Issue 46 (2022, 2) Summary

ARTICULT #46 (2-2022) April-­June

SUMMARY

THEORY OF ART

METHODOLOGY FOR THE STUDY OF PERFORMANCE AS AN ART FORM
Research article
UDC 7.01+7.038.531
DOI: 10.28995/2227-6165-2022-2-6-32
Author: Farenik Anastasiia Sergeevna, MA in Art History (Moscow, Russia), e-mail: ffanastasiia@gmail.com
ORCID ID: 0000-0002-6885-864X
Summary: The article is devoted to the construction of methodology for the study of performance as an art form. The desired methodology is based on the comparison, analysis and ontologization of knowledge about performance as an art form. Based on the obtained ontology of performance as an art form, methodological tools are developed to provide the feasibility of the functional study of performance as an art form. The resulting methodology is expressed as an algorithmic model for the study of performance as an art form. The article describes the model, its components and the relationships between them. The received construction can be used as a tool for the analysis of artworks, the study of performance within the disciplinary framework of art history, and the study of certain aspects of performance as an art form. The structure of the model involves making changes and additions either in the process of further research or as a result of the discovery of new components and relations between them. Therewith, this methodology allows the study of performance as an art form without the use of empirical material and variable knowledge representations of the subject.
Keywords: performance, performance art, performance as an art form, methodology of performance, performance studies, live art, digital performance

For citation:
Farenik A.S. “Methodology for the Study of Performance as an Art Form.” Articult. 2022, no. 2(46), pp. 6-32. (in Russ.) DOI: 10.28995/2227-6165-2022-6-32

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HISTORY OF ART

GERMAN ARCHITECTURE IN RUSSIA: HERMANN MUTHESIUS AND THE “ELECTROPEREDACHA” POWER PLANT (1914)
Research article
UDC 72.007+72.036+725.42:621.311.2
DOI: 10.28995/2227-6165-2022-2-33-43
Author: Shulenina Yulia Denisovna, PhD student in Arts and Design, National Research University “Higher School of Economics” (11 Pokrovsky Bulvar, Moscow, Russia, 109028), e-mail: yu-shulenina@mail.ru
ORCID ID: 0000-0002-3986-7918
Summary: The “Electroperedacha” (Electric Transmission) power plant represents an important attainment in the field of architecture, urban planning and power engineering. This plant has been in operation since 1914 to the present day. Based on the original blueprints the authorship of the project was identified – it was created by Hermann Muthesius, the co-founder of the Deutsche Werkbund. The article provides a greater knowledge of the Muthesius’s heritage due to the discovery of his first and the only one project in Russia. Furthermore, the article examines the modernization of the plant in the 1920s with the participation of the VKHUTEMAS Architecture Faculty Dean Edgar Norvert. At the beginning of the 20th century, in Germany, Werkbund masters elaborated a new approach to the architecture based on the unity of art and industry. The research regards the close relationship between Russia and Germany in the field of electrification, owing to which the creation of the “Electroperedacha” power plant became possible. To conclude, the preservation and revitalization of industrial architecture is an important social and cultural process, and this published information can be regarded as a contribution to it.
Keywords: the “Electroperedacha” power plant, industrial architecture, Werkbund, Hermann Muthesius, Edgar Norwerth, Robert Klasson

For citation:
Shulenina Y.D. “German architecture in Russia: Hermann Muthesius and the “Electroperedacha” power plant (1914).” Articult. 2022, no. 2(46), pp. 33-43. (in Russ.) DOI: 10.28995/2227-6165-2022-33-43

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CONTEMPORARY ART

“TRADITIONAL RUSSIAN DRAMA”: PRACTICES OF SELF-PRESENTATION OF RUSSIAN EXTREME METAL BANDS SECOND TO SUN AND L'HOMME ABSURDE
Research article
UDC 316.723+78.024.1+78.024.3+78.024.5
DOI: 10.28995/2227-6165-2022-2-44-66
Author: Rapatskaya Yanina Olegovna, PhD student, lecturer, HSE Art and Design School, Faculty of Communication, Media and Design, National Research University – Higher School of Economics (Moscow, Russia), e-mail: yarapatskaya@gmail.com
ORCID ID: 0000-0001-8815-866X
Summary: The study of national identity is an important part of metal music studies. Researchers examine through what images, words, and sounds it is formed in the work of various musical projects. The Russian extreme metal projects Second To Sun and L’Homme Absurde differ in terms of their stylistic characteristics, the themes and language of the lyrics, and the approach to the visual content. These bands are united by a manifestation of belonging to the Russian scene, which is implemented through specific ideas about Russian cultural products. The distinctive component of which, according to the musicians, are the concepts of Russian despair and Russian “chthon” (something gloomy and sinister, sometimes connected with Russian realities) or, as the leader of L’Homme Absurde puts it, “Russian drama” – a tragic situation, gloomy events and circumstances, often due to social context, that cause mental suffering. The paper explores how the concept is represented in the work of the selected projects, their self-description, and the listener’s perception on the textual, visual, and sonic levels; and how it forms their identity and allows musicians to position themselves on the Russian and international scenes.
Keywords: black metal, heavy metal, metal music studies, popular music, identity, metal, mass culture, russian toska

For citation:
Rapatskaya Y.O. “"Traditional Russian drama": practices of self-presentation of Russian extreme metal bands Second To Sun and L'Homme Absurde.” Articult. 2022, no. 2(46), pp. 44-66. (in Russ.) DOI: 10.28995/2227-6165-2022-44-66

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CINEMA

PROTO-MOVIE COMICS IN RUSSIA: A FOLK CINEMA
Research article
UDC 791.43.01+ 791.43-2
DOI: 10.28995/2227-6165-2022-2-67-75
Author: Tsyrkun Nina Aleksandrovna, Dr.Habi. in art studies, foreign department editor, Film Art journal (Moscow, Russia), e-mail: tsyrkun@mail.ru
ORCID ID: 0000-0002-6723-5870
Summary: The author considers two Russian films of Soviet period – Happiness (1934) by A. Medvedkin and Believe it or Not (1983) by S. Ovcharov. Not out of synk with traditional referring them to a Russian national lubok genre (known abroad as Russian comics) the author attempts to include them into an “umbrella” universal context of movie comics in capacity of a proto-comics as the national variant with distinctive dialectics of folklorism and national spirit. The both specimen’s narration demonstrate a sophisticated artistic form in combination with imaginary naivete, conveying the national ethos, which activates cinema’s communicative function and makes the author’s message comprehensible a for broad public audience through emotional empathy.
Keywords: lubok, proto-comics, folklorism, national spirit, empathy

For citation:
Tsyrkun N.A. “Proto-movie comics in Russia: a folk cinema.” Articult. 2022, no. 2(46), pp. 67-75. (in Russ.) DOI: 10.28995/2227-6165-2022-67-75

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REPRESENTATION OF THE MANIAC FIGURE THROUGH THE PRISM OF THE US CINEMA OF THE 1960-80s: FROM A HISTORICAL CHARACTER TO THE MYTH OF THE GENRE IN CONTEMPORARY CINEMA
Research article
UDC 791.43-2+791.43.04
DOI: 10.28995/2227-6165-2022-2-76-86
Author: Strugova Ekaterina Alexandrovna, MA student of the Faculty of Liberal Arts and Sciences of St. Petersburg State University (Saint Petersburg, Russia), e-mail: ekaterina.strugova1997@gmail.com
ORCID ID: 0000-0002-7688-0679
Summary: This article considers the figure of a maniac as a key aspect of the reception of the US cinema of the 1960s-1980s, which influenced the aesthetic and narrative features of contemporary cinema. The first thematic block of the article substantiates that the historical context of the American film industry of the second half of the XX century served as the basis for the legitimization of socially disapproved characters who previously appeared in low-budget cinema predominantly. To clarify the reasons why the serial killer as an object of film theory became associated with horrors and exploitation films of the 1970s, it is refuted that his screen image completely follows the logic of genres that developed in this decade. There is expanding of the issues of films about maniacs by an analysis of the theme of ‘criminally insane’ characters in the US cinema of the 1970s on the example of the film of the same name by Nick Millard in the second part of the article. It is concluded that the audiovisual and genre patterns of low-budget cinema of the last century motivate contemporary directors to turn a serial killer into a historical character.
Keywords: the maniac figure, American cinema, low-budget cinema, horror, aesthetics, narrative, representation

For citation:
Strugova E.A. “Representation of the maniac figure through the prism of the US cinema of the 1960-80s: from a historical character to the myth of the genre in contemporary cinema.” Articult. 2022, no. 2(46), pp. 76-86. (in Russ.) DOI: 10.28995/2227-6165-2022-76-86

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REPRESENTATION OF EXISTENTIAL CONFLICTS IN “THE CROWN” SERIAL
Research article
UDC 791.43.01+ 791.43-2
DOI: 10.28995/2227-6165-2022-2-87-96
Author: Sorokina Maria Alekseevna, bachelor’s student of Journalism program of the Faculty of Communication, Media and Design, National Research University Higher School of Economics (Moscow, Russia), e-mail: markova2112@rambler.ru
ORCID ID: 0000-0002-0783-4767
Summary: The Netflix’s serial “The Crown”, which is focused on members of the British royal family, has become one of the most popular series about powerful agents. The novelty of the series lies in another representation of the British royal family – now they are not a media brand, but an ordinary family, endowed with power. Traditional media narratives about both the magic and the futility of the monarchy are problematized by the showrunners of the series. The conflict between “human” and “powerful” happens throughout the narrative of “The Crown”. Through analysis of several episodes of the series, the article reflects the strategies of representing the modern British royal family as powerful agents and, at the same time, existential subjects.
Keywords: representation, the British royal family, serial culture, «The Crown» serial, authority image, existentialism

For citation:
Sorokina M.A. “Representation of existential conflicts in "The Crown" serial.” Articult. 2022, no. 2(46), pp. 87-96. (in Russ.) DOI: 10.28995/2227-6165-2022-87-96

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HISTORY AND THEORY OF CULTURE

“MEN WITH A TIME MACHINE”: THE EXPERIENCE OF RESEARCHING A HISTORICAL INTERNET MEME
Research article
UDC 316.77
DOI: 10.28995/2227-6165-2022-2-97-105
Author: Kostoglotov Dmitry Aleksandrovich, postgraduate student, Chair of Theory and History of the Humanities, Russian State University for the Humanities (Moscow, Russia), e-mail: dakostoglotov@gmail.com
ORCID ID: 0000-0003-2191-228X
Summary: The article explores the popular Internet meme “Men with a time machine”. Its plot is connected with a return to the past and possible scenarios of behavior in it. Considering the Internet meme as a (meta)linguistic unit with its static and dynamic parts, it is said about the statements of mass culture that occur through the appearance of a large number of variations of one Internet meme. Considering variations (replications) of the Internet meme “Men with a time machine”, it is possible to explore various historical categories, such as historical memory, nostalgia, conspiracy explanation of the past, and others. By studying the Internet meme “Men with a time machine” as a form of expression of historical experience, it is possible to detect the existence of these categories in digital culture. In addition to the reproduction of specific elements of the historical narrative, it is possible to discover the mechanisms of manifestation of historical consciousness.
Keywords: historical consciousness, internet meme, historical memory, historical representations, nostalgia

For citation:
Kostoglotov D.A. “"Men with a time machine": the experience of researching a historical Internet meme.” Articult. 2022, no. 2(46), pp. 97-105. (in Russ.) DOI: 10.28995/2227-6165-2022-97-105

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METHODOLOGY

STRATEGIES AND METHODOLOGICAL SCHEME OF CINEMA RESEARCH. EXAMPLE OF SCALING OF THE COMPONENT OF A THING AREA: FILM REVIEW
Research article
UDC 7.01+791.43+791.43.01+791.45.072
DOI: 10.28995/2227-6165-2022-2-106-124
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: The article is devoted to the description of the theoretical modeling of film review as a functional component of the cinematography-polysystem. The nature of this subject allows building on three fundamental scales: ontological, the scale of the product of activity, as well the scale of the system-activity. The result obtained can be used, in one respect, as an example of the realization of a specific methodological work that brings information about cinematography into the form of homogenized theoretical knowledge, and, on the other respect, as a complete knowledge about the nature of the conditions in which a film review is produced and about the variable specifics of its form-content integrity conditioned by these conditions. In this capacity the content of the article turns out to be a propaedeutic tool for those who are just getting involved in the activity of writing a film review, and at the same time, as one of the additional functional tools of deobjectification for those who study film review as a specific form of mediation of information about a cinematographic work.
Keywords: film review, cinema studies, cinema science, methodology of cinema studies, cinematography, cinema education, film, activity approach, genetically constructive approach, ontologization, schematization

For citation:
Schtein S.Yu. “Strategies and methodological scheme of cinema research. Example of scaling of the component of a thing area: film review.” Articult. 2022, no. 2(46), pp. 106-124. (in Russ.) DOI: 10.28995/2227-6165-2022-2-106-124

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