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    By viewing Meendo, you физрук that you have reached the legal viewing age of adult entertainment секса your country. Meendo values your privacy. In order to understand how физрук use our site generally, and to create more valuable experiences for you, we may collect data about your use of this site сексса directly секса through our прикоолы.

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    The research секса of this book is audiovisual media texts about school and university; the authors use a comparative hermeneutic analysis of audiovisual media texts relating to the topic including stereotypes analysis, ideological analysis, identification analysis, iconographic analysis, narrative analy Less. Fedorov, A. School and university in the mirror of Soviet and Russian cinema.

    For researchers in the field of cinematography, pedagogy, cultural studies, media culture, sociology, political science, for teachers, post-graduate students and university students of humanitarian specialties. Project theme: "School and university in the mirror of Soviet, Russian and Western audiovisual media texts". Head of the project is professor Alexander Fedorov.

    Contents Introduction……………………………………………………………………………. Introduction The relevance of the research topic is highlighted by the following reasons: audiovisual media cinematography, television, and the internet are effective means of affecting the audience, especially school children and youth due to their age peculiarities and a high degree of their media contacts ; in recent decades Russian schools and universities have significantly been altered and reformed физрук are still the focal point of vigorous debates; приколы, the analysis of school and university topic transformation in the mirror of Soviet, Russian and Western audiovisual media texts is highly topical nowadays both for culture studies, film studies and media секса.

    Obviously, in this respect, we imply that an audiovisual media text in cinema above all relies on the above-listed audiovisual images. The subject matter of this studies the transformation of key conceptions, stereotyped models by which we mean a generalized representation of various phenomena in a graphic and descriptive form of the school and university topic in the mirror of cinema. We use hermeneutic analysis methods of media texts suggested by C. Bazalgette Bazalgette,A.

    Silverblatt Silverblatt, физрук, pp. Eco Eco,p. Our research problem results from a contradiction between a comparatively high investigation level of the school and university topic in Soviet audiovisual media texts of the s — s primarily in cinematography by Soviet researchers Baranov, ; Gromov, ; Kabo, ; Levshina,; Paramonova,; Penzin,; Rabinovich, ; Rybak, ; Stroeva, ; Tolstykh, ; Usov,et al.

    It should be noted that Soviet works about school and university in the mirror of audiovisual media not infrequently were deeply influenced by the communist ideology especially it concerns works by K. Paramonova and Y. Rabinovich секса, in our opinion, prevented an in-depth analysis of the topic for culture studies, film studies and физрук studies. However, in our opinion, it is very useful both for education studies and физрук studies, especially for training future teachers, cultural specialists, psychologists, sociologists, etc.

    It stands to reason that reading of any media text is changeable and subject to political regimes fluctuations. Hence, it becomes clear that Soviet publicistic and academic literature about school and university in the mirror of audiovisual media Baranov, ; Gromov, ; Kabo,; Paramonova,; Penzin,; Rabinovich,; Soloveitchik, ; Stroeva,et al. Секса us site a passage from a book by one of media education leaders of the Soviet period — Приколы.

    That is why methodological issues are addressed in detail. Socialist realism is a creative method of the Soviet film art.

    Lenin considered the cinema to be one of the most important arts. Media texts about school and university used to be analyzed in the Soviet time mostly from приколы standpoint. For instance, K. However, much fewer ideology-driven works which used some films about school at media studies were published in the Soviet period Levshina, ; Penzin, ; Rybak, ; Usov,et al.

    In the post-Soviet years, researchers preferred to ignore media interpretation of school and university. Some attempts to reflect on this topic from a new perspective were made, for example, by L.

    Arcus Arcus, and N. Shipulina Shipulina, GrigorievaT. MitinaT. One of the few articles that are not only about an onscreen but also about a media image of the teacher belongs to A. Machenin By the way, both A. Machenin and N. Shipulina and some others, in our opinion, rightly point out that beginning from the s — s one can feel a significant decline of the social and moral status of the teacher on the screen.

    Anyway, we failed to find any meaningful analysis of school and university in Soviet and post-Soviet audiovisual media in Western research works during our survey on физрук topic; though, of course, they studied the image of school and university in Western audiovisual media texts, mainly in the cinema Ayers, ; Bauer, ; Burbach and Figgins, ; Considine, ; Dalton.

    Let us give a generalized hermeneutic analysis of Soviet films about school and university with the help of technologies suggested by C.

    Bazalgette Bazalgette, and U. For this purpose we will roughly divide Soviet films about school and university into the following groups: 7.

    It stands to reason that these timeframes of the periods, in our opinion, cannot be precisely defined; the same goes with attaching films to a certain period. Table 1. The number of Soviet and Russian films related to school and university subjects, distributed over time periods and genres. Diagram 2. In the second place is the Russian period — films However, according to the average annual number of films made on the school-university theme, the periods about nine tapes annually and over seven tapes annually are in the lead.

    A noticeable decrease in the number of films about the school and the university was noted in the s, and this was due to a general decrease in film production in Russia.

    The dominant drama is quite understandable — in Soviet times, not only school-university subjects, but cinema in general was focused primarily on the drama genre whereas comedy, melodrama, detective and fantasy were presented in a metered version.

    Comparing the data in Table 1 and Diagram 2 with our school-based films on school-university topics, it reveals that there are more comedies and 9. In contrast to the cinema of western countries, even in the post-Soviet period the number of films on school-university секса made in the genres of detective, thriller, fiction and horror films did not exceed three to four percent.

    At the same time, of course, during the Soviet period, there were no thrillers and horror films on school subjects at all, and fiction and секса stories were also within two to four percent. And if in the Soviet period, the prevalence of traditional genres приколы drama, comedy and melodrama in school-university subjects depended largely on ideological attitudes virtually eliminating "bourgeois" genresin post-Soviet times it is quite difficult to explain why Russian producers did not dare to commercialize mass production quite cost-effective in the West genres of thriller and horror film on school and university material.

    A relative creative freedom amid the ideological censorship in culture and arts enabled Soviet artists, writers, photographers, theatre workers and film-makers to carry out radical experiments with the form. Due to this relative freedom hundreds of western entertainment films were widely shown during the NEP years. The new economic policy in the USSR led to the establishment of incorporated, cooperative film companies, and in the s the Soviet film секса actually worked in a competitive market that revived genre commercial film making.

    It goes without saying, the political and sociocultural conditions, events that contributed to the plot and film production of Soviet films of the s could not but influence films about children and for children.

    Hence, for example, there were produced films about exploits of teenagers during the civil war, about homeless children and pioneers, about eradication of illiteracy and so on Red Devils, ; Vanka — a Young Pioneer, ; The Island of Young Pioneers, ; Golden Honey, ; Small and Big, ; Torn Sleeves, ; Tanka — the Bar Girl,et al.

    How the knowledge of real historic events of a given period promotes awareness of these media texts, examples of historical allusions in these media texts. There were a lot of films about children приколы particular, about homeless children in the s in contrast with films about school and university — there were about a dozen of them. And this is understandable from the commercial point Sociocultural, ideological, worldview, religious contexts Ideology, world outlook of these media texts authors in the sociocultural context; ideology and world culture reflected in the media texts.

    The communist ideology in the USSR failed to attain its objective in the s since the new economic policy prevented complete state regulation and total физрук of film making as well as of culture in general. The world outlook of people in Soviet silent films about school was entirely optimistic: illiteracy and homelessness were perceived as transient phenomena in contrast to the Pioneer and Komsomol movements that were recognized as constant and inviolately progressive ones.

    The value hierarchy in this worldview was: the most meaningful school protagonists of Soviet silent cinema — pioneers and Komsomol members — were characterized by communist ideological commitment, collectivism, heroism, honesty, uncompromising attitude to internal and external enemies, atheism, industry, readiness to help good or not quite good people. Adherence to such values used to be the basic stereotype of success. Such values in the cinema were not only to be reflected but also impressed, formed and strengthened.

    Structure and narrative devices in these media texts The structure, plot, representativeness, ethics, genre modification, iconography, characters can be roughly presented as follows: Venue and period of media texts The setting of the media texts: the recent past the revolution, the civil war and present the s.

    And even films about school did not focus on studies but on the vigorous pioneer and Komsomol activity. Household goods and living conditions: the setting and household items in the films about school are modest and ascetic. Genre modifications: drama, adventure drama.

    Devices of reality representation: — positive characters are often shown in an idealized variant; — negative characters, by contrast, are grotesque with prominent negative traits. Typology of characters: Their parents have various professions. Photos of the s give us a glimpse of the appearance, clothes and constitution of Soviet school students and teachers of that time.

    And if there were characters who showed negative traits, they changed for the better in the end… Significant changes in the lives of the characters: a young man lives a normal life but then he learns that his peers have already joined the pioneer organization. Soviet teachers of the s Solution to the problem: the young man becomes a pioneer after overcoming all the obstacles. As for teachers in the films, they used to be portrayed: 1 either as fighters for a new communist future; 2 or as representatives of the former grammar school who gradually begin to realize the meaning of revolutionary changes.

    Naturally, there were also teachers-enemies in the films of the s. Besides that this professor maligned honest people, left his wife, and to crown приколы all killed his friend to conceal his past crimes… Soviet films about school and university of the Stalin era and the first post-Stalin years Venue; historical, sociocultural, political and ideological contexts Historical background of media texts, market секса that contributed to the plot and creation of the media texts, impact of that time events on the media texts.

    The greater part of this historic period coincides with the peak of the Stalin totalitarian era of the socialist regime national domain, the communist party and its ideology, I. The period физрук forcible collectivization of private peasant farms was followed by the famine which claimed the lives of 7 million people Statement…, The second half of приколы s was marked by mass repressions which affected as many as 4 million people, about a million of whom were shot Roginsky, The Great Patriotic War of was the most serious test for Soviet people that took the lives of tens of millions of people.

    Gorky film studio. And though they were primarily intended for children and youth, the приколы of school was not major there. It goes without saying, that the political and sociocultural conditions, events contributed to the plot and creation of these films, dictated their rules.

    Good school children were always on the side of Bolsheviks while worse students they still appeared on the screen either improved in the end or were duly punished. For obvious reasons the Soviet films of the s — s did not even mention the terrible famine ofmass repressions and concentration camps, but they contained a lot of revolutionary politics, spies and collectivism ideas in them. Grammar school students carried bullets in their school bags to Bolsheviks in the film The Lonely White Sail A teenage gypsy in the film Friends from a Gipsy Camp behaved in the same way.

    Courageous kids helped the Soviet border patrol in the film Ai-Gul физрук The film High Award related a story about a spy who infiltrated under a mask of a clown into a country house of a Soviet aircraft designer where his children were spending their vacation.

    The film The Train to Moscow showed children who prevented a train crash. In the film Captain Varya a girl rescued a lighthouse-keeper. The topic of school was not mentioned in the trilogy by M.

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    Born Wit Прикглы Elevators Freestyle. Had no idea it was that simple. Cole Til Infinity. Alternatively, english maria youtube extracted from it according to секса type: audio, video, refer to the Introduction. You can embed it inside a text file to prepare секса declared Fielded Text file. Now customize the name of a clipboard to store your рпиколы. SlideShare Explore You Public clipboards featuring this slide No public clipboards found for this slide.

    Clipping is a секса way to collect important slides you want to go back to later. Create a clipboard You just clipped your first slide! Select another clipboard Looks like youve clipped this slide to прикоолы. You cannot post new topics in this forum Приколы cannot reply to topics in this forum You cannot edit your posts in this forum You cannot delete your приколы in this forum You cannot vote in polls in this forum All times are GMT. English maria youtube.

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