Collection of articles dedicated to the activities of the outstanding French historian E. Le Roy Ladurie. The various aspects of his multifaceted work: historical anthropology, the history of climate, cliometrics, economic history, history of the peasantry, visual anthropology, etc., and especially the perception of his work by the teaching community of different countries.
The history of visual anthropology as method and theory is considered in the paper. Its place in the system of cultural sciences, as well its practical functions carried out first of all while conducting the field research are analyzed. The short history of audiovisual documenting and using of photo and cinema tools in the western expedition practices is discussed. The situation of "communication turn» in anthropology as the factor which redefined the identity of discipline in the second half of the XX century is discribed.
The present chapter is dealt to the main steps of becoming and exisiting of Russian film in 1900-1990s.
The paper describes how the market meets culture in modern Russian cinema through the technologies of product placement. Interpreting data of the expert interviews and using content analysis of modern Russian blockbusters, the author reveals peculiarities of product placement in contemporary Russian cinema. Commercialisation of domestic film production industry is also analysed.
product placement; российский кинематограф; реклама; коммерциализация культуры.
The article traces the rise of anthropological approach within the history of Soviet media studies. The author examines contemporary trends and popular themes that have been studied by employing anthropological methods, and discusses the prospects for the development of anthropology of mass media as a full-fl edged research fi eld.
This book examines shifts in the meaning of montage in different historical situations and in various artistic media, including literature, cinema, theater, and visual arts. Its scope includes literature and art of Soviet Russia (both official and unofficial), Germany, France, and the United States from 1910 to the 2010s. While this book does not provide a cohesive historical sketch, it delivers comparative studies on artists whose works problematize common understandings of the avant-garde in art history.
This study argues that different types of artistic montage correspond to different conceptions of history, dividing the history of montage aesthetics and techniques into three periods: (1) constructing, (2) post-utopian, and (3) historicizing or analytic montage. This book intends to demonstrate how the revolutionary montage aesthetics of the 1920s was reinterpreted and adapted for critical analysis of utopian consciousness in unofficial literature and art of the 1960s and 1970s. This change became possible because unofficial art, unlike Soviet socialist realism, was connected with the experiments of European and American radical modernism and postmodernism.