Abstract: Dmitry Astrakhan is a director who immensely "feels the time." His films of the 1990s are documentary films of their era, which are reflected in the works of modern directors. All this underlines and undoubtedly confirms the relevance of this study. Based on this, the author sets a goal to identify the features of Dmitry Astrakhan's creative unions. The set goal is solved by the following tasks: 1) to analyze the creative team of director Dmitry Astrakhan; 2) to identify the members of the creative team with whom the director worked more than with others; 3) to substantiate the role of the creative tandem in the filmmaking work of Dmitry Astrakhan. The object of the study is a creative tandem, and the subject of the study is the main creative tandems in the directorial filmmaking of Dmitry Astrakhan. Cultural-historical and art-historical research methods were chosen as the key methods of the current research. The theoretical and methodological basis for writing this work was the works of Russian researchers Z. Lissa, A.O. Kozyreva, M.A. Novoselova, S.V. Lavrova, Li Jian and N.V. Medvedeva. It is impossible not to mention the author's previous publications on the research topic, which served as material for the work. Also, journalistic articles were used in the arsenal of sources to reflect the opinions of film critics and moviegoers on research issues. The scientific novelty of the work lies in the actualization of the role of the creative tandem in relation to the work of domestic film directors and the justification of a clear analytical approach to identifying participants in the main creative team of film director Dmitry Astrakhan. As a result of the study, it was revealed that Dmitry Astrakhan collaborated most of all with screenwriter Oleg Danilov during the entire creative period (1991-2020) – 24 joint films and composer Alexander Pantykin – 11 joint films. This served as the formation of common stylistic features and relationships that allow you to create films with a unique author's handwriting.

Abstract: Full-length and short independent feature films directed by Martin Scorsese are considered as the research material. The object of the study is the main elements of Martin Scorsese's directorial style. Throughout his creative career, the director under study, without fear, operates with numerous artistic techniques that today form the directorial style – broadcasting Christian motifs, cruelty combined with the beauty of the criminal world, eyes as an element of the hero's soul, using a mirror in the context of reflecting the other world of the character, narration through dreams and fantasies, as well as an abundance of editing solutions. The main attention is paid to the cast in the director's filmography, which correlates with the subject of this study. In this article, the author analyzed 33 films of the director that fall under the conditions of the study. The theoretical and methodological basis of the research was the works of domestic and foreign theorists and practitioners of cinematography, as well as film encyclopedias and film textbooks of the academic level. According to the results of the study, the author came to the conclusion that the director is committed to a permanent cast in his films. More than others, Martin Scorsese stars such actors as Robert De Niro, Catherine Scorsese, Charles Scorsese, Leonardo DiCaprio. The director puts himself at the top of this list. 430 actors took part in all the films studied, who appear in the director's filmography at least twice. In the films The Irishman (2019), The Wolf of Wall Street (2013), Goodfellas (1990), and Casino (1995) starred the largest number of recurring actors in the director's work. Also, in the course of our research, we found that the director in most of his films prefers to shoot not only himself, but also members of his family.

Abstract: The image of Baba Yaga in the folk culture of the ancient Slavs is considered as an object of research in this work. As an important part of folk culture, Russian folk tales take upon themselves the responsibility to broadcast traditional moral qualities and form the basis of a person's evaluative and emotional attitude to the world. The subject of the study is the transformation and interpretation of the image of Baba Yaga performed by the People's Artist of the RSFSR Georgy Millar in the film tales directed by Alexander Rowe. The authors set a goal to identify specific features in the interpretations of the image of Baba Yaga by George Millar and to identify the typology of these images. The methodological basis of the article is content analysis, comparative, statistical, historical and cultural analysis of the films narrator Alexander Rowe. The authors, when considering the problem, achieve the following results: Georgy Millar starred in 16 Alexander Rowe's fairy tales, while performing 27 roles; he played Baba Yaga in 4 fairy tales; only the first is the canonical image, the other three images are the personal merit of Georgy Millar. In the process of developing the problem, the authors identify comparative criteria of Baba Yaga images: external features, behavioral characteristics, character traits. The novelty of the research consists in the unconventionality of the indicated approach, as well as in a comprehensive analysis of the palette of creative possibilities of actor Georgy Millar. As a result of the study, the authors come to the following conclusions: 1) the centuries-old image of Baba Yaga is very complex and often contradictory, so it can be transformed and interpreted; 2) Georgy Millar created 4 different images of the same character - Baba Yaga "Witch", Baba Yaga "Old Housewife", Baba Yaga "Mother" and Baba Yaga "The lady."

Abstract: The authors designated speech culture as the object of this article. The subject of the study is the creative potential of the Honored Artist of the RSFSR Maria Vinogradova in the context of voicing Soviet cartoons. The authors set a goal to identify the range of the potential of speech capabilities in voicing cartoon characters. The methodological basis of the article is content analysis, comparative, statistical, historical and cultural analysis of Soviet animated works, as well as their characters voiced by Maria Vinogradova. The authors, when considering the problem, achieve the following results: from 1954 to 1995, Maria Sergeevna took part in the dubbing of 213 Soviet cartoons. The most fruitful years for the actress in terms of voice acting were 1976 – 15 works; 1975, 1984 - 12 works; 1973 – 11 works; 1974 – 10 works. For 40 years, the actress has voiced 109 animals, 87 boys, 22 girls, 14 indeterminate characters and 9 inanimate objects. In the process of developing the problem, the authors identify categories of voiced characters (boy characters, girl characters, animal characters, object characters, indeterminate characters) and analyze the actress' creativity for the characters she voices belonging to these categorical elements. The novelty of the research lies in the unconventionality of the indicated approach, as well as in the complex analysis of the palette of Maria Vinogradova's speech capabilities. As a result of the study , the authors come to the following conclusions: 1) The high creative rise of the actress was formed in the 1970s - 91 Soviet cartoons were voiced in this decade, which is 42% of the total number of voiced cartoons. 2) The acting role of Maria Sergeevna's travesty confirms the first place in the number of voiced male characters - children and animals. 3) In 15 cartoons, Maria voiced several characters, and in 2 – all the characters, which indicates a wide speech range of the actress.