«ДИАЛОГИ О КУЛЬТУРЕ И ИСКУССТВЕ» Материалы VII Всероссийской научно-практической конференции (с международным участием) (Пермь, 25–27 октября 2017 г.)
In the article the experience of creation of interactive programs in the museum Khohlovka is presented. The principles of organization of the programs (universality, all seasons, dynamics, effect on five senses of tourist). Main components of the programs are distinguished: quest on the territory, meetings with heroes, folk games, masterclasses, tea-break. Attention is paid to the difficulties in organization of the programs. Ключевые слова: культурные проекты, музейные проекты, интерактивные программы, принципы организации, компоненты программ. Keywords: cultural projects, museum projects, interactive programs, principle of organization, components of programs.
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 author refl ects upon the book The Sources of cultural-historical psychology: philosophical-humanitarian context by V. Zinchenko, B. Pruzhinin, T. Schedrina. Moscow, 2010.
The main focus of this paper is the relation between the realisation of the right of the child to express his/her views and democracy in Russia. With this in view, I will study the interconnection between the right to express the views and the right to participate. Further, I will give an overview of the specifics of democracy in Russia, how they influence political participation, and what could be done to prevent the further infantilisation of citizens in Russia. Finally, I will explore traditional perceptions with regard to children’s participation in Russia and the legal framework and practice of the implementation of the child’s right to social and political participation.
The article deals with current approaches to research on social-economic impacts of cultural events. A systematic approach is proposed to analysis of services provided within cultural events in behalf of different target groups — stakeholders.
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.