Abstract: Artistic space in animation art is a multifaceted concept, including various aspects that influence the perception of an animated film. This topic is actively discussed in theoretical discourse and covers various approaches to its terminological definition and classification. The purpose of this scientific study is to justify the choice of universal parameters, from the point of view of the author of the work, characterizing the artistic space of an animated film. The object of the study was animation cinema as a phenomenon of art and culture. The subject of the study is the artistic space of an animation work. The objectives of the study are to analyze existing art classifications parameters of the artistic space of an animated film, as well as to propose the following parameters for analyzing the artistic space of an animated work: semantic, temporal, editing-rhythmic, color-light, sound. To classify the artistic space of an animated film, a system-analytical and typological approach was used. In the analysis of animated films, descriptive-analytical and structural-semantic methods were used. The scientific novelty of the work lies in the fact that it is the first to propose a classification of parameters with the help of which it is possible to deeply analyze different aspects of the artistic space of an animated work, which is of interest for further art history research in the field of animated cinema. As examples of how the listed parameters of the artistic space of an animated work contribute to a holistic and deep examination of the films, the films of Russian animation film directors - Yu. B. Norshteyn "The Tale of Tales" and D. A. Geller "A Man Meets a Woman" - are analyzed. The proposed classification provides potential for art historical research in the field of animation art.

Abstract: This article discusses the specific features of the artistic image, the artistic form of the screen, including animated works. The artistic image in animation is a complex and multilevel phenomenon that takes the expressive and visual form of the director's vision and conveys the content through the artistic form. The aim of the work is to attempt to define the "artistic image" in animated cinema. The object of the study is the form of an animated work as the integrity of its artistic concept, combining various audiovisual elements, involving a laborious technological embodiment on the screen, combining the expressive and visual form of the director's vision, his creative interpretation of the chosen plot. The author of the article suggests considering the animated image as an artistic phenomenon as one of the most important aspects characterizing the integrity of an animated film. The novelty of the work lies in an attempt to define such a concept as "the image of an animated film". The new empirical material presupposes the updating of the terminology of art criticism, including the film-making tools in the process of theoretical analysis of screen culture. In this perspective, it is necessary to clarify, expand and update the traditional terminology (in particular, the definition of an artistic image in animation) used in the artistic and aesthetic analysis of screen works. The results of the study can have both scientific and theoretical, and creative and practical application. The materials and conclusions of this article can be used as a conceptual and methodological basis for further scientific research.

Abstract: This article examines the imagery systems created by the Russian animation film director Dmitry Geller on the example of his films of various years. An important feature of D. Geller is that each successive work differs from the previous in both, storyline and visual solutions. The subject of this research is the uniqueness and evolution of imagery systems of animation films of D. Geller, while the object is his animation films from the early to more recent. The author analyzes the conceptual layers, language of narration, visual and expressive means, as well as technological solution of the films. The following conclusions were made: inventing separate artistic worlds, D. Geller uses diverse methods for creation of his imagery systems – from distinguishing separate layer within the systems and various ways of their visual, color and technological realization with an unexpected effect, to the creation of the previously unseen characters and silver screen level of animation. The author’s contribution to the research of this topic consists in the detailed systematic analysis of Geller’s works. The scientific novelty is defined by an attempt of viewing D. Geller’s films from such perceptive.  

Abstract: This work is dedicated to the development of the Russian animation school on the example of a particular project. The object of this research is the TV series “Mountain of Gems” created in 2004-2018 by the animation studio “Pilot”. The subject of this research is the artistic and technical solution of its visual imagery. The author examines the main ideas of the project, its specificities, stylistic and technical arrangement of separate films of the project. An important factor for this analysis is that initially all creators of the project were put into the equal circumstances: dramaturgy based on the tale read by the author, equal running time, and identical studio resources. The author’s special contribution to the research of this topic along with its novelty is defined by the development and implementation of systematic analysis of the films from the cycle “Mountain of Gems” made with the use of computer technologies. The choice of films is dictated by their aesthetic value, originality and uniqueness of artistic and technical means for creating visual imagery. The author reveals the computer technologies applied in creation of these TV series. The main conclusions emphasize the role and contribution of this project to the development of Russian animation.