Editorial article

Brief presentation of authors and contents of articles of the current issue.

Agnes’ Self-Reflection in Ingmar Bergman’s Cries and Whispers

The essay explores Ingmar Bergmans film Cries and Whispers (Viskningar och rop, 1972) from the perspective of the protagonists selfreflection as the main plot-constructing tool. The self-reflection of the main protagonist Agnes is presented by Bergman in a variety of forms which create, by mixing with each other, a polyphony of senses and images. The author analyses those dramatic tools which make it possible to immerse a spectator into Agness inner feelings. Her diary is her conscious self-reflection and, therefore, becomes a cinematic instrument for a study of her psychology. Bergman explores the visual images of the main protagonists self-reflection and, logically, turns them into symbols. This is exemplified by the symbolic comparison of her mothers and her sisters images to a bouquet of magnificent white roses. And then, a close-up of a flower shows symbolically the true nature of Agness mother: the flower turns out to be an artificial one, revealing the hypocrisy of Agness externally beautiful mother. The protagonists conscious striving to understand herself is also revealed through the use of an analytical voice-over monologue accompanying a sequence of reminiscences about the mother. The essay analyses the same sequence from the viewpoint of the objectorientation of Agness self-reflection. Within this sequence, self-reflection changes its object, becoming either introspective or extrospective. Agnes recomprehends herself either through the prism of herself or through the prism of the others. Quick alternation of these two types of self-reflection indicates the causal connection between Agness identity and her relationship with her mother. Significantly, the sequence's ending is the moment of the closest rapprochement between Agnes and her mother - that is, between two types of self-reflection. A protagonist's self-reflection could be an effective tool of creating semantic resonance. An example of this is provided in the film's final sequence, in which Anna, the servant, reads the diary of the dead Agnes. This sequence is a reminiscence of those several minutes of Agness life when she was absolutely happy. It begins with Anna reading the diary and turns into the visualisation of a diary entry accompanied by the Annas voice-over on Agnes's behalf. This creates a triple resonance of the film's semantic content. In the author's opinion, the above examples confirm that a characters selfreflection can become an effective dramatic tool for exploring a characters psychology and a technique of revealing the meanings in their polyphony.

Multimedia Learning Model: Adapting an Image in a Screen Work

In the context of media space digitalization, issues of using multimedia in audiovisual works and in screen arts become increasingly important. Evolutionary processes in audiovisual production form a new system of expressive means, determine the scope of modern multimedia, transforming them into a new communicative space. The article notes that the gap between the intensity of the introduction of this type of creativity and lack of theoretical justification of the process is due to the rapid formation of a new artistic environment, its adaptation and relevance. The purpose of the article is to analyze the exploration of the new type of communicative space, change and adapt the art form when introducing multimedia into the movie plot. The author gives a generalized description of the interaction of the viewer with a work of art, equipped with elements of interactivity, which is represented in the creative dialogue of the artist and the consumer. But the design format involves fundamental knowledge in the field of cinema and practical skills when using technologies in screen arts. In the section on practical techniques for implementing multimedia, the author focuses on the short stories developed by the teachers of the Department of Animation and Computer Graphics for training multimedia directors at VGIK. Taking the work of VGIK students as an example, the article substantiates the integration of theoretical knowledge and practical skills in teaching students whose training is based on common and fine culture in combination with the skills of using digital technology. The article touches upon the education of a multimedia director an auteur and professional, capable of realizing their plan with audiovisual means involving the transformation of screen time and space, which is a difficult but important educational task in digital time.

Cooperation between the Russian Animation Industry and Asian Partners

One of the main trends in the development of the Russian animation industry is the intensification of international cooperation and promotion on international media markets. Russian animators are developing different forms of international cooperation and co-production in the context of the economic crisis, financing problems, lack of second-tier personnel and production capacities, as well as national distribution problems. In the situation of a weakening relationship with European partners, there is an increase in cooperation with Asian companies. The leading role is given to cooperation with China, due to the policies pursued by the two countries and close cultural interaction supported at the intergovernmental level. Russian companies are moving from outsourcing in film production to other forms of interaction, such as co-financing of projects and co-production. The essay analyzes the co-production experience of such leaders of the Russian animation industry as Riki, KinoAtis and Wizart Animation. Co-production with foreign companies involves a number of problems caused by cultural, mental, legal and organizational differences. Still, it combines financial efforts and consolidates technical capabilities, raising the quality of films to the world level. Co-production also stimulates international distribution and reduces financial risks, opens up opportunities to conquer new markets and overcome the systems of quotes that exist in some countries. In the Russian animation industry, the number of co-produced films demonstrates a tendency to increase. The development of various forms of interaction between the Russian animation business and foreign partners and the presentation of coproduced films on international media markets contributes to the formation of Russias positive image and promotes its national interests, lifestyle and culture, affirming animations long-standing status of a soft power asset.