| Indira Yakovenko (indira_presse@hotmail.com) |
| Laboratory I3M, Communication and Media Studies, Nice University |
| January, 2011 |
| Specialist in Semiology and Socio-economy of a film. Since 17 January 2011 : PhD in Communication and Media Studies, Nice Sophia Antipolis University (France). 2002 : Research Master in Anthropology, Nice Sophia Antipolis University (France). 1998 : Master in Journalism, Kyiv Shevchenko University, the Institute of Journalism (Ukraine). Paper presentation at various international seminars in Paris, Amsterdam, Genoa, Bucharest, Lisbon, Hyderabad, Bremen… Member of European associations in Communication and Press (ECREA, 3C…). 2009 : Belga (Belgian News Agency) Workshop “Press Relations”, Brussels (Belgium). Since 2002 : Different positions in communication, press and public relations fields. |
Abstract |
| Our research deals with contemporary Russian film production represented on the international audiovisual markets as MIPTV and MIPCOM in Cannes. We analyse the affect of globalisation and the main changes in the film aesthetics as well as the promotion of new Russian movies through the observing participation and the survey answers of Russian, Ukrainian and foreign producers and distributors. We have worked in the inter-crossing fields : sciences of communication, film industry, marketing, cultural anthropology. Our research is based on the analysis of 15 Russian films produced between 2000 and 2005. We have examined 15 interviews of film professionals and circulated a closed questionnaire to 159 participants from 33 countries met at the International Film Market in Cannes in 2006. In new Russian films, we can observe the process of re-evaluating of historic events and revealing of taboo subjects. They have a few common points with American or European cinema as the importance of order in relation to moral code or the presence of characters having the age of narcissism features. A new national character remains more complex and tragic than a Hollywood hero. Most of the international market participants consider Russian cinema as European one. Globalisation is seen as Americanisation. However, it makes emerging other cinematographic identities. Russian series are triumphing on the Ukrainian television and their national characters replacing American one’s being nearer and more understandable. Contemporary Russian films could be considered as the cocktail of three cinematographic models : Soviet, Hollywood and Indian. |
Film-Philosophy | ISSN 1466-4615
Tweet