Telekinet Telekinet - Academia.edu (original) (raw)

Papers by Telekinet Telekinet

Telekinet, 2023

The article introduces into scholarly discourse reference bibliographic materials (index) contain... more The article introduces into scholarly discourse reference bibliographic materials (index) containing publications about China in the
popular illustrated magazines of the Russian Empire Budilnik, Oskolki, Strekoza and Shut. In these publications, the author looked for
the reaction of the Russian press to the Boxer Rebellion (1898–1901) in the form of mentions and cartoons. The chosen time frame
corresponds to the period during which the events of the rebellion took place. The compiled index contains over 500 references to
China and makes it possible to trace the dynamics of Russia’s interest in China in the early 20th century. The index will help describe
and explain the mechanics of the formation of the image of China, its representation and transformation in the periodicals in con-
nection with the historical and cultural context and analyze the verbal and visual- figurative representations of China, the rebellion
of the Yihetuan, the Chinese and the “boxer” in illustrated humorous magazines. The study of magazine material of various kinds
contributes to understanding the mechanisms of comprehending Another culture and its subsequent representation. The analysis of the
elements introduced into the image of China with the ideological and plot concepts of the boxer movement allows us to particularize
the emergence, consolidation, and dissemination in Russia of some conceptions about the values, traditions, and history of China.

Telekinet, 2023

The analysis of the script The Blue Star by Samuil Bolotin, written for Aleksandr Ptushko’s exper... more The analysis of the script The Blue Star by Samuil Bolotin, written for Aleksandr Ptushko’s experimental film, focuses on the key
images that determined the visual side of the plot and were characteristic of Ptushko’s films. The author addresses the theme of the
influence of special effects on the imagery of the film of the 1930s and explores the nature of mythologemes and visual codes. The
article analyzes the features of the plot about the colonization of Venus, the construction of the conflict between man and the animal
world as representatives of the border-line worlds and the key motives and images of the film about a visit to Venus which was
conceived and partially implemented by Ptushko in the second half of the 1930s.

Telekinet, 2023

To commemorate the 120th anniversary of the birth of the actress Faina Ranevskaya and the 80th an... more To commemorate the 120th anniversary of the birth of the actress Faina Ranevskaya and the 80th anniversary of the release of Mikhail
Romm’s film Dream on Soviet screens, the author publishes unique archival finds — the autographs of Evgeny Gabrilovich’s script
written for Mikhail Romm’s film Dream. The author recreates the history of the idea, clarifies a number of events important for
a complete and detailed construct of the historical, political, and cultural contexts in which the story, a social drama set in Poland in
1933, was created. The director of the film Dream presented his copy of the script (director’s version) to the actress. And in 1968,
Ranevskaya handed it over to the screenwriter Gabrilovich.

Telekinet, 2023

The development of live streaming is the main trend in today’s media space. As of the end of 2021... more The development of live streaming is the main trend in today’s media space. As of the end of 2021, there are five major streaming
services, and three of them are UScompanies: Netflix, Amazon and Disney+. Disney+ was launched later than the others, but thanks
to the restructuring of the business and the acquisition by the holding of the Hulu and ESPN streamers, it has become an important
player in the market. The article analyzes the highest- rated streaming series in 2021–2022, as well as the popular Netflix streaming
stories that have generated a lot of content from all market players.
The author examines the economic models of the USMax (based on the HBO and Discovery cable channels), Paramount+ and Apple
TV streaming services. After the streaming market began to peak rapidly in 2020, and the growth rate of the US economy slowed
down, the live streaming platforms had to do more than just talk about their future, but also to upgrade their business models: to
introduce cheaper tariffs with advertising, create FAST-television channels, participate in the traditional film market, etc.

Telekinet, 2023

The article introduces into scholarly discourse valuable archival material – an album dedicated t... more The article introduces into scholarly discourse valuable archival material – an album dedicated to the film On the Shore of Lake Sevan
(The Secret of Mountain Lake) which is comprised of photos and reviews of the Soviet and foreign press. The authors analyze the
content of the archival find, the plot structure and the pictorial treatment and determine the place of the film in the history of cinema.
The children’s film about the exposure of magic shows the fairy tale codes and the specific features of Rou’s cinematography. The
authors analyze the performance of the actors and the camera crew, the ways of representing the legend on the screen, and the role
of the natural landscape and identify the most effective methods of working with an adventure story in the historical and cultural
conditions of 1953-1954. They reveal the ways of including folklore motifs in the narrative and the techniques of self-citation used
by the director. The authors come to the conclusion that the fantastic, ecological and didactic components are organically interwoven
in the film. The published archival materials make it possible to reconstruct the historical and cultural context of the perception of
Rou’s film and determine its significance for the development of Russian and Armenian cinema.

Telekinet, 2023

The article examines the possibilities of the close-up as an independent artistic technique, usin... more The article examines the possibilities of the close-up as an independent artistic technique, using the example of Season 2 (1995-
1996) of the Friends TV series. The visual norm of the series is medium shots, which is due to the shooting technology; whereas
close-ups, as shown in the article, sharply contrast with the norm and are used in a situation of genre shift (as markers of the western,
drama, romantic comedy, horror, soap opera, etc.). Each close-up in the second season of the Friends TV series is one of the tools
for introducing features of an alien genre, which is mockingly played out and destroyed, generating a comic effect. In addition, in
some cases close-ups are also related to the narrative situation of a “film within a film”: They are used in soap operas, music videos,
and commercials watched by the characters of the series. Thus, the article proposes a way to analyze the size of shots as a tool for
determining genre boundaries.

Telekinet, 2023

The article analyzes the drama of Svetlana Proskurina’s film and the images of the central charac... more The article analyzes the drama of Svetlana Proskurina’s film and the images of the central characters. Since the theme of the male
character’s obsession with his beloved woman and the theme of the heroines’ enchantment do not give an answer to the central
question of the film: what is “first love” actually, the author identifies mythological components in the narrative and analyzes how
they help effectuate the first love theme. Having discovered in the film the story of Orpheus and Eurydice turned inside out - the line
of George and his beloved and allusions to the Odyssey, the author draws conclusions about the ways the film’s creators manipulate
time. The analysis of the chronotope proves that the space and time constructed in the film have the characteristics of an illusion, of
another world. The author concludes that the main idea is expressed through monologue speech.

Telekinet, 2023

The author of the article, drawing on the example of contemporary Russian director Larisa Sadilov... more The author of the article, drawing on the example of contemporary Russian director Larisa Sadilova’s films, reflects on some trends
in today’s Russian cinema resulting from the emergence of the “women’s wave” phenomenon. Women directors who currently work
in the Russian film industry (L. Bobrova, S. Proskurina, A. Melikyan, M. Razbezhkina, N. Meshchaninova, V. Gai Germanika, etc.)
present their views on modern life and contemporary woman, offer the Russian audience a view of their identity which is alternative
to the male one, and deal with a range of topical issues and problems of concern to women. In their view of contemporary woman,
representatives of the “women’s wave” give prominence to “woman’s destiny”: they blow up patriarchal ideas of “woman’s duty”
and the conventional view of women based on various stereotypes. Sadilova’s films have common features with the works by other
directors, but they differ markedly from the main female agenda. Her films are among the few that tell about Russians’ real life,
about ordinary people who live their ordinary lives with dignity, and about everyday life that goes beyond genre conventions. The
director looks at her characters with great attention and delicacy and reflects on the life of contemporary Russia through the prism
of their destinies.

Telekinet, 2023

The material about the teaching activity of actor Fyodor Nikitin in the 1920s deals with the chil... more The material about the teaching activity of actor Fyodor Nikitin in the 1920s deals with the children’s studio called the First Child
Regiment of the Young Army of Culture, “Child Theatre Ring”. Young actors staged performances and created paintings; their
activities differed from what was offered at that time by state children’s theatre organizations. The influence of avant-garde art of
the 1920s is revealed in the works of the studio’s artists. The publication presents Nikitin’s previously unpublished memoirs of his
performance on the stage of the Bolshoi Theatre in Moscow. The comical image in which the actor appeared then was not accepted
by the public. A significant part of it was made up of the political elite, since the performance was the concluding event of the 12th
Communist Party Congress. The material we publish makes important additions to the portrait of the actor’s creativity and can be
an important comment in the characterization of early Soviet culture. It allows us to reconstruct the socio-cultural landscape of the
USSR in the early 1920s which formed a specific understanding of childhood culture.

Telekinet, 2023

This article studies the representation of China in caricatures in printed publications of the Ru... more This article studies the representation of China in caricatures in printed publications of the Russian Empire based on material of the
Boxer Rebellion. The study of journal materials of various kinds contributes to understanding the mechanisms of comprehending
Another (Chinese) culture and its subsequent representation. The author reviews research on the subject of caricature and describes
the context in which stereotypic ideas about China were constructed and communicated in the early 20th century. Caricature is studied
in the context of political propaganda. The choice of visual research tools, which the author proposes for working with visual images,
allows us to identify clichés and stereotypes that were formed in relation to the Chinese.

Teleknet, 2023

The goal of this study is to identify the causes of problems in attracting film companies to the ... more The goal of this study is to identify the causes of problems in attracting film companies to the Kaliningrad region and to develop
recommendations for the development of the Kaliningrad film cluster. The object of the study is the Kaliningrad film cluster, and its
subject is the causes that create problems in attracting film companies. This article examines various development programmes in
the region, including the strategy of socio-economic development of the “Kaliningrad City” urban district for the period up to 2035.
A survey conducted among the film companies that took part in filming on the territory of the Kaliningrad region over the past few
years and received subsidy payments identified the main problems which the companies face during film production in the Kalinin-
grad region. Having analyzed the identified problems, the authors have proposed a number of recommendations that can contribute
to solving the problems existing in the Kaliningrad film cluster.

Telekinet, 2023

The article studies one of the most important milestones in documentary and chronicle film during... more The article studies one of the most important milestones in documentary and chronicle film during World War II-a documentary about the Crimean (Yalta) Conference of the leaders of the three powers, allies in the Anti-Hitler coalition, held in February 1945. Sergei Gerasimov, a well-known director and winner of the Stalin Prize, was appointed director of the shooting of this film. Together with Gerasimov, a large team of documentary filmmakers, including director Ilya Kopalin and cameramen I. Belyakov, V. Dobronitsky, A. Krichevsky, N. Petrosov, A. Khavchin and R. Khalushakov, went to Crimea to film the conference. Gerasimov perceived his work on this film as an important stage in his professional career and, at the same time, he sought to keep out of harm's way the Soviet documentary makers, who, according to the party leaders, did not capture events on the fronts convincingly and promptly enough. The author compares the film with various official documents of the conference, using wide-ranging historical research. He seeks to reveal how the inclusion of certain episodes in the final cut reflected the historical and political trends shortly before the Cold War. A lavish reception for the delegations in combination with the gorgeous Crimean palace, originally intended to be a tsar's residencethis was supposed to produce (and did produce) the effect of a "royal reception" and made it clear that in its foreign policy actions, the Stalinist state was the full-fledged successor to the buried Russian Empire. Understandably, Gerasimov's official, ideologically regulated film did not reflect all this explicitly. However, the film showed the super objective and the outcome of the Yalta Conference quite adequately: in Yalta, the triumvirate of the allied powers, in which the USSR played the leading role, signed a death sentence to Hitler's Germany and outlined the postwar world order.

Telekinet, 2023

The article introduces into scientific discourse valuable materials kept in the State Central Fil... more The article introduces into scientific discourse valuable materials kept in the State Central Film Museum — props, personal belongings
of the main character of the film Dersu Uzala, directed by Akira Kurosawa. The work includes an analytical review of the Soviet
press publications in 1973 to 1976 about the shooting of the film. The information provided allows us to compile a fairly complete
picture of the information campaign of the film Dersu Uzala in the Soviet Union: its announcement, coverage of the filming process,
etc. Focus is put on the social and political background of the film. Kurosawa’s lengthy statements about the difficulties of producing
independent films make it possible to more clearly understand the specifics of filmmaking abroad in the 1970s, especially in Japan and the USA. The work presents detailed statements in the press of the director, the performers of the main roles and the screenwriter.
The author also introduces an important foreign policy context reflecting the reaction of individual countries (China) to the shooting
of this major Soviet-Japanese film.

Telekinet, 2023

The author of the article analyzes the films of the famous Soviet director Konstantin Yudin in ch... more The author of the article analyzes the films of the famous Soviet director Konstantin Yudin in chronological order and reveals how
the filmmaker’s unique method of working with material was formed. The originality of Yudin’s direction is based primarily on his
ability to use the comicality of situations and to detail female images. His working techniques are revealed through the example of the
films A Girl with Character (1939), Four Hearts (1941), Antosha Rybkin (1942), and Twins (1945). The article examines the influence
on Yudin of the filmmakers Sergei Eisenstein and Grigory Alexandrov; emphasis is put on his collaboration with the playwrights
Nikolai Erdman and Mikhail Volpin, and the director Boris Barnet. The author focuses on allusions to the theatre in Yudin’s films.
The film Brave People (1950), which at first glance was not in the comedy line, but still had the main sings of a comedy, is analyzed in detail. Humorous intonations can also be found in other films of the master: An Outpost in the Mountains (1953), adaptations of
Anton Chekhov’s prose, On the Stage (1956). The author analyzes the storyboard of the director’s last film A Wrestler and a Clown
(1957), which captures the tragedy of the director’s view of life.

Telekinet, 2023

The article provides a study of film criticism as an important type of creative activity in the c... more The article provides a study of film criticism as an important type of creative activity in the context of the development of film-
making. The author proposes a definition of the concept of “film criticism”, taking into account the peculiarities of its historical
development as a significant type of activity in the information and media space. Focus is made on different types of film critical
discourse. The article discusses various types of discursive practice of film criticism such as advertising, scientific, journalistic, and artistic. In conclusion, the author educes that in film criticism, depending on the time context, author’s strategies, editorial and
author’s goal-setting, readers’ (viewers’) requests, different discursive practices such as journalistic, scientific, artistic, and adver-
tising are prevailing. However, the mobility of film criticism, its ability to adapt to new socio-cultural requirements and challenges
is explained by the fact that it synthesizes different approaches, methods of considering a work, an event, and the author of a work
of art. Film criticism always demonstrates a high degree of adaptation and viability even in during a crisis of cinema and absence of
mass demand for publications about it.

Telekinet, 2023

The article analyzes the documentary video films in the project Meeting You of the South Korean M... more The article analyzes the documentary video films in the project Meeting You of the South Korean MBC television network about
virtual meetings with the deceased from the standpoint of the discursive and narrative approaches. The audiovisual documentation of
a virtual meeting with a deceased person, prepared and conducted by the TV company in accordance with a technological scenario,
becomes a product of mass culture and, in turn, has impact on the perception of death in the broad multicultural (global) audience.
Analysis of the features of this audiovisual project makes it possible to assess the trends in the development of new cultural practices
of communication with the deceased and ways of their representation in the mass media. The author concludes that video films about
virtual meetings with deceased relatives, being essentially a staged audiovisual product, are nevertheless perceived as documentary.
They document the experience of such staged meetings and record the emotions of real participants as certainly realistic. The films
in the Meeting You project establish new general patterns of representation of visual images of the deceased, their virtual nature, and
their interaction with living contactees. The content of such films is perceived by both the participants and the audience as genuine
events, as actions devoid of a mystical touch. The emotional response of the audience of the films in the Meeting You project proves
that this new experience of virtual mediatized treatment of the memory of the dead is generally accepted.

Telekinet, 2023

The article studies the film A Tale of Filipino Violence (2022) by Filipino director Lav Diaz fro... more The article studies the film A Tale of Filipino Violence (2022) by Filipino director Lav Diaz from the point of view of considering
the anthropology of “difficult” places of memory and the representation of memory on the screen. The phenomenon of memory
and its social functioning have been studied by the scientific community for several decades and are expressed in various forms of
representation. One of such forms is filmmaking — fiction and documentary films. And while documentary cinema represents the
memory of various social groups through the memories and judgments of direct participants in the events based on documentary
evidence, fiction film usually presents a more complex structure, in which memory “breaks through” artistic images that are often
fictional, but absorb echoes of time and events.

Telekinet, 2022

The article is devoted to the film by Claire Denis “ Both Sides of the Blade “ (Avec amour et ach... more The article is devoted to the film by Claire Denis “ Both Sides of the Blade “ (Avec amour et acharnement), the author analyzes
the techniques by which the narrative is built and distance is constructed. Using the tools of structural and post-structural analysis
(R. Barth, G. Deleuze), the concept of physicality, the author identifies the functions of close-up, speech, which form the space of the
intimate. The elements of genres that build intrigue in the film are analyzed. Intimate acts not so much as a form of communication,
but as a way of leveling the distance. The author analyzes the nature of the camera, its role in building the narrative and comes to
the conclusion that the structure of the film, by colliding speech and action, reveals their inconsistency and builds a kind of intrigue
between the author and the viewer.

Telekinet, 2022

A continued publication (part 2) of the annotated catalogue of early foreign and Russian films fr... more A continued publication (part 2) of the annotated catalogue of early foreign and Russian films from the collection of Irina Zhigalko
(1912–1976), an art history PhD, director, assistant to Mikhail Romm, and associate professor at the Gerasimov Institute of Cinematography
(VGIK). The material will fill the existing gap in the knowledge of the cinematic repertoire of Russian and foreign films in the 1900s‑1910s. These materials are intended to help to more accurately determine the influence of French cinema on Russian
/ Soviet culture and domestic cinema. The Zhigalko archive, held by the State Central Film Museum, allows us today to open another
important line of the teacher’s interests — collecting. The films that have been included in the annotated filmographic sheets
published in Telekinet cannot be found in the well-known catalogues of silent films published in Russia to date. The published films
are provided with annotations that allow you to get an impression of the topics and genres that are in demand among the audience.
The point to note is that the children’s theme is featured very prominently in the works selected in the catalogue; this is especially
important for analyzing the interest of Romm’s students in the culture of childhood and the fairy-tale genre. Popular science, educational
and scientific films are quite widely presented, which probably made up for the shortage of similar Russian film products.

Telekinet, 2022

Valuable document is entered into the scientific circulation — discussion and reception of sketch... more Valuable document is entered into the scientific circulation — discussion and reception of sketches to the famous animated film of
Yuri Norstein Skazka skazok, which became a milestone in the history of Soviet and Russian animation, reflected significant images
of memory, culture, collective history.

Telekinet, 2023

Teleknet, 2023

Telekinet, 2023

Telekinet, 2022

Dina Musatova Speaks about Andrey Tarkovsky, 2022

The conversation between Alexey Golubev, the editor-in-chief of the CSDF Museum website, and the ... more The conversation between Alexey Golubev, the editor-in-chief of the CSDF Museum website, and the film director Dina Musatova
took place in November 2018.
Dina (Vladilena) Mikhailovna Musatova is a theatre actress and documentary filmmaker. In 1954, she enrolled into the directing
faculty of VGIK (Mikhail Romm’s class), from which she graduated in 1960. Musatova’s fellow students at VGIK were A. Tarkovsky,
I. Raush-Tarkovskaya, V. Shukshin, Yu. Fait, A. Mitta, V. Kitaisky, A. Gordon. Between 1960 and 1991, she was a director at the
Central Documentary Film Studio (CSDF).
In 1966, Dina Musatova made the documentary film The Three Andreys (CSDF, director of photography Alexander Kochetkov). This
film was about the creation of the film Andrey Rublev and the creative search of its main authors — Andrey Tarkovsky and Andrey
Konchalovsky. The film was not released for the general public. It was first shown at the beginning of perestroika in the Cinema
House during a retrospective show of Andrey Tarkovsky’s films. Many of the shots from this film which depict the outstanding
director have become canonical today.