Theoretical Concepts of Film Studies in Cinema Art Journal: XXI Century

Abstract

At the beginning of the twenty-first century, the editors of Cinema Art apparently realized that the attempts to transform the magazine into a socio-political one, made at the end of the "perestroika" era and in the 1990s, had not yielded the expected dividends.As a result, the journal returned to the format of a cinematic publication.Hence the increase in the number of theoretical articles on cinema, which in the 21st century averaged eighteen a year.Daniil Dondurey (1947Dondurey ( -2017)), who directed Cinema Art until 2017, maintained the journal's course towards a sociological understanding of the media process, while attracting leading authors in the field.The film critic Anton Dolin, who replaced him in the second half of 2017, on the one hand re-emphasized political accents and also strengthened passages in the journal texts that opposed the authorities, and on the other hand began to pay much more attention to the genres of mass culture in film.Our analysis of the concepts of film studies (in the context of the socio-cultural, historical, political situation, etc.) in the journal Cinema Art in the 21st century has shown that the theoretical works on cinematic topics in this period can be divided into the following types -Articles, discussions devoted to the analysis of the theoretical heritage of the classics and the history of Soviet cinema (A.Fomenko, N. Izvolov, N. Kleiman, O. Kovalov, E. Maisel, E. Margolit, A. Medvedev, N. Sputnitskaya, V. Shmyrov, A. Shpagin, A. Shcherbenok and others); -Articles attempting to understand the film process from a theoretical point of view (O.Aronson, D. Golynko-Wolfson, E. Maisel, L. Manovich, etc.); -articles devoted to the sociological and cultural problems of cinema, television, and film distribution (O.Berezin, K. Bogoslovskaya, D. Dondurey, D. Golynko-Wolfson, E

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