Монография (часть 1) Ростов-на-Дону 2001 Федоров А. В



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IV. Assessment


Outline of Student Assessment

The criteria of studying the cinema-art's development of a student audience:



  1. the sensory criterion: the frequency of the association with the cinema art, the skill to orientate themselves in their stream - that is to choose favorite genres, themes and so on;

  2. the understanding criterion: the knowledge of the history of Russian cinema art, concrete works of the cinematograph, including films with the theme of Mass and Individual terror;

  3. criterion of the motivation: the emotional, hedonistic, compensatory, aesthetic and other motives of the contact with the cinema art;

  4. the appraisal, interpretative criterion: the level of the perception, the faculty for the audiovisual thinking, the independent critical analysis and synthesis of the space and time form of the narration of the cinema art's work (including , the identification with the hero and author, the understanding and appraisement of the author's conception;

  5. the creative criterion: the level of the creative basis in the different aspects of the activity, first of all - perceptional, aesthetic, analytical.

Basing on the different classifications of the standards of the aesthetic perception, suggested in the researches, and connected with the problems of the Media education, I came to the following variant, corresponding to the aims and tasks of my program:

  1. the standard of the ''initial identification'': the emotional, psychological coherence with the screen environment and the plot /bond of the events/ of the narration;

  2. the standard of the ''second identification'': the identification with the hero of the work of a cinema art;

  3. the standard of the ''complex identification'': the identification with the author of the work of the cinema art, preserving the ''initial'' /primary/ and ''secondary'' identification /with the following interpretation/.

Assessment of a student:

For an excellent mark:



  • high level of the understanding criterion , the appraisal, interpretative criterion, the creative criterion.

  • high level of ''complex identification''.

  • high level of knowledge of the History of Russian cinema

V. Reading list


Outline of reading per lecture.

Books for Lecture 1.

THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA- ART

The Stage of the 30's.



  1. AFANASIEV U. METASTASES OF STALINISM// CINEMA ART. - 1989. - N 1.

  2. BERNSHTEIN A. CONVICTED AS PEOPLE'S ENEMIES...//CINEMA ART. - 1993. - N 3. - P. 92-99.

  3. CHERNENKO M. SHOT COURSES...//CINEMA ART. - 1993. - N 3. - P. 30-35.

  4. CHRONICLE OF THE HUMANITY: ENCYCLOPAEDIA |RED. B.HARNBERG. - MOSCOW, 1996. - 1200 P.

  5. DERIABIN A. THE DISCRETE FASCINATION OF GIPNOTISM: MECHANISM OF THE INFLUENCE OF SOVIET CINEMA OF 30-S - EARLY 50-S // DOORS.-MOSCOW, 1993. - P. 17-31.

  6. ESENSHTEIN S. SELECT WORKS. VOL. 1-6. MOSCOW, 1964.

  7. GINSBOURG S., ZAK M., URENEV R. AND OTHERS. HISTORY OF SOVIET CINEMA. VOL. 2. MOSCOW, 1973.

  8. GROSHEV A., GINSBOURG S., LEBEDEV N., DOLINSKY I. AND OTHERS. THE SHORT HISTORY OF SOVIET CINEMA. - MOSCOW, 1969.- 616 PP.

  9. JOUNGBLOOD D.. SOVIET CINEMA. ED. UNIVERSITY OF TEXAS PRESS, 1993.

  10. KATZ. E. THE FILM ENCYCLOPEDIA. NY 1979.

  11. KLIMONTOVICH N. THEY AS SPIES// CINEMA ART. - 1990. - N 11. - P. 113-122.

  12. MAMATOVA L. AND OTHERS. CINEMA: THE POLICY AND PEOPLE (THE 30-S).- MOSCOW, 1995. - 231 PP.

  13. MAMATOVA L. THE MODEL OF CINEMA-MYTH 30-S//CINEMA ART.- 1991. - N 3.

  14. MITRY J. HISTOIRE DU CINEMA. PARIS, 1980.

  15. PREDAL R.. HISTOIRE DU CINEMA. PARIS. ED. CORLET, 1994. - 200 P.

  16. STALIN AND CINEMA//CINEMA ART.- 1993. - N 3. - P.100-102.

  17. TUROVSKAJA M. AND OTHERS. CINEMA OF TOTALITARIAN EPOCH. MOSCOW, 1989. - 50 P.

  18. URENEV R.. THE SHORT HISTORY OF SOVIET CINEMA. - MOSCOW, 1979.

  19. URENEV R. SOVIET CINEMA ART OF 30-S.- MOSCOW,1997.- 110 P.

Books for Lecture 2.

THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA- ART

The Stage of the 40's.


  1. CHRONICLE OF THE HUMANITY: ENCYCLOPAEDIA |RED. B.HARNBERG. - MOSCOW, 1996. - 1200 P.

  2. DERIABIN A. THE DISCRETE FASCINATION OF GIPNOTISM: MECHANISM OF THE INFLUENCE OF SOVIET CINEMA OF 30-S - EARLY 50-S // DOORS.-MOSCOW, 1993. - P. 17-31.

  3. ESENSHTEIN S. SELECT WORKS. VOL. 1-6. MOSCOW, 1964.

  4. GINSBOURG S., ZAK M., URENEV R. AND OTHERS. HISTORY OF SOVIET CINEMA. VOL. 3. MOSCOW, 1975.

  5. GROSHEV A., GINSBOURG S., LEBEDEV N., DOLINSKY I. AND OTHERS. THE SHORT HISTORY OF SOVIET CINEMA. - MOSCOW, 1969. - 616 PP.

  6. JOUNGBLOOD D.. SOVIET CINEMA. ED. UNIVERSITY OF TEXAS PRESS, 1993.

  7. KATZ. E. THE FILM ENCYCLOPEDIA. N.Y. 1979.

  8. KLEIMAN N. THE WORLD WITHOUT THE WAR. MOSCOW, 1995 - 48 P.

  9. MITRY J. HISTOIRE DU CINEMA. PARIS, 1980.

  10. PREDAL R.. HISTOIRE DU CINEMA. PARIS. ED. CORLET, 1994. - 200 P.

  11. SHMYROV V. OLD MEFISTO (M.CHIAURELI)// CINEMA ART. - 1989. - N 8.

  12. TUROVSKAJA M. AND OTHERS. CINEMA OF TOTALITARIAN EPOCH. MOSCOW, 1989. - 50 P.

  13. TUROVSKAJA M. THE FILMS OF COLD WAR //CINEMA ART.- 1996. - N 9. - P. 98-106.

  14. URENEV R.. THE SHORT HISTORY OF SOVIET CINEMA. - MOSCOW, 1979.

Books for Lecture 3.

THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA- ART

The Stage of the 50's - Early 80's.


  1. ANNINSKY L. THE 60-S AND WE. MOSCOW,1991 - 255 PP.

  2. CHRONICLE OF THE HUMANITY: ENCYCLOPAEDIA |RED. B.HARNBERG. - MOSCOW, 1996. - 1200 P.

  3. FOMIN V. CINEMA AND POWER: SOVIET CINEMA OF 1965-1985. MOSCOW, 1996. - 372 P.

  4. GINSBOURG S., ZAK M., URENEV R. AND OTHERS. HISTORY OF SOVIET CINEMA. VOL. 4. MOSCOW, 1978.

  5. GROSHEV A., GINSBOURG S., LEBEDEV N., DOLINSKY I. AND OTHERS. THE SHORT HISTORY OF SOVIET CINEMA. - MOSCOW, 1969. - 616 PP.

  6. JOUNGBLOOD D.. SOVIET CINEMA. ED. UNIVERSITY OF TEXAS PRESS, 1993.

  7. KATZ. E. THE FILM ENCYCLOPEDIA. N.Y. 1979.

  8. KLEIMAN N. THE WORLD WITHOUT THE WAR. MOSCOW, 1995 - 48 P.

  9. MAKSIMOV A. ELUSIVE S DEVILS// RAKURS.-MOSCOW, 1996. - P. 105-139.

  10. MARGOLIT E., SHEMIAKIN A. AND OTHERS. THE CINEMA OF THE THAW.- MOSCOW, 1996.

  11. MITRY J. HISTOIRE DU CINEMA. PARIS, 1980.

  12. PREDAL R.. HISTOIRE DU CINEMA. PARIS. ED. CORLET, 1994. - 200 P.

  13. STISHOVA E. PASSIONS OF COMISSAR// CINEMA ART. - 1989. - N 1.

  14. URENEV R.. THE SHORT HISTORY OF SOVIET CINEMA. - MOSCOW, 1979.

  15. VLASOV M. AND OTHERS. SOVIET CINEMA 70-S-EARLY 80-S. MOSCOW, 1997 .- 182 P

Books for Lecture 4.

THE MASS AND INDIVIDUAL TERROR IN THE MIRROR OF THE RUSSIAN CINEMA- ART

The Stage of the ate 80's -90'.


  1. CHERNENKO M. SHOT COURSES...//CINEMA ART. - 1993. - N 3. - P. 30-35.

  2. CHRONICLE OF THE HUMANITY: ENCYCLOPAEDIA |RED. B.HARNBERG. - MOSCOW, 1996. - 1200 P.

  3. CINEMANIA: ENCYCLOPAEDIA OF RUSSIAN CINEMA. - MOSCOW, 1997.

  4. BOJOVICH V. FROZEN NATURE/’THE INNER CIRCLE’//CINEMA ART. -1993.- N1.

  5. DOBROTVORSKY S. THE MYTH , THE LIE AND THE TRUE //CINAMA ART.-1993.-N 3.- P.35-37.

  6. ENCYCLOPAEDIA OF CINEMA.- K&M. MOSCOW, 1998.

  7. JABSKY M. AND OTHERS. THE TEST OF CONCURRENCE. MOSCOW, 1997. - 121 P.

  8. MATIZEN V. CUTTING TROTSKY/(TROTSKY)/ CINEMA ART. - 1994. - N 5. - P. 144.

  9. PREDAL R.. HISTOIRE DU CINEMA. PARIS. ED. CORLET, 1994. - 200 P.

  10. ZAK M. AND OTHERS. RUSSIAN CINEMA: THE PARADOXES OF RENOVATION. MOSCOW, 1995. - 142 P.

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