Bücher von Alexander Fedorov

Jednym z zadä przedstawionych w monografii jest okre¿lenie miejsca i roli tematu ewolucji obrazu Rosji w kinie zachodnim od 1946 roku (pocz¿tek powojennej konfrontacji ideologicznej) do 1991 roku (upadek Zwi¿zku Radzieckiego) na tle trendów wspó¿czesno¿ci (1992-2010); badanie kontekstu politycznego, ideologicznego, spo¿ecznego, kulturowego, g¿ównych etapów rozwoju, kierunków, celów, zadä, autorskich koncepcji interpretacji tego tematu na ekranie zachodnim (amerykäskim, brytyjskim, niemieckim, francuskim, w¿oskim, kanadyjskim); klasyfikacja i analiza porównawcza ideologii, modeli tre¿ci, modyfikacji gatunkowych, stereotypów zachodniej kinematografii zwi¿zanych z interpretacj¿ obrazu Rosji. Monografia zawiera dane cyfrowe zwi¿zane z produkcj¿ i gatunkami zachodnich filmów fabularnych o tematyce rosyjskiej (1946-2010). Dla badaczy nauk politycznych, kulturoznawstwa, filmoznawstwa, kultury medialnej, socjologii, nauczycieli, doktorantów i studentów specjalno¿ci humanitarnych.

La monographie démontre la pertinence des centres d'éducation aux médias dans la société moderne en se basant sur l'analyse de l'expérience russe et étrangère : y compris l'analyse et la systématisation de leurs principaux modèles, orientations, buts et objectifs, résultats pratiques, etc. Les auteurs proposent les critères, les méthodes et les indicateurs pour évaluer l'efficacité des centres d'éducation aux médias dans le domaine de la pédagogie des médias qu'ils ont développés. Le modèle synthétique de centre scientifique et éducatif dans le domaine de l'éducation aux médias - ses caractéristiques essentielles, ses qualités, ses propriétés, sa structure, ses buts, ses objectifs, son contenu, ses conditions pédagogiques de mise en ¿uvre est également étayé. Établissement des niveaux de compétence médiatique des étudiants formés dans le cadre de ces centres d'éducation aux médias, sur la base de la classification des indicateurs élaborée par les chercheurs.

Development of skills for the critical analysis of media texts - an important task of film education. However, media literacy practice shows that students have the problems with the discussion / analysis, for example, the difficulties in the process of understanding and interpreting the author's conception, plot and genre features. This book substantiates the technological approaches to the analysis skills of different genres in film education in the student audience. For example, the main outcome of hermeneutical analysis of the screen genres in film education in a university classroom is not just the audience's understanding of historical, political, social and cultural contexts and the stereotype formation mechanisms of the epoch, but also the development of the audience¿s perception of media culture, analytical and interpretative skills applied to media texts, critical thinking development. This book will be useful for media educators, scholars, teachers, university students, a broad audience interested of film education and media studies.

Monografia uzasadnia znaczenie o¿rodków medialno-edukacyjnych we wspó¿czesnym spo¿ecze¿stwie na podstawie analizy do¿wiadcze¿ rosyjskich i zagranicznych: w tym analizy i usystematyzowania ich g¿ównych modeli, kierunków, celów i zadä, praktycznych rezultatów itp. Autorzy proponuj¿ opracowane przez siebie kryteria, metody i wskäniki oceny skuteczno¿ci o¿rodków edukacji medialnej w dziedzinie pedagogiki mediów. Uzasadniony jest równie¿ syntetyczny model o¿rodka naukowo-edukacyjnego w dziedzinie edukacji medialnej - jego podstawowe cechy, w¿äciwo¿ci, w¿äciwo¿ci, struktura, cele, tre¿ci, pedagogiczne warunki realizacji. Ustalenie poziomów kompetencji medialnych studentów ksztäconych w ramach takich o¿rodków edukacji medialnej, w oparciu o klasyfikacj¿ wskäników opracowan¿ przez naukowców.

What is the White Movement image in the mirror of the Soviet, Russian and Western screen? What about the main stereotypes? The author of this book tries to analyze the films¿ trends and ideology. Although this topic did not have a dominant place in the Soviet cinema, its advocacy role has been very high. With millions of viewers inculcated the need for "revolutionary terror" against the "whites" "white guard swine", "class enemies", "alien elements", etc. Among the few western films dealing with the events of the Russian Civil War and the first post-revolutionary years there has been some kind of stability in the sound cinema: the White movement was portrayed with a distinctly positive, often melodramatic emotional overtones ("Doctor Zhivago", "Nicholas and Alexandra" and others), while the Bolsheviks/Communists (with rare exceptions) were embodied in a purely negative image.

The history of Soviet and Russian film criticism has more than a hundred years. Soviet film criticism knew the ups (in the 1920s, during the "thaw" and "perestroika"), a rigid Stalinist censorship stranglehold, and Brezhnev¿s era of stagnation. Russian film criticism of post-Soviet period still has a little more than a quarter century. However, during this time Russian film criticism, too, has gone through a number of transformations. This book is the first attempt of a retrospective analysis of Soviet / Russian and Western cinema reflections in the mirror of Soviet / Russian film criticism. Perhaps, the history of Russian film criticism will be written in a full volume someday. This book is just a sketch to this future history...

Cinema (thanks TV, video, DVD and internet technologies) is an effective means of influence (including political, ideological) to the audience. Therefore, the study of the transformation of the image of the Western world on the Soviet and Russian screens today is still important. Among the objectives of this study ¿ the definition of the place and role of the theme of transformation of the image of the West in the feature Soviet cinema since 1946 (the start of the post-war ideological confrontation) and 1991 (fall of the Soviet Union) years compared with the trends of the modern era (1992-2016); the study of political, ideological, social, and cultural context, the main stages of development, goals, objectives, concepts of this topic in the Soviet and Russian films; classification and comparative analysis of ideology, content models, modifications genres stereotypes of Soviet and Russian cinema, associated with the image of the Western world. For scholars, universities professors and students.

This is the book about film criticism. The author use the hermeneutic analysis of cultural context stands for study of the film (as media text) interpretation process, of cultural and historical factors that may have an impact both on the media texts authors/agencies and the audience¿s viewpoint. The hermeneutic analysis is connected with the comprehension of a fim / media text by matching with the cultural tradition and reality; penetration into the logic of a film / media text; media text analysis based on artistic images comparison in the historical and cultural contexts. The objectives of the audience¿s film / media education in this case are the following: development of the audience¿s media culture; their apprehension, analysis and interpretation skills applied to film / media texts; critical thinking.

Cinema (due to TV shows, videos, DVDs and Internet) is considered an effective means of media influence (including political and ideological influence) on the audience. Consequently, the study of the Russian and Western images' transformations on the screen is actual. One of the objectives of this book is to define the place and role of the Russian / Western images transformations in the Western / Soviet / Russian cinematograph from 1946 (the beginning of the post-war ideological confrontation) to 1991 (the Soviet Union disintegration) versus the tendencies of the modern age (1992-Present); the study of the political, ideological, social and cultural contexts, the principal development stages, ideology, content models, genre modifications, aims, objectives, authors¿ conceptions of this topic interpretation on the screen.

Audiovisual media (cinematography, television, and the internet) are effective means of affecting the audience, especially school children and youth (due to their age peculiarities and a high degree of their media contacts); in recent decades Russian schools and universities have significantly been altered and reformed and are still the focal point of vigorous debates; consequently, the analysis of school and university topic transformation in the mirror of Soviet, Russian and Western audiovisual media texts is highly topical nowadays both for culture studies, film studies and media education. Book's material is feature films about school and university. The authors use a comparative hermeneutic analysis of audiovisual media texts relating to the topic (including stereotypes analysis, ideological analysis, identification analysis, iconographic analysis, narrative analysis of media texts, media text¿s character analysis, etc.), anthropological and gender analyses.

Models of media education can be divided into the following groups: - educational-information models (the study of the theory, history, language of media culture, etc.), based on the cultural, aesthetic, semiotic, socio-cultural theories of media education; - educational-ethical models (the study of moral, religions, philosophical problems relying on the ethic, religious, ideological, ecological, protectionist theories of media education; - pragmatic models (practical media technology training), based on the uses and gratifications and ¿practical¿ theories of media education; - aesthetical models (aimed above all at the development of the artistic taste and enriching the skills of analysis of the best media culture examples). Relies on the aesthetical (art and cultural studies theory); - socio-cultural models (socio-cultural development of a creative personality as to the perception, imagination, visual memory, interpretation analysis, autonomic critical thinking), relying on the cultural studies, semiotic, ethic models of media education.