Abstract: The subject of this research is the theme of creativity and transformation of the screen image of the world as the paramount elements of development of the director’s style. The object of this research is the films of the prominent Soviet director Gleb Panfilov made in the 1960’s – 1980’s. The author examines the dramaturgical peripeteias of the plot, formation of a particular female image in the films, development of constructive component of the character. Special attention is given to cinematographic analysis of the director’s elements forming the realm of the screen picture of the world and comprising the holistic foundation of perception and suggestive component of the film. The main research method is the film analysis reel,  which is based on aesthetic concepts of the general or cinematographic genesis, as well as includes the review of dramaturgy, characters and plastic means of screen expression. The main conclusion lies in the statement on the gradual development of the images of female characters in the films of Gleb Panfilov from individualizes creator to the creator adapted in society. Synthesis in the analysis of the characteristics of heroes and their impact on the screen picture of the world, allowed the author of the article to draw the conceptual conclusions concerning the changes in the original style of G. Panfilov within the specified timeframe.

Abstract: The subject of this research is the transformation of the screen canon in Russian films of the first decade of the XXI century. The article meticulously analyzes the three new trends characteristic to the films of this period, which in the author’s opinion, reflect the new canonic features of Russian cinematography. The first trend – emergence of a hero able to take action. The second trend pertains to formation of a new mythological structure of the past, visualized in modern national war films. The third trend is associated with delineation of space and functioning of film characters, which forms a new look of a screen worldview. The main conclusion lies in the idea of formation of a new image of full-fledged hero, establishment of a new canon of capturing the spatial elements of screen environment along with the new ideologemes aimed at structural moral-ethical principles of the audience. The concept of canon is justified by the development of figurative language of the films of the first decade of the XXI century.

Abstract: The object of this research is the fundamental principles of capturing and analysis of new reality of the 1930’s in creative works of the most prominent national documentarians of that time. The article traces the similarities and differences in the relevant film journalism and newsreel of 1930’s from the perspective of compositional structure and visualization of a character; defines the concept of “documentary film image”; makes suggestions of the audience interpretation of reality through the prism of author’s mark. Based on the material of the films of D. Vertov and E. Shub, the author traces the evolution of original styles of the two brightest documentary artists, and determines the main trends of the development of documentaries that would be relevant until the “Thaw” period. The author conducts a gradual analysis of the plasticity and imagery nature of documentary material, new editinf and dynamic expressive means and methods of their implementation in such films as “The Symphony of Donbass”, “Three Songs About Lenin”, “Komsomol: Patron of Electrification”. The relevance of problematic is substantiated by transformation of the traditional approach towards the art analysis of the audio-visual content. The article examines the concept of “chronotope”. The new capabilities of sound art allow indicating the new expressive means based not on the language of classical arts, but the language of Soviet avant-garde of the 1920’s, adjusted to the need of creativity of the 1930’s. The novelt of culturological interpretation of the prospects of growth and establishment of the Soviet documentary art of that time is tested by the author on the film analysis of the most notable auteur films of that era (D. Vertov and E. Shub), which demonstrate the new forms of visual performance adding a publicist element.