a) Locating the content of the course within the discipline
This special course is connected with the big discipline of 'Organization of Culture Activities on the Material of screen Arts', including 'History of Cinema and Media Education'.
Proceeding from the research that was devoted to different aspects of the Theory and History of Cinema-Art, as one of the branches of the Theory and History of Art, we can make a conclusion: the analysis of the theme of terror and terrorism in the Russian cinema remains uncharted; no existing school book, monographs or thesis contain a chapter devoted to this vital question.
At present the Theory and History of Art, Cinema art lacks researches, monographs, devoted to the theme of mass & individual terror in Russian cinema of the sound period (1930s-'90s). The researches of Russian specialists in the Theory and History of Arts were until now devoted to such traditional themes as 'historically-revolutional', 'heroic-patriotic', war, etc. In this theme context films of '30s-'40s were viewed, in this or that degree concerning our topic, for example, works by I. Dolinsky, S. Ginsbourg, N. Lebedev, A. Groshev, V. Zhdan, N. Tumanova, L. Belova, etc. The theme of terror as a separate theme was not regarded in the published works analyzing films of the '50s-'90s either (N. Zorkaja, L. Annensky, Y. Bogomolov, V. Demin, I. Waisfeld, G. Kapralov, M. Turovskaja, K. Raslogov, etc.). Therefore, no Russian research claimed to have a special analysis of the theme of mass and individual terror in the Russian cinema art.
Thus, the problem of the course is, for the first time in the Theory & History of Art, to study, analyze and make it a system of evolution of the interpretations of the themes of terror and terrorism in Russian cinema-art of the XXth century, taking into consideration the social & cultural, political & ideological context, types of plot schemes and characters, basic authors' concepts of the themes of mass & individual terror, peculiarities of the artistic style. The chronological framework: the sound period of the Russian cinema-art /since 1931/ till the present day.
The general social & cultural context, within the limits of which the problem is, is the following: Mass and individual terror is one of the most dreadful crimes of the XXth century. During its biggest part of existence, the Russian cinema-art touched upon the theme of terrorism. In different years the interpretations of the terrorists' action were not only different, but quite opposite too. For instance, in the early '30s-'70s the activity of Russian Communists Special police (V.C.K.) was interpreted positively, in the end of '80s & '90s V.C.K. was shown as the organization that headed the mass terror. In the films made in the '60s (SOFIA PEROVSKAYA by Leo Arnshtam, etc.) about individual revolutionary terror, the main characters were treated sympathetically, while in the films of the '90s (screen versions of the novels by Boris Savinkov, etc.) individual terror is unequivocally turned down.
No doubt, the terrorism theme was never a leading one in Russian cinema art, despite the fact that for some political, economic, and military reasons in the Russian society of the '90s, terrorism began to increase threateningly. Cinema in different genres (drama, thriller, detective story or a comedy and parody) began to turn to the problem of this course more and more often.
b) Locating the course within the curriculum.
This special advanced course is connected with the curriculum of Pedagogical Institute. This curriculum includes other Art and History disciplines: 'World Art Culture', 'World History' and 'History of Russia', 'Aesthetics', 'History of Cinema and Screen Arts' and 'Media Education'.
c) Student's assumed knowledge basis for course participation
the main stages of World History;
the main stages of Russian History;
the main stages of World Art's History;
the main aesthetic conceptions;
the main stages of World Screen Art's History;
the main stages of History of Russian Cinema-Art
II. Objectives of the course
a) Academic Aims (within the discipline)
- to define the place and role of the theme of mass & individual terror in the Russian cinema art of the sound period;
- to study a social, cultural, political and ideological context, main stages of the evolution of the theme of the course in Russian cinema-art, directions, aims, tasks of the development of this theme, basic authors' concepts of Russian feature films of the 30's-90's, where to some extent the theme of mass & individual terror is touched upon;
- the analysis and the classification of the model of contents, genre modifications, stylistic aspects of the Russian cinema art of sound period, dealing with the terror theme ( the classics in the history of Russian cinema - the works of Friedrich Ermler, Mikhail Romm, Leo Arnshtam, etc. and films that haven't been analyzed yet - made in the '80s-'90s as well);
- the aesthetic development of the creative personality of a student, his faculties for the perception, interpretation, analysis and the appraisal of the author's position in a film. On this basis, the eagerness of a future teacher for the education of pupils, with the help of the screen arts, is forming.
b) Learning Outcomes
The course 'THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA-ART (THE FEATURE FILMS OF THE SOUND PERIOD)' is important for Russian students - future pedagogues, because Russian society needs the true History of Modern Screen-Arts. During the analysis of the scientific literature and concrete works of Russian cinema art of the '30s-'90s of the XXth century, touching upon the theme of terrorism, students will know the aims and tasks (political, ideological, moral, aesthetic, etc.), plot, genre models, basic authors concepts of various interpretations of this theme in Russian cinema. And when Russian students finish the Pedagogic Institute they will teach pupils the true History of Russian Cinema-Art, including the theme 'Mass and Individual Terror'.