Issue 44 (2021, 4) Summary

ARTICULT #44 (4-2021) October­-December

SUMMARY

THEORY OF ART

STRATEGIES AND METHODOLOGICAL SCHEME OF CINEMA RESEARCH. METHODOLOGY
Research article
UDC 167+168.522+7.01+791.43.01
DOI: 10.28995/2227-6165-2021-4-6-59
Author: Schtein Sergey Yuryevich, PhD in Art Studies, assistant professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: sergey@schtein.ru
ORCID ID: 0000-0002-4419-1369
Summary: In the third article from the series of works devoted to the review of existing and potentially possible algorithms for the research of cinematography, the specifics of the methodological tools necessary for the research of its various aspects are analyzed. The analysis of the methodological tools used in variant research algorithms is developed taking into account the consideration of cinematography as an object and material for cognitive activity carried out in the previous two articles (the first article of the cycle), which is implemented in relation to what can be characterized as the thing area of his disciplinary researches (second article cycle). Based on constant research goals, strategies and methodological examples of various scale researches of cinematography can be functionally used for conscious design and optimal productive implementation of cognitive activity in relation to it.
Keywords: cinema studies, cinema science, methodology of cinema studies, cinematography, cinema education, film, activity approach, genetically constructive approach, constant method, ontologization, schematization

For citation:
Schtein S.Yu. “Strategies and methodological scheme of cinema research. Methodology.” Articult. 2021, no. 4(44), pp. 6-59. (in Russ.) DOI: 10.28995/2227-6165-2021-4-6-59

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HISTORY OF ART

THE “PRECEPTS” OF ORPHEUS: “THE ARCHAIC” AS A CREATIVE PRINCIPLE OF SYMBOLIST ARTISTS
Research article
UDC 7-049.1
DOI: 10.28995/2227-6165-2021-3-60-74
Author: Davydova Olga Sergeevna, Ph.D. in the History of Arts, Leading Researcher Associate at the Scientific Research Institute of Theory and History of Arts of the Russian Academy of Arts (Moscow, Russia), e-mail: davydov-olga@yandex.ru
ORCID ID: 0000-0002-6834-3291
Summary: The article undertakes a multidimensional philosophical and aesthetic analysis of symbolist artists' perception of Antiquity through the prism of visual myth-making, archaic in its inner nature. The legendary time of the poetic covenants of Orpheus before the ancient Greek classics, as well as the period of Homer's archaicism, are seen as metaphorical coordinates to separate true historical Antiquity from those images in which the modern age has found its illusory Hellas. Using examples from Western European and Russian art, succinct generalisations and, for the first time, introducing documentary material, the author concludes that the question of the “archaic” or creatively primordial (partly chaotic) beginning of the Symbolist art is the question of their relationship not so much with history as with the poetry of the ghostly past, which the modernist artists sought to awaken, to revive, hoping to find in it the true life features of their imagined artistic ideals.
Keywords: Art History, Late 19th and Early 20th century, Visual Art, Symbolism, Art Nouveau, Antiquity, Archaic, Hellas, Iconography, Artistic Thinking, Poetic Principles, Visual Mythmaking

For citation:
Davydova O.S. “"Testaments" of Orpheus: "The Archaic" as a creative principle of symbolist artists.” Articult. 2021, no. 4(44), pp. 60-74. (in Russ.) DOI: 10.28995/2227-6165-2021-4-60-74

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MEMORY AS A METHOD IN THE WORK OF N.D. GRITSIUK (THE MOTIF OF THE RUSSIAN MEDIEVAL ARCHITECTURE IN THE SERIES “PERESLAVL-ZALESSKY”)
Research article
UDC 7.036
DOI: 10.28995/2227-6165-2021-4-75-85
Author: Chimitov Vyacheslav Nikolayevich, senior researcher, Novosibirsk State Art Museum (Novosibirsk, Russia), graduate student, Kryachkov Novosibirsk State University of Architecture, Design and Arts (Novosibirsk, Russia), e-mail: 4imitov@mail.ru
ORCID ID: 0000-0003-2815-5939
Summary: The article considers the cultural memory using the example of the development of the motif of Russian medieval architecture in the series “Pereslavl‑Zalessky” of the Novosibirsk artist N.D. Gritsiuk (1922–1976). The research applies the principles of stylistic analysis, taking into account the provisions of the theory of cultural memory. This approach contributed to the identification of patterns of stylistic transformation of the temple motif in the series “Pereslavl-Zalessky” and the definition of recollection as a methodological principle of the artist. In the lyrical landscapes of Pereslavl from 1967, and then in folk tale compositions and cubist-futurist depictions of temples from 1969, N.D. Gritsiuk actualizes cultural memory by repeating the pictorial experience of the past. In the early 1970s, he overcomes the stylistic influence of tradition and creates surreally distorted psychological depictions of temples as images of memory. As a result, the phenomenon of memory is realized in the works of N.D. Gritsiuk in the following aspects: memory as a manifestation of supra-individual and personal mechanisms of connection with artistic tradition; memory as a philosophical problem; memory as a lived experience that forms a serially developed artistic image.
Keywords: N.D. Gritsiuk, late Soviet art, the motif of the Russian Medieval Architecture, cultural memory, artistic tradition, the creative method, cityscape, series

For citation:
Chimitov V.N. “Memory as a method in the work of N.D. Gritsiuk (the motif of the russian medieval architecture in the series "Pereslavl-Zalessky").” Articult. 2021, no. 4(44), pp. 75-85. (in Russ.) DOI: 10.28995/2227-6165-2021-4-75-85

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CONTEMPORARY ART

EVOLUTION OF ART IN PUBLIC SPACES: SHIFT IN INSTITUTIONAL MODELS
Research article
UDC 7.01
DOI: 10.28995/2227-6165-2021-4-86-93
Author: Kartseva Ekaterina Aleksandrovna, PhD in Cultural Studies, Associate professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: katyakartseva@gmail.com
ORCID ID: 0000-0002-3517-5551
Summary: The article is devoted to the analysis of the formation and development of public art from the point of view of changing models in state participation, economic and social transformations. The author considers the origin of the term “public art”, the history of the formation of art in public spaces in Russia, including focus on the Soviet heritage, providing an overview of the concepts that are relevant for public art such as “monumental art”, “memorial”, “art object”, “public space”, “public sphere”, “socially involved art”. The result of the article is a description of the author's interpretation of the term public art, taking into account modern trends due to the actual needs of citizens in the joint use of public spaces, new forms of crowdsourcing and interaction.
Keywords: public art, art in the city, public space, public sphere, socially involved art, socio-cultural design

For citation:
Kartseva E.A. “Evolution of art in public spaces: shift in institutional models.” Articult. 2021, no. 4(44), pp. 86-93. (in Russ.) DOI: 10.28995/2227-6165-2021-4-86-93

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CINEMA

CONSTRUCTIING IMAGE OF THE HISTORICAL PAST OF ITALY IN THE XVtn-XVIth CENTURIES IN MODERN SERIAL CULTURE
Research article
UDC 791.43.04+94(450)
DOI: 10.28995/2227-6165-2021-4-94-109
Author: Kaporina Julia Vitalevna, postgraduate, Chair of the History and Theory of Culture, Russian State University for the Humanities (Moscow, Russia), e-mail: jkaporina@mail.ru
ORCID ID: 0000-0002-6487-6090
Summary: The history of Italy in the 15th-16th centuries has assumed a special relevance in modern serial culture, becoming not only the basis for the European and transatlantic cooperation in the creation of cultural products, but also the space for the interpretation of the Renaissance historical heritage. Using the deconstruction of the four TV series of the 2010s, the author strives to find those universal images with the help of which series directors and show runners construct the audiovisual image of the past in historical TV series. The author's attention focuses on such aspects as the screensaver, the images of Italy, the representation of physicality and gestures. The analyzed film texts serve as the basis for the conclusion that modern serial culture in the process of constructing the audiovisual image of the historical past of Italy does not only follow the basic elements of medieval visual entertainment, but also creates a semiotic code for the historical era representation.
Keywords: historical TV series, image of the past, deconstruction, representation, Borgia, Medici, Leonardo da Vinci, Renaissance

For citation:
Kaporina J.V. “Constructing image of the historical past of Italy in the 15th-16th centuries in modern serial culture.” Articult. 2021, no. 4(44), pp. 94-109. (in Russ.) DOI: 10.28995/2227-6165-2021-4-94-109

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HISTORY AND THEORY OF CULTURE

FROM IDEALISM TO NEW MARXISM. PART 3. BORIS ASAFIEV
Research article
UDC 316.74:82:7+7.01
DOI: 10.28995/2227-6165-2021-4-110-117
Author: Markov Alexander Viktorovich, Dr.Habil. in philology, full professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: markovius@gmail.com
ORCID ID: 0000-0001-6874-1073
Summary: Although the merits of the major Soviet musicologist Boris Asafiev to the sociology of art are obvious, usually his system of studying melody and intonation as social phenomena is seen as a problematization of musical art rather than as a stimulus for his own thought. Using the example of Asafiev’s opera criticism from 1914 to 1947, I prove that his sociology of art was a constructivist system that focused on the permanence of implicit aesthetic notions such as manner and style, while allowing for variability in the explicit reference concepts of criticism. The ideological pressure to construct national character and the historical unity of popular life allowed him to reinterpret studio opera as a way of isolating its supra-personal principles, and by asserting the historical and transitory nature of opera art, to protect its sustained rhetorical potential. The unity of the rhetorical and melodic elements of opera, declared by Asafiev to support the work of Prokofiev and Shostakovich, was the dynamic formula that led to the development of a new sociology of art, which can be compared with the current actor-network models.
Keywords: Asafiev, sociology of art, sociology of music, melody, national opera, Soviet opera

For citation:
Markov A.V. “From idealism to new Marxism. Part 3. Boris Asafiev.” Articult. 2021, no. 4(44), pp. 110-117. (in Russ.) DOI: 10.28995/2227-6165-2021-4-110-117

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METHODOLOGY

ON THE METHODOLOGY OF FILM ANALYSIS
Research article
UDC 7.01+791.43.01
DOI: 10.28995/2227-6165-2021-4-118-148
Author: Kozhokaru Tatiana Igorevna, MA in Art History (Moscow, Russia), e-mail: tatiana@journalist.com
ORCID ID: 0000-0002-8987-4032
Summary: The article provides an overview of the analytical tools used in cinema studies. The paper identifies the main problems of film analysis as well as classifies and describes the various approaches to it. The systematization of a wide range of available methodological tools may be considered as propaedeutics of film analysis – it gives a fairly complete picture of the variety of existing methods, allowing researchers either to choose the approach that turns out to be optimal for a particular study or, problematizing the present tools, to offer a new methodology.
Keywords: film analysis, analytical tools, methodological approach, strategic approach, semiotic approach, hermeneutic approach, new formalism, temporal analysis, structural system method, narrative analysis, intertextuality

For citation:
Kozhokaru T.I. “On the methodology of film analysis.” Articult. 2021, no. 4(44), pp. 118-148. (in Russ.) DOI: 10.28995/2227-6165-2021-4-118-148

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