SCREEN TECHNOLOGIES OF BROADCATING SYMBOLIC CAPITAL OF THE URALS, RUSSIA'S MEDIAN REGION (original) (raw)
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Perspektivy nauki i obrazovania – Perspectives of Science and Education, 2019
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Behind the Screen: Russian New Media
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Should we be surprised that as the new computer-based media expand throughout the world, intellectual horizons and aesthetic possibilities seem to be narrowing? If one scans Internet-based discussion groups and journals from London to Budapest, New York to Berlin, and Los Angeles to Tokyo, certain themes are obsessively intoned, like mantras: copyright; on-line identity; cyborgs; interactivity; the future of the Internet. This follows from the Microsofting of the planet, which has cast a uniform digital aesthetics over national visual cultures, accelerating the globalization already begun by Hollywood, MTV, and consumer packaging: hyperlinks and cute icons, animated fly-throughs, rainbow color palettes, and Phong-shaded spheres are ubiquitous, and apparently inescapable. So, given its intellectual traditions, totalitarian experience, distinct twentieth century visuality (a particular mixture of the Northern and the Communist, the gray and the bleak), and finally, its continuing pre-occupation with the brilliant avant-garde experimentation on the 1910s and 1920s, can we expect a different response to new media on the part of Russian artists and intellectuals? What will - or could - result from the juxtaposition of the Netscape Navigator web browser's frames with Eisenstein's theories of montage? It would be dangerous to reduce heterogeneous engagements to a single common denominator, some kind of unique "Russian New Media" meme. Yet a number of common threads do exist. These provide a useful alternative to the West's default thematics, while articulating a distinctive visual poetics of new media.
MULTIMEDIA AND TRANSMEDIA STORYTELLING FORMING "SPIRITUAL TIES" BETWEEN RUSSIAN GENERATIONS, 2019
Technological innovations in the modern media industry have led to the emergence of the risk of insufficiently effective communication between "the analogue" and "the digital" generations of the Russians. Storytelling as a genre of narrative journalism has the potential of involvement, it facilitates the perception and holds the attention of "the digital youth". The organization of multimedia and transmedia narratives is considered as the basis for possibly effective intergenerational communication and the forming of "spiritual ties" (as said by the President of Russia V. Putin). The work reveals the values and constructed meanings in storytelling projects like "1917. Free history"and"1968.Digital", as well as the differences in their perception by the "analogue" and the "digital" generations. The results of the study show that representatives of both generations seem interested in the technological side of a storytelling called "1968". However, the younger generation demonstrates less interest towards another storytelling, "1917". Nevertheless, the projects' messages are mostly not read by the "digital" generation. The values broadcasted in "1968" are not accepted by the "analogue" generation. In addition, the constructed values in the mentioned storytelling do not comply with the political demands of Russia, which makes it doubtful that they are used to form "spiritual ties" between the Russians.
CINEMA AS A TOOL FOR INFLUENCING HISTORICAL CONSCIOUSNESS IN RUSSIAN-UKRAINIAN INFORMATION WARFARE
Codrul Cosminului, 2020
The article analyses the techniques and methods used to influence historical consciousness through the cinema. The strategy of using cinema in the modern information environment as a tool of psychological influence on the consciousness and subconscious of the target audience is described. Cinema is considered as an integral part of a comprehensive system of influencing the target audiences, including such an essential part of it as historical consciousness. The effectiveness of modern means of providing feedback on the watched films, particularly in the form of audience reviews, as a part of a complex strategy of information exploitation is highlighted. The phenomenon of the interaction of prosthetic memory with the collective one while forming and consolidating the beliefs necessary for the initiator of information influence is studied. The advantages of cinema as a tool for creating prosthetic memory are given, such as imagery, the effect of presence in the events of the past, the identification of the viewer with the film characters, the simplicity of the material presentation. Rezumat: Cinematografia ca instrument de influențare a conștiinței istorice în războiul informațional ruso-ucrainean. Articolul analizează tehnicile și metodele utilizate pentru a influența conștiința istorică prin intermediul cinematografiei. Este descrisă strategia utilizării cinematografiei în mediul informațional modern ca instrument de influență psihologică asupra conștiinței și subconștientului unui grup țintă. Cinematografia este considerată parte integrantă a unui sistem cuprinzător de influențare a publicului, vizând un element esențial al acestuia, respectiv conștiința istorică. Este evidențiată eficacitatea mijloacelor moderne de a oferi o reacție la filmele vizionate, în special sub forma recenziilor din partea celor care le-au vizonat, ca segment al unei strategii complexe de exploatare a informațiilor.
This article examines how the nation is presented and staged on the small screen in Kazakhstan. Television is a mirror in which the nation can project itself as an "imagined community." However, the Kazakhstan authorities waited a long time before investing in the small screen. As the country feels more pressure from Russia and younger generations seek a greater sense of Kazakh identity, the authorities seem decided to invest into soft power tools that reinforce Kazakhstani/ Kazakh cultural autonomy. After a brief overview of the Kazakhstani televisual landscape and its recent evolutions in ownership, language, and audience ratings, I examine documentary films as a reflection of official historiography, and then decrypt the broadcast "Signs. Legends of the Steppe," which encapsulates the new genre I name patriotic entertainment.