Лиана Владимировна Попова
Biographic Data
| ID | 10249001 |
|---|---|
| NAME | Лиана Владимировна Попова |
| GIVEN NAMES | Лиана Владимировна |
| FAMILY NAME | Попова |
| SIGNATURE | ПОПОВА Л В |
| ORCID | 0000-0002-9766-7535 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
The real and the fantastic in the films of the "French new Wave"
The object of this study is the "new wave" – the current in French cinema from the 1950s to the 1960s. The subject of the study is the work of directors of the "French new wave": Francois Truffaut, Jean-Luc Godard, Agnes Varda, etc. French directors appreciated the work of R. Rossellini, who was influenced by cinema-verite, that is, the experience of Russian avant-gardists, in particular D. Vertov. In addition, the figures of the "French new wave…
"Earthly paradise" in Alexander Dovzhenko films
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 ("Aerogra…
Myth and reality in the work of Italian neorealists
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, …
Becoming an image in the cinema
The object of the study is the formation of an image in cinema. S.M. Eisenstein defined cinema as a comparison of two methods: the method of image and the method of figurative formation. The image in the cinema is the "image of becoming". The purpose of the study is to trace the evolution of views on the "image of becoming" from G. E. Lessing to G. V. F. Hegel and S. M. Eisenstein. The author refers to the origins of the formation of the "image o…
"Black" and "white" in German Expressionist Films
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…
The Search for God in the works of A. Hitchcock and I. Bergman
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 …
No prominent works on this page.
The Search for God in the works of A. Hitchcock and I. Bergman
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 …
"Black" and "white" in German Expressionist Films
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…
The real and the fantastic in the films of the "French new Wave"
The object of this study is the "new wave" – the current in French cinema from the 1950s to the 1960s. The subject of the study is the work of directors of the "French new wave": Francois Truffaut, Jean-Luc Godard, Agnes Varda, etc. French directors appreciated the work of R. Rossellini, who was influenced by cinema-verite, that is, the experience of Russian avant-gardists, in particular D. Vertov. In addition, the figures of the "French new wave…
"Earthly paradise" in Alexander Dovzhenko films
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 ("Aerogra…
Myth and reality in the work of Italian neorealists
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, …
Becoming an image in the cinema
The object of the study is the formation of an image in cinema. S.M. Eisenstein defined cinema as a comparison of two methods: the method of image and the method of figurative formation. The image in the cinema is the "image of becoming". The purpose of the study is to trace the evolution of views on the "image of becoming" from G. E. Lessing to G. V. F. Hegel and S. M. Eisenstein. The author refers to the origins of the formation of the "image o…
Art (5 works) · Art history (5 works) · Aesthetics (4 works) · Movie theater (3 works) · Cinema and Media Studies (2 works) · Computer Science (2 works) · Epistemology (2 works) · History (2 works) · Literature (2 works) · Novelty (2 works)