Violetta Evallyo
State Institute for Art Studies, Mass Media Department, Faculty Member
This article attempts to provide an overview of foreign monographs and collective works that have been published in the 21st century, as well as some significant translations and reprints. This review cannot claim to provide an exhaustive... more
This article attempts to provide an overview of foreign monographs and collective works that have been published in the 21st century, as well as some significant translations and reprints. This review cannot claim to provide an exhaustive overview of all authors’ approaches, but some conclusions can be drawn from it anyway. Firstly, the identified problems which are in the focus of contemporary researchers differ in many respects from those which were the focus of attention of researchers in previous decades, and this seems to be due to the issues that concern different generations. The focus of scholars’ attention is still on ontological problems, eternally troubling humans – questions of spirituality, good and evil, humanism and the limits of the mankind, however, more and more space is occupied by contemporary issues: intolerance, femininity, trauma, deviancy, cruelty, nihilism. In Dostoevsky’s works, researchers are attracted by the prophetic motifs of the consequences of the lo...
The article reviews the reports delivered on November 1–3, 2022, at the International Research-to-Practice Conference Media Art—XXI Century: Genesis, Art Programs, Education Problems. It was organized by the Russian Academy of Arts, the... more
The article reviews the reports delivered on November 1–3, 2022, at the International Research-to-Practice Conference Media Art—XXI Century: Genesis, Art Programs, Education Problems. It was organized by the Russian Academy of Arts, the Research Institute of Theory and History of Fine Arts, the State Institute for Art Studies, Stroganov Moscow State Academy of Design and Applied Arts, the Moscow Architectural Institute (State Academy), and the National Academy of Design. The conference aimed at comprehending the current state of media art in the context of digitalization of classical works and methods of their exposure; at identifying key program and aesthetic dominants in media art; and at systematizing the most relevant educational projects. The organizers suggested the following aspects as the major research focuses: classical arts and media in digital discourse; new media in the socio-cultural environment; current media forms and their genesis; new media in the urban environment...
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In the Late Soviet years, there was a feeling of the collapse of many former creative attitudes and traditions, the destruction or withering away of the ethical and aesthetic values of the Soviet era, which was perceived as the collapse... more
In the Late Soviet years, there was a feeling of the collapse of many former creative attitudes and traditions, the destruction or withering away of the ethical and aesthetic values of the Soviet era, which was perceived as the collapse of artistry itself in its substantive and formal aspects. The blurring of the boundaries between realities and the absence of stable temporary “anchors” characterize the aura of film substance. The concept of “Ghost City” was developed on the material of the Late Soviet films “City Zero”, “The Museum Visitor” and “Days of Eclipse”. Fragmentary states, confusion of consciousness and the loss of a sense of a solid firmament under their feet, a solid system of values and spiritual guidelines are also observed in the heroes of the films. There is a throwing between the fictional heroes of reality and real everyday life. The image of the “ghostly” city is characterized, first of all, by the abstractness of its geographical coordinates and the narrativ...
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The article analyzes the film by Leonid Gaidai Incognito from St. Petersburg (1977) based on the N.V. Gogol’s play The Government Inspector. The author draws attention to the preservation of theatrical aesthetics, which is revealed in the... more
The article analyzes the film by Leonid Gaidai Incognito from St. Petersburg (1977) based on the N.V. Gogol’s play The Government Inspector. The author draws attention to the preservation of theatrical aesthetics, which is revealed in the spatial accents and the interaction of the characters. The comedic core of the play, the misunderstanding, is enhanced by the eccentric accents characteristic of the aesthetics of silent cinema. The key dramatic structure of the film is the various types of urban spaces — an imaginary idea of capital city and a real provincial town, as well as the dialogue of their artistic incarnations in the film. The activation of comedy effects takes place at the intersection of extremely serious elements and their childishly naive interpretation and implementation, decoration and attempts to imitate the surrounding space with “adult” (capital) images. The “unofficial” side of the artistic world is exposed by its permanent presence on the periphery of the frame...
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The article reviews the reports presented at the All-Russian Scientific Conference From “spectacle plays”1 to film comedies: The history of Homo Ridens, which was organized by the State Institute for Art Studies and the GITR Film and... more
The article reviews the reports presented at the All-Russian Scientific Conference From “spectacle plays”1 to film comedies: The history of Homo Ridens, which was organized by the State Institute for Art Studies and the GITR Film and Television School on June 2–3, 2022. The event focused on comprehension of the historical development of laughter culture, introduction of trusted research concepts, disclosure of new facts and archival materials, and revealing the relationship between the comic, its intensity and semantics in postmodernist aesthetics. The following key areas were proposed: fundamental problems of aesthetics, cultural studies, and art criticism; genre and stylistic varieties of comedy; circulation of laughter culture in film, television and other screen arts and in the Internet environment; transformations of representation of comic, laughter, and humor in the historical context; provocation, deconstruction, and citation in comics. The reports were divided into two grou...
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In the modern period the aesthetics of comedy in cinema was on the periphery of the attention of the science of art. Not least, this was due to the fact that the analysis of the comic was relegated to the background by the study of the... more
In the modern period the aesthetics of comedy in cinema was on the periphery of the attention of the science of art. Not least, this was due to the fact that the analysis of the comic was relegated to the background by the study of the playful relativity characteristic of postmodern trends in the screen arts of the late 20th and early 21st centuries. Meanwhile, Soviet film comedy remains one of the pinnacles in the development of this genre in the cinema of the 20th century. And the decline of comedy in modern Russian cinema prompts a return to the experience of the masterpieces of the Soviet era. The relevance of the topic is connected with this: the contexts of the comic and laughter in Soviet comedies, their functions of a social, communicative, aesthetic nature were not studied in detail and comprehensively in their time. The novelty of approaches today is associated with the possibility of free from ideological pressure and the most detailed consideration, and in part are visio...
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In this article, the digital museum is examined through the perspective of the “humanization” processes, which is the reorientation of museums to reach the widest audience and to introduce works of art in media discourse. First of all,... more
In this article, the digital museum is examined through the perspective of the “humanization” processes, which is the reorientation of museums to reach the widest audience and to introduce works of art in media discourse. First of all, these problems cover the transformation of the usual communication between museums and their visitors. Thus, new accents are formed and landmarks are shifted from a work of art to its recipient. The purpose of this study is analyzing the visual component of museums’ websites, cultural research of digital content. As a result of the release of museums and their material and cultural archive in the field of mass culture, access to works of art, and its informational, expert support are realized, but also a kind of desacralization of cultural objects is fixed. The article concludes that the range of visual shows presented in digital museums is wide and relies largely on game aesthetics, on the possibility of interactive manipulation of website content.
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The problem of interaction between machines and humans has been relevant at all times of human civilization’s development. This subject arose most acutely in the era of scientific and technical progress, giving rise to a wide problem... more
The problem of interaction between machines and humans has been relevant at all times of human civilization’s development. This subject arose most acutely in the era of scientific and technical progress, giving rise to a wide problem field, many aspects of which still require scientific understanding. In this discussion, the researchers tried to analyze the situation of the widespread implantation of new technologies and machines into the art field. The integration of technology generates the necessity of the author’s interpretations about the relationship between the technological and the humanistic. The authors turned to the problem of identification and draw the boundaries of the human “I” in the era of computerization of many spheres of life, to the topic of technology’s images in cinema (Polish, American, documentary), to the image of industrialization in American art of the first half of the 20th century, to modern installations by A. Reichstein, to the screen media in the sta...
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In this article, attention is mainly focused on the images of musicians with supernormal abilities in Western cinema, their recognizable external and behavioral features, which are largely a clichéd perception of one or another stylistic... more
In this article, attention is mainly focused on the images of musicians with supernormal abilities in Western cinema, their recognizable external and behavioral features, which are largely a clichéd perception of one or another stylistic of rock music. Why do the images of rock musicians fit so well into the visual structure? First of all, this is the high potential of the represented stories for multilevel decryption. The interest of mass culture in the field of rock music is characterized by many criteria, and not least of all associated with the carnival, mystical elements of concert activity; detective elements, and existential twists and turns. The clichéd motives of protest do not coincide with everyday life or do not directly correlate with it, but it is precisely the struggle that becomes in demand among the audience. It is symptomatic that rock musicians appear in many films in the images of Others, endowed with superpowers. Different myths are intertwined, and transformati...
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The text reviews the Arts and Machine Civilization International Scientific Conference. The conference took place on March 30—April 2, 2021, and was organized by the State Institute for Art Studies, GITR Film and Television School, and... more
The text reviews the Arts and Machine Civilization International Scientific Conference. The conference took place on March 30—April 2, 2021, and was organized by the State Institute for Art Studies, GITR Film and Television School, and the Saint Petersburg State University. SIAS has been hosting conferences on contemporary culture, screen art and television for 17 years. This year, for the first time in the history of such forums, the researchers were tasked with analyzing the new things that machines have brought to the arts and, in general, to human life. The conference took its special place among the forums held over the past year in Russia and abroad in the following areas: artificial intelligence (Artificial Intelligence Journey, Moscow,Russia); machine learning (International Conferenceon Machine Learning, Vienna, Austria; 3rd International Conference on Machine Learning and Machine Intelligence, Hangzhou, China); civilization of knowledge (Civilization of Knowledge: Russian ...
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In this article, the author addresses the topic of the Other in transmedia. The object of the study was visual works about the Witcher: the novels of A. Sapkowski, the Polish TV series "The Witcher" (Wiedzmin, 2002), the TV series "The... more
In this article, the author addresses the topic of the Other in transmedia. The object of the study was visual works about the Witcher: the novels of A. Sapkowski, the Polish TV series "The Witcher" (Wiedzmin, 2002), the TV series "The Witcher" (2019), the rock opera "Road without Return" (ESSE, 2009), computer games (The Witcher / 2008, The Witcher 2: Assassins of Kings / 2011, The Witcher 3: Wild Hunt / 2014), comics and game streaming. The aim of the study was the accents made by the creators of these works, a comparison of the most acutely presented topics. The key aspect of this article was the ratio of time and space, and its interpretations in various transmedia products, the transformation of the Witcher's image in his visual and aesthetic representations. The author concludes that transmedia is the actor of the so-called "humanization" (that is, anthropic saturation) of stories about Others.
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Avatar is the phenomenon, which in its essence is the "representative" of the user the virtual environment. The avatar phenomenon contains the duality of its perception and its role in the sociocultural space. This ambivalence is clearly... more
Avatar is the phenomenon, which in its essence is the "representative" of the user the virtual environment. The avatar phenomenon contains the duality of its perception and its role in the sociocultural space. This ambivalence is clearly manifests in the positioning of the avatar in the visual arts and its “real” life in a virtual environment. In this article an attempt to understand the term "avatar" are taken. The historical insight allowed to outline the evolution of discourse and to draw conclusions about the fundamental difference between understanding the avatar features in the visual arts and in the sociocultural space. It was concluded that in a broad sense, an avatar realizes the need to “editting” the user's identity in the network and creates the illusion of superhuman, divine possibilities of influencing a character on a virtual network.
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The Moscow underground (Metro) today is showing active development: new series of trains appear; stations are being built. Apart from material-plastic medium, the screen, virtual reality also emerges. It plays the key role in establishing... more
The Moscow underground (Metro) today is showing active development: new series of trains appear; stations are being built. Apart from material-plastic medium, the screen, virtual reality also emerges. It plays the key role in establishing a new metro mythology. This paper attempts to trace new perspectives of the underground’s virtual life and the points of their interfacing with the objective, material environment. One can loosely specify three types of screen media in the Moscow Metro: information panels (located above the doors in cars), interactive structures (Info-SOS at stations and screens with sockets in “head” and “tail” parts of modern trains), “television” screens” (In the lobby and built-in between car`s door and window, where the Moscow metro lines were traditionally located, and small screens at the eye level of standing passengers). They have different semantic content and types of communication with passengers. There are a number of evident trends in providing video sequence on screens of the Moscow metro in the second half of 2019. The headings broadcast on the screens went sequentially, from more socially significant subjects to quizzes and announcements. The alternation of short stories gave the impression that it took less time to travel. The entire block of on-screen information worked on the effect of “accelerating” time, creating the illusion of greater rapidity of the subway. The Moscow metro today is not so much about the architectural environment but rather a virtual communicative one, which, in addition to entertaining, calming, distracting from problems and uplifting, also represents a function of animating the metro, informing it with a temperament and intonation component. In the process of immersion in a simulated media of the Moscow metro, one finds out that it turns to be a virtual organism with a complex system of “organs”, its own nervous system and its own needs. The first and foremost of which is to preserve, strengthen the love of their passengers, perhaps even make them addicted to the metro environment and inspire them for continuous improvement and modernization of the world. / Московский метрополитен сегодня демонстрирует активное раз- витие: появляются новые составы, строятся станции. Сверх материально- пластической среды формируется и экранная, виртуальная реальность, ключевая роль которой заключается в моделировании новой мифопоэтики метрополитена. В данной статье предпринята попытка структурировать новые ракурсы виртуаль- ной жизни метро и точки их сопряжения с объективной, материальной средой. Можно условно обозначить три типа экранных сред в Московском метрополи- тене: информационные панели (расположены над дверьми в вагонах), интерак- тивные конструкции (Info-SOS на станциях и экраны с розетками в «головной» и «хвостовой» частях современных составов), экраны-«телевизоры» (в вестибю- лях и встроенные в промежуток между дверью и окном вагона, где традиционно располагалась схема линий московского метрополитена, и небольшие экраны на уровне глаз стоящих в поезде пассажиров). У них различный смысловой кон- тент и типы коммуникации с пассажирами. В формировании видеоряда на экра- нах московского метрополитена второй половины 2019 г. очевиден ряд тенденций. Рубрики, транслируемые на экранах, шли последовательно, от более социально значимых сюжетов до викторин и анонсов. При просмотре череды коротких сюжетов создавалась иллюзия «сжатия времени» поездки. Весь блок экранной информации работал на эффект «ускорения» времени и стремительности метро- политена. Сегодня в московском метро работает не столько архитектурная среда, сколько виртуальная коммуникативная, у которой, помимо функций развлекать, успокаивать, отвлекать от неразрешимых проблем и высветлять палитру жизнен- ных впечатлений, есть еще функция анимирования метро, наделения его характе- ром, темпераментом, интонационной структурой. Экранная среда метро работает как некая духовная сущность этого сложного организма, находящаяся в дистан- ционной, опосредованной коммуникации с пассажирами и формирующая как их отношение к метро, так и некоторые поведенческие установки.
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The modern Moscow subway is a complex and multi-structural phenomenon. It's carrying with pride the architectural heritage of the Soviet era, and today subway and its media environment are in constant formation, the current interest... more
The modern Moscow subway is a complex and multi-structural phenomenon. It's carrying with pride the architectural heritage of the Soviet era, and today subway and its media environment are in constant formation, the current interest and the modern are layered. Of all the aspects of the life and functioning of the modern subway, we're focusing on the media environment, the functioning of its historical, educational, entertaining components. In turn, the media environment consists of a conglomerate of aspects that to one degree or another form and expands the functions of the subway as an integral civilizational organism. First of all, we are talking about the information field (primarily visual content), architectural and decorative solutions in its historical and modern components, cultural, educational, and entertainment programs. Elements of media reality are located on horizontal connections; they are not self-sufficient and capable of life because of tight integration in...
The peak of Peter Greenaway's popularity among trained viewers craving a complex movie came in the 1990s. The end of the twentieth century can generally be considered the heyday of this intellectual director, prone to experimentation,... more
The peak of Peter Greenaway's popularity among trained viewers craving a complex movie came in the 1990s. The end of the twentieth century can generally be considered the heyday of this intellectual director, prone to experimentation, rebuses and brutal shocking of an elite and even snobbish audience. Greenway is particularly addicted to large screen forms - large in many ways. They claim the extraordinary scale of the aesthetic design, the complexity of the form, a kind of internal infinite expansion of the meaning. The works of Peter Greenaway are characterized by total transmediaism, a complete “set” of postmodern instruments, a multi-layer (including split-screen) form of visual narration, and, of course, an unstoppable intention to overcome any boundaries, whether it be a frame of a frame or the limits of the real and the fictional.
Пик популярности Питера Гринуэя среди подготовлен-ных зрителей, жаждущих сложного кино, пришелся на 1990-е годы. Конец ХХ века вообще можно считать временем рас-цвета этого интеллектуального режиссера, склонного к экс-периментаторству, ребусам и брутальному эпатированию элитарного и даже снобистски настроенного зрителя. Гринуэй отличается особым пристрастием к большим экранным формам - большим во многих смыслах. Они претендуют на экстраординарную масштабность эстетического замысла, усложненность формы, некое внутреннее бесконечное рас-ширение объема смыслов. Для произведений Питера Гринуэя характерна тоталь-наятрансмедийность, полный «набор» постмодернистских инструментов, многослойная (в том числе-полиэкранная) форма визуального повествования и, конечно, неудержимая интенция преодоления любых границ, идет ли речь о рамке кадра или пределах реального и вымышленного.
Пик популярности Питера Гринуэя среди подготовлен-ных зрителей, жаждущих сложного кино, пришелся на 1990-е годы. Конец ХХ века вообще можно считать временем рас-цвета этого интеллектуального режиссера, склонного к экс-периментаторству, ребусам и брутальному эпатированию элитарного и даже снобистски настроенного зрителя. Гринуэй отличается особым пристрастием к большим экранным формам - большим во многих смыслах. Они претендуют на экстраординарную масштабность эстетического замысла, усложненность формы, некое внутреннее бесконечное рас-ширение объема смыслов. Для произведений Питера Гринуэя характерна тоталь-наятрансмедийность, полный «набор» постмодернистских инструментов, многослойная (в том числе-полиэкранная) форма визуального повествования и, конечно, неудержимая интенция преодоления любых границ, идет ли речь о рамке кадра или пределах реального и вымышленного.
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The essence of the split screen reception is to separate. However, paradoxically, it combines objects and spaces, integrating new ways of cooperation. The split screen can veil the displayed modernity, enhance the decorative and... more
The essence of the split screen reception is to separate. However, paradoxically, it combines objects and spaces, integrating new ways of cooperation. The split screen can veil the displayed modernity, enhance the decorative and connotational properties of visual matter in animation.
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A split screen is considered not as a local formal device, but as a complex cultural phenomenon, which can contribute to the understanding of modern visual culture. The concept of split screen is concretized, the typology of split screen... more
A split screen is considered not as a local formal device, but as a complex cultural phenomenon, which can contribute to the understanding of modern visual culture. The concept of split screen is concretized, the typology of split screen images is structured. It is concluded that the phenomenon underlying is not the material but the compositional features and its content.
В данной статье полиэкран рассмотрен не как локальный формальный прием, а как сложный культурный феномен, что может способствовать пониманию современной визуальной культуры. Само понятие полиэкрана конкретизируется. Структурируется типология полиэкранных изображений и делается вывод, что в основе рассматриваемого феномена лежит не материал, на котором возможно сосуществование разных пространственных и/или пространственно-временных локусов, а композиционные особенности и то содержание, которое эти композиции несут.
В данной статье полиэкран рассмотрен не как локальный формальный прием, а как сложный культурный феномен, что может способствовать пониманию современной визуальной культуры. Само понятие полиэкрана конкретизируется. Структурируется типология полиэкранных изображений и делается вывод, что в основе рассматриваемого феномена лежит не материал, на котором возможно сосуществование разных пространственных и/или пространственно-временных локусов, а композиционные особенности и то содержание, которое эти композиции несут.
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Дзига Вертов пытался создать интернациональный язык кино и породил особенный поэтический язык, «кино не для всех», которое не могло выполнять функции массовой пропаганды. Борясь за беспристрастные кино-факты, за «чистоту жанра», Вертов,... more
Дзига Вертов пытался создать интернациональный язык кино и породил особенный поэтический язык, «кино не для всех», которое не могло выполнять функции массовой пропаганды. Борясь за беспристрастные кино-факты, за «чистоту жанра», Вертов, тем не менее, творил поистине поэтические картины, наполненные необыденными смыслами на каждом уровне прочтения. Создавая свое искусство, режиссер применял смелые и сложные методы съемки и монтажные приемы. Одним из самых новаторских можно назвать полиэкранный метод сопоставления объектов в кадре, в результате корреляции которых визуальный ряд приобретал новые смыслы. В этой статье анализируются фильмы "Одиннадцатый", "Человек с киноаппаратом", "Энтузиазм: Симфония Донбасса".
Dziga Vertov tried to create an international language of cinema and spawned a special poetic language, "cinema is not for everyone", which could not fulfill the functions of mass propaganda. Struggling for impartial cinema facts, for the “purity of the genre”, Vertov, nevertheless, created truly poetic paintings, filled with extraordinary meanings at every level of reading. Creating his own art, the director applied bold and complex shooting methods and editing techniques. One of the most innovative is the multi-screen method for comparing objects in the frame, as a result of the correlation of which the visual series acquired new meanings. This article analyzes the films "Eleventh", "A Man with a Movie Camera", "Enthusiasm: Symphony of Donbass".
Dziga Vertov tried to create an international language of cinema and spawned a special poetic language, "cinema is not for everyone", which could not fulfill the functions of mass propaganda. Struggling for impartial cinema facts, for the “purity of the genre”, Vertov, nevertheless, created truly poetic paintings, filled with extraordinary meanings at every level of reading. Creating his own art, the director applied bold and complex shooting methods and editing techniques. One of the most innovative is the multi-screen method for comparing objects in the frame, as a result of the correlation of which the visual series acquired new meanings. This article analyzes the films "Eleventh", "A Man with a Movie Camera", "Enthusiasm: Symphony of Donbass".
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Исследование направлено на осмысление применения полиэкрана Дзигой Вертовым в его документальном фильме «Одиннадцатый» (1928 г.). Анализируя вли- яние визуальных метафор на смысловую насыщенность кино-вещи, автор делает выводы об... more
Исследование направлено на осмысление применения полиэкрана Дзигой Вертовым в его документальном фильме «Одиннадцатый» (1928 г.). Анализируя вли- яние визуальных метафор на смысловую насыщенность кино-вещи, автор делает выводы об особенностях полиэкранности в контексте эстетики фильма. Сопоставление полиокон, их смысловое сопряжение украшают киноповествование и маскируют важные фабульные точки. Поэтому «Одиннадцатый» стал новой авангардной формой искусства кино.
The study is aimed at comprehension of the use of the split-screen by Dziga Vertov in his documentary Eleventh (1928). Analyzing the influence of visual metaphors on the semantic saturation of a movie thing, the author draws conclusions about the features of the split-screen in the context of the aesthetics of the film. The juxtaposition of poly-windows, their semantic conjugation adorns film narration and mask important plot points. Therefore, the Eleventh became a new Avantgarde form of cinema art.
The study is aimed at comprehension of the use of the split-screen by Dziga Vertov in his documentary Eleventh (1928). Analyzing the influence of visual metaphors on the semantic saturation of a movie thing, the author draws conclusions about the features of the split-screen in the context of the aesthetics of the film. The juxtaposition of poly-windows, their semantic conjugation adorns film narration and mask important plot points. Therefore, the Eleventh became a new Avantgarde form of cinema art.
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Screens and multimedia installations are widely used in various spheres of culture: from exhibition grounds and virtual museum guides to entertainment projects. Multimedia projects are, in fact, the leading genre of media industry in the... more
Screens and multimedia installations are widely used in various spheres of culture: from exhibition grounds and virtual museum guides to entertainment projects. Multimedia projects are, in fact, the leading genre of media industry in the socio-cultural environment. First of all, these are immersive performances, multimedia and virtual exhibitions, installations, interactive presentations and performances, virtual (and partially virtual) products. All of them differ not only in the way of constructing the media environment, but in the extent to which the viewer is involved in the media space. The article considers the most typical species of multimedia projects and their specifics.