Abstract: The object of the study is the work of film director Alexander Petrovich Dovzhenko. The subject of research is the concept of "land" in the director's work, considered as a "garden," as an "earthly paradise". One of the main ideas of A. Dovzhenko's work is the glorification of the earth, "soil," which has already been indicated by many researchers. This tradition can be traced not only in "Earth," but also in other films by A. Dovzhenko ("Aerograd," "Shchors," "Michurin"), as well as in films created according to his scripts by director Yu. Solntseva ("Charmed Desna," "A Tale of Fiery Years"). The purpose of this study is to comprehend the worldview of A. Dovzhenko. The tasks of the study include: an analysis of the spatial organization of the director's works, a study of the significance of the concept of the earth, its connection with mythopoetics, with the folklore and religious origins of the figurative system. This study uses a comprehensive cultural approach, including comparative, dialectical, phenomenological and psychological methods.
The novelty of this study is that the "garden" is considered as "a creative space," as "an earthly paradise." The main conclusion of this study is that "earth" as "garden," as "earthly paradise" is one of such spaces. The Bible garden is God's creation, "earthly paradise," is human creation. In Zvenigor, the land acts as a natural given. In the film "Earth," the garden as an "earthly paradise" appears as a creation of natural and human efforts. In "Ivan" and "Aerograd" "earthly paradise" appears as the city of the future. "Garden" in the work of A. Dovzhenko there is a "creative space" symbolizing an earthly paradise.

Abstract: The object of research is Italian neorealism of the 1940-1950s. The subject of research is the work of neorealist directors Roberto Rossellini, Cesare Zavattini, Giuseppe de Santis, Vittorio de Sica, Alberto Latuada. Features of neorealism are also inherent in the early work of directors Luchino Visconti («Obsession» 1943, «Earth Trembles» 1948), Federico Fellini («The Road» 1954, «Nights of Cabiria» 1957), Piero Paolo Pasolini («Accatone» 1961, «Mama Roma» 1962), Michelangelo Antonioni «People from the Po River» 1947). Neorealism develops under the influence of French poetic realism, as well as, under the influence of verism, especially, the work of L. Pirandello. The focus of the neorealists was a person in interaction with society, the environment.
The purpose of this study is to consider the features of realism and neorealism, to consider the space created by directors. This study uses various research methods - phenomenological, intertextual, comparative, hermeneutic, content analysis in their combination and complementarity.
The scientific novelty of this study lies in the opposition of mythological and real space in the films of Italian directors, as well as in the application of an integrated approach. The main conclusion of this study is the thesis that myth and reality in the work of Italian neorealists interact with each other. Despite the documentary approach to filming, neorealists create their own, special reality, turn to history and myth. The concept of "neorealism" is quite complex, many of its representatives called themselves realists. The focus of neorealism becomes a person in interaction with society, with the environment. As the principles of neorealism, one can single out chorality, that is, the interaction of people. A separate feature of neorealism is the appeal to fantasy. F. Fellini and M. Antonioni open a new chapter in the history of Italian cinema.

Abstract: The subject of research of this article is the work of German expressionist directors. The relevance of this study is due to the fact that expressionists had a great influence on the entire cinema in the field of light and shadow discovery. In Soviet science, this issue received little attention. Researchers are currently addressing the topic of expressionism, but the issue of light-shadow ratio is not well understood.
The purpose of the study is to show the importance of the discovery of German expressionists in the field of light and shadow, their influence on world cinema, as well as the influence of Soviet directors on German expressionists in the field of editing.
The novelty of this study is to study the ratio of light and shadow in expressionists, as well as to identify the influence of Soviet directors on German expressionists in the field of editing. These aspects remain poorly understood. This study uses an integrated approach. Comparative, phenomenological, intertextual methods are used in their combination and complementarity.
The main conclusions of this study are about the discovery of German expressionists in the field of light and shadow, their influence on world cinema, as well as the influence of Soviet directors on German expressionists. Films performed in the tradition of expressionists often have commercial success.

Abstract: The subject of this article is the work of A. Hitchcock and I. Bergman, which are well studied both in Russia and abroad. The relevance of this study is due to the fact that so far no attempt has been made among researchers to investigate the influence of A. Hitchcock's work on I. Bergman. The purpose of this study is a comparative analysis of the work of A. Hitchcock and I. Bergman, identifying similarities and differences, including in matters of religious faith; studying such a little-known aspect as the influence of A. Hitchcock on the work of I. Bergman. The author also pays attention to the consideration of the religious views of A. Hitchcock, to which the researchers paid little attention.


This study uses an integrated approach, including a comparative method for analyzing the connections between directors, a phenomenological method, as well as a method of psychoanalysis in their combination and complementarity.
The novelty of this research consists in identifying the links between directors, in applying an integrated approach to the analysis of their works.
The conclusion is made about the religious views of A. Hitchcock and I. Bergman, their similarities and differences. Bergman's religious views underwent a long transformation throughout his life. Hitchcock's religious views were more conservative and stable, which affects the rhythm of his paintings.

Abstract: The subject of the research is Dziga Vertov's, Jean Vigo's and Michelangelo Antonioni's creativity which is rather well studied botj in Russia and abroad. The author pays special attention to such poorly studied aspect as Dziga Vertov's influence on Jean Vigo and Michelangelo Antonioni's creativity. The author confirms their continuity by analysing various sources, both literary and cinematographic. Much attention is also paid how creativity of Jean Vigo and Michelangelo Antonioni relate to French and Italian traditions of cinema. In this research the comparative method is applied to the analysis of communications between directors. Also the phenomenological method is applied. The novelty of this research is caused by the fact that the author describes communication between Dziga Vertov, Jean Vigo and Michelangelo Antonioni applying the integrated approach to the analysis of screen pieces. The conclusion is drawn on what practices of Dziga Vertov were the most valuable to the western cinematograph, and also about Michelangelo Antonioni's innovation.

Abstract: The subject of the research is Federico Fellini's creativity which is rather well-studied as in Russia, and abroad. The author pays attention to poorly studied aspects such as Federico Fellini's communication with the Italian cultural tradition, namely, with Dante Alighieri's creativity. Analyzing various sources, literary and cinematographic, the author confirms this continuity. Special attention is paid to the cinematographic work by Federico Fellini. The cinematographic space of Federico Fellini is considered as the "symbolical space" that opens new opportunities for the analysis of the film language. In her research Popova uses Yury Lotman's approach, that is the semiotics method, and also the psychoanalysis method, in particular, that of Karl Jung. The novelty of the research is caused by the fact that the author discovers the relationship between Federico Fellini and Dante Alighieri, applies the integrated approach to the analysis of the cinematographic work by Federico Fellini. The conclusion is drawn that application of the semiotics approach combined with psychoanalysis opens great opportunities for the analysis of the screen work.