Abstract: The subject of this research is the cinematographic image of the forced migration in today's globalized world. We consider a number of works of cinematographic art dedicated to migrant workers, migration, conflicts and contradictions, as well as the diverse palette of migration of social communications. Modern cinema takes on a number of important social functions. Figures of cinematographic art simulated image of a migrant as a person who is miserable, helpless, suffers, and requires care and attention. The authors try to overcome prejudices movies racism, radical forms of nationalism. The main method of this research is the analysis of the works of cinematographic art, and the interpretation of the acquired results from the perspective of migration. Scientific novelty consists in the use of materials of the artistic cinematographic works in order to exemplify the scientific topic on the forced migration. The modern cinematography realizes its social meaning and holds an active position in the formation of a positive image of a migrant. One of the major problems of migration from the modern cinematography point of view, is the racial and ethnic intolerance.

Abstract: The subject of the study are the structural elements of Russian socio-cultural space, manifested in works of art, including literature and film. The archetype of the "mad righteous" or "angel in a straitjacket" that originated long ago, is still important in modern Russian culture. The article presents some of the cultural transformation of the archetype.The appearance of the archetype in modern culture can be traced not only by the example of literary works, but also in the works of cinematic art, national cinema.The main methodological approach - the analysis of works of art, where the archetype of the "angel in a straitjacket" the most clear. Applied comparative-historical methods, methods of visual anthropological analysis. It can be concluded that the value of the archetype of the "mad righteous" in modern Russian culture defines it as the bearer of the "conscience of the people" and at the same time the image of the Russian mentality in its ideal form. As far as the manifestations of this archetype in modern art, it is not eradicated, but only gets a new face, but its function is now, perhaps, is more important than ever culturological mission - to save the mental and moral code of the Russian people.

Abstract: This article devotes attention to the relevant issue of loss of identity by Russian citizens, and Krasnoyarsk region citizens, in particular. The unique Siberian character, the local environment and the Siberian way of life is perceived in a different way in modern times. The influence of foreign cultural influence of Western countries alter the perceptions of tradition, norms and values among the society. Like never before, the regional culture of Krasnoyarsk region needs cultural models which are capable of demonstrating Siberian identity, of awakening people's self-consciousness as Siberians, of invoking the feeling of pride for their smaller Motherland. Such models may come i the form of art that translates deep ideas and meanings through its presence and senses.
The methodology of this study includes theoretical concepts of the modern theory of visual arts, as well as the theory of art criticism.
The author provides an example that proves this hypotheses - a visual art of graphic, and xylography as its subtype. Of the graphic pieces that help form Siberian identity, the author chose the works of the Artisans of the German Pashtov Siberian Xylography school. The goal of the analysis is to discover the mental characteristics of Siberia, Krasnoyarsk, and Siberians who may be considered the audience of the art. As a result, the author discovered that in the works of the Artisans of the German Pashtov Siberian Xylography school the images of Siberia in its various manifestations (the city, nature, people, relations, etc.) truly demonstrate ideas that contribute towards the formation of Siberian identity.
 

Abstract: Object of research - a city concept in the context of history of the Russian culture. The analysis of researches in the field of the concept "concept" is carried out, various theories of a concept are considered. The concept of the city reveals through integration of various definitions of the city, its understanding in annalistic and works of painting of Old Russian culture. Modern theories of the city as welfare phenomenon are considered. The understanding of the city as cultural space is offered, genesis of modern culturological understanding of the city in the context of the analysis of Old Russian chronicles and picturesque miniatures is considered. The main method - the analysis of concepts (Yu.S. Stepanov's technique, A.A. Sitnikova). The terminological analysis of the concept "city" is used, elements of cultural researches (N. P. Koptseva's technique), the art criticism analysis of texts of Old Russian art (V. I. technique of Zhukovsky) are applied. Scientific novelty of work consists in integration of culturological, conceptual, art criticism methods of research. The Old Russian understanding of a concept "city" on material of the analysis of concrete Old Russian picturesque miniatures is specified. The synthetic culturological methodology connected with synthesis of theoretical and applied methods of cultural researches is used. The conceptual analysis of the city is supplemented with the art criticism analysis of works of art.

Abstract: The subject of this study is the urban space of modern Krasnoyarsk, as well as the visualization processes of Krasnoyarsk and its dwellers in the monument of architecture, Parakseva Pyatnitsa Chapel. The Chapel is serves as a symbol of Krasnoyarsk, its apeparance condensing various synmolic complexes, linked to the unique identity of Krasnoyarsk and its inhabitants. The article examines the signs, images and symbols that preserve and transmit this unique urban identity. The Chapel's image possesses its particular dynamic of image and symbol. It is possible to identify the main elements of this image, and compare them to pre-Soviet, Soviet and post-Soviet eras of Krasnoyarsk history. The chief method of this research is the semiotic- and symbolism analysis, as well as philosophical and art analysis of the Parakseva Pyatnitsa Chapel as a paragon representative of Krasnoyarsk's urban environment. The scientific novelty of this work is based on the modelling of national identity dynamics of Krasnoyarsk dwellers, based on semiotics and symbolism analysis, as well as history and arts study of the representing monument. For the first time, the Parakseva Pyatnitsa Chapen is analyzed in the context of modern regional and urban identity. The indication of historic dynamics in the interpretation of the Chapel's image, as well as the analysis of this image from the citizen self-identification point of view, is also a novelty.