specific modes of Indian music. It is assumed that each raga has its own particular rasa, and also can be associated with a certain range of extra-musical connotations.
This article is focused on the role of rasa in the formation and existence of the ragamala phenomenon, a special genre form that connects different spheres of Indian art. The word «ragamala» (Skt. «garland of ragas») in its narrow sense means series of poetic stanzas and miniature paintings of the XVI–XIX centuries, describing and depicting anthropomorphic images of ragas. In a broad sense, it can mean the whole tradition of existence of visual images of musical concepts (i.e. raga, svara, etc) in Indian culture. Its origins are found in treatises on music, then it was further developed in lyric poetry and, finally, in miniature painting. The concept of rasa is considered in this article as one of the main factors determining the very possibility of the emergence of this unique tradition.
The current stage of development of cultural industries is determined by two factors – the active digitalization of practices of interaction with art and the change in the structure and laws of communication in the public sphere. The public sphere expands the range of platforms, loses the familiar hierarchy and mechanisms of influence. In this situation, it is important to look at the history of the development of cultural industries through the prism of participatory culture. The article discusses the transformation of research approaches to the problem of the relationship between art and media, the process of mediation of artistic practices. We study the changing role of the art critic and “the emancipated spectator” in the public sphere. An analysis of modern museum, exhibition and theater projects from the point of view of using media communications in them allows us to consider new forms of digital curating as a way of influencing the audience. It allows changing not only artistic, but also social attitudes through the use of cultural industries as an instrument of “the soft power.”
The article is dedicated to analysis of artistic practices of neodada and its possible reintegration in the current art process. Taking such neodada features as process-based and performative projects we point out the relation of such practices to zen philosophy which used to influence the intellectuals in 1950–1960s. We argue that the aim to fight the power of capitalism and Spectacle which was one of key concepts for neodada artists is still being in focus of the contemporary art, therefore, strategies of neodada and zen-buddhist vision (especially the concepts of Flux and Emptiness) should be highlighted and revised by artists of today. It might become the kind of “soft power” capable of dismissing the overwhelming Spectacle.
The article explores the functions of film costumes in the works of Cecil B. DeMille, the American film director, whose pictures of the late 1910s and early 1920s are notable for their artistic achievements in the field of set and costume design. On the material of certain films from his “matrimonial cycle”, the author analyses the narrative and spectacular functions of costumes, while making an emphasis on the director’s role in the development of the artistic uniqueness and visual extravagance of Hollywood films of this period.
The films of this cycle display some key strategies in film costume functioning and design methods that would be adopted by the Hollywood film industry to become the new production standard in this field. Among these strategies we should note the focus on development of the aesthetic qualities of film costumes, which tend to be more consistent with the plot of a particular film and its visual style, rather than simply follow current trends in fashion. Another important strategy is the gradual enhancement of the role of costumes in the film narrative structure, especially in pictures about visual makeovers and transformations, as well as in stories about interclass social transitions. Finally, the DeMille films are quite notable for developing the image of a modern woman, as well as focusing on the new ethical aspects of romantic relationships. Films of the “matrimonial cycle” emphasize the importance of both visual attractiveness and the stylish wardrobe for constructing the image of a successful and modern woman who knows how to make the right impression and express herself to get the benefits she wants and to easily achieve the desired goals. This image will be further developed in other Hollywood films in the following years.
As a director and a visionary Cecil B. DeMille also contributes to the systematization of the costume making processes through hiring a creative team of designers and artists who collaborated on developing the distinctive visual style of both sets and costumes within one project. The commercial potential of stylish on-screen costumes has also been explored by Hollywood studios through the success of DeMille’s films.
This article is devoted to conceptual translation of the terms "transcendence" and, connected with the former, "symbol". Difficulties which appear in the translation of those concepts into the language of contemporary culture are due to the fact that the terms are descriptive, not explanatory. This indicates a special type of ontology, that refers to Plato. Symbol, which is at the same time transcendent and immanent, will be analyzed through the examples of Merab Mamardashvili's philosophy and Andrey Tarkovsky's films. Their understanding of symbol is linked to Pavel Florensky's philosophy of art and Pseudo-Dionysius's theology of symbol.
Society and television in today's Russia are in a state of protracted conflict. This ever-deeping conflict is of ethical nature. So, if the channels continue their policies of pursuit of superprofits, do nt change their tactics and strategies and ignore the demands of the televiewers institutional changes lie in store for this country introducing stricter advertising laws and new forms of social control.
The paper offers a review of positions held by prominent philosophers (Plato, Benjamin, Heidegger, Derrida) regarding the power of art. In spite of the essential differences between their approaches to art those thinkers displayed interest in the same questions and problems. That helps to reassess Plato’s harsh criticism of art, which turns out to be a fairly typical philosophical way of dealing with art. In an imaginary conversation with the contemporary thinkers Plato stands out, as he is aware of mission and influence of art in human life and intends his own philosophy to be politically responsible poetry.