Russian TV

The programs of Russian TV channels in the context of electoral campaigns have repeatedly been selected as a subject of social surveys. The proposed paper is based on the results of content analysis of informational programs of the three major channels Pervij, Rossija-1 and NTV-during the Duma campaign of 2011 and the presidential campaign of 2012. The research findings demonstrate the thematic and contextual features of the programs, tones and mentioned persons. It is shown that the representation of the electoral competition was mostly imitative. The governing party ("United Russia") and the authorities' candidate (Vladimir Putin) were presented mostly as officials at work, which gave them certain advantages. There were no principal differences in the position of various channels towards the political process. In both cases public political activity increased noticeably after voting: in November 2011 in the form of protest demonstrations, and later in March 2012 in the form of protest and supportive demonstrations.

The programs of Russian TV channels in the context of electoral campaigns have repeatedly been selected as a subject of social surveys. The proposed paper is based on the results of content analysis of informational programs of the three major channels Pervij, Rossija-1 and NTV-during the Duma campaign of 2011 and the presidential campaign of 2012. The research findings demonstrate the thematic and contextual features of the programs, tones and mentioned persons. It is shown that the representation of the electoral competition was mostly imitative. The governing party ("United Russia") and the authorities' candidate (Vladimir Putin) were presented mostly as officials at work, which gave them certain advantages. There were no principal differences in the position of various channels towards the political process. In both cases public political activity increased noticeably after voting: in November 2011 in the form of protest demonstrations, and later in March 2012 in the form of protest and supportive demonstrations.

The programs of Russian TV channels in the context of electoral campaigns have repeatedly been selected as a subject of social surveys. The proposed paper is based on the results of content analysis of informational programs of the three major channels Pervij, Rossija-1 and NTV-during the Duma campaign of 2011 and the presidential campaign of 2012. The research findings demonstrate the thematic and contextual features of the programs, tones and mentioned persons. It is shown that the representation of the electoral competition was mostly imitative. The governing party ("United Russia") and the authorities' candidate (Vladimir Putin) were presented mostly as officials at work, which gave them certain advantages. There were no principal differences in the position of various channels towards the political process. In both cases public political activity increased noticeably after voting: in November 2011 in the form of protest demonstrations, and later in March 2012 in the form of protest and supportive demonstrations.

Каждый фильм транслировался в среднем 4,3 раза. В кинотрансляциях и в просмотрах доминируют отечественные ленты (СССР и РФ) и фильмы производства * Объем настоящей статьи существенно превысил публикационные нормативы, принятые в журнале. Объясняется это тем, что представленный текст появился в результате исследования, ставшего в российском и зарубежном академическом пространстве во многом уникальным. Отмеченные обстоятельства и побудили редакционную коллегию рассмотреть данный случай в качестве исключения, приняв материал к печати без каких-либо сокращений (прим. редакционной коллегии). НАУКА ТЕЛЕВИДЕНИЯ № 16.1, 2020 THE ART AND SCIENCE OF TELEVISION 82 США. Аудитория чаще выбирает фильмы, выпущенные в последнее десятилетие (2010-2019). Самую большую аудиторию по выборке в целом собирают отечественные ленты, демонстрируемые в праздничные дни на четырех российских каналах-«России-1», «Первом канале», «НТВ» и «СТС». Обнаружены различия в величине аудитории кинотрансляций между мужчинами и женщинами, которые, предположительно, могут быть объяснены психологическими механизмами идентификации с персонажами фильмов. Выявлена возрастная типология взрослой аудитории кинотрансляций (от 18 лет), которая включает в себя группы 18-20 лет, 21-59 лет, 60 лет и старше и отражает специфику образа жизни, обусловленную особенностями поведения россиян разного социального статуса в старшем юношеском, основном работоспособном и пенсионном возрасте.

The programs of Russian TV channels in the context of electoral campaigns have repeatedly been selected as a subject of social surveys. The proposed paper is based on the results of content analysis of informational programs of the three major channels Pervij, Rossija-1 and NTV-during the Duma campaign of 2011 and the presidential campaign of 2012. The research findings demonstrate the thematic and contextual features of the programs, tones and mentioned persons. It is shown that the representation of the electoral competition was mostly imitative. The governing party ("United Russia") and the authorities' candidate (Vladimir Putin) were presented mostly as officials at work, which gave them certain advantages. There were no principal differences in the position of various channels towards the political process. In both cases public political activity increased noticeably after voting: in November 2011 in the form of protest demonstrations, and later in March 2012 in the form of protest and supportive demonstrations.

The programs of Russian TV channels in the context of electoral campaigns have repeatedly been selected as a subject of social surveys. The proposed paper is based on the results of content analysis of informational programs of the three major channels Pervij, Rossija-1 and NTV-during the Duma campaign of 2011 and the presidential campaign of 2012. The research findings demonstrate the thematic and contextual features of the programs, tones and mentioned persons. It is shown that the representation of the electoral competition was mostly imitative. The governing party ("United Russia") and the authorities' candidate (Vladimir Putin) were presented mostly as officials at work, which gave them certain advantages. There were no principal differences in the position of various channels towards the political process. In both cases public political activity increased noticeably after voting: in November 2011 in the form of protest demonstrations, and later in March 2012 in the form of protest and supportive demonstrations.

The programs of Russian TV channels in the context of electoral campaigns have repeatedly been selected as a subject of social surveys. The proposed paper is based on the results of content analysis of informational programs of the three major channels Pervij, Rossija-1 and NTV-during the Duma campaign of 2011 and the presidential campaign of 2012. The research findings demonstrate the thematic and contextual features of the programs, tones and mentioned persons. It is shown that the representation of the electoral competition was mostly imitative. The governing party ("United Russia") and the authorities' candidate (Vladimir Putin) were presented mostly as officials at work, which gave them certain advantages. There were no principal differences in the position of various channels towards the political process. In both cases public political activity increased noticeably after voting: in November 2011 in the form of protest demonstrations, and later in March 2012 in the form of protest and supportive demonstrations.

More than a dozen Covid-19 era TV series were produced and distributed on Russian subscription streaming services. In this paper, I examine four different series made under quarantine conditions that illustrate competing regimes for viewers' pleasure and pedagogy. These low-budget productions acknowledge the coronavirus as a context but replace the fear, panic, and anxiety of outbreak narratives with comic domestic foibles of life under quarantine. They embody the 'feast during the plague' syndrome that ignores the mortal consequences of the disease and celebrates a gallows humour. These were the first 'screenlife' serials to be produced as a methodological approach to solve a range of production proximity restrictions and in turn their aesthetics is one of intimacy and authenticity.

Russian TV series yesterday and today. Part II The article in a concise way summarizes fi rst Soviet attempts at production of the TV series. In the years of perestroika and in early 1990s, after having come in contact with the Western productions, the Russian television mastered the production of soap operas and contemporary crime dramas at the end of the 20 th century. At the outset the Russian television, while being independent from the state, developed the big-scale production of the TV series. After 2000, the presidency of Putin and the dominance of the state sponsoring accounted for the further development of the Russian TV series market, due to the realization by the state authorities of the educational and propaganda potential of this TV genre. The author describes the most important thematic sub-genres of Russian TV series, such as: military, sensational, historical, and within the latter one especially the historical crime drama. Seriale wojenne: wychowanie obywatela i rozrachunki historyczne A jednak polem, gdzie "wychowawczy" program władz ujawnił się najpełniej, był serial wojenny. W 2004 roku kanał "Rodina" z okazji sześćdziesiątej rocz-nicy zwycięstwa wyemitował trzy seriale (Грачева 2004): opowiadający o au

Russian TV Series Yesterday and Today. Part I The article in a concise way sumrnarizes first Sowiet attempts at production of the tv series. In the years of perestroika and in early 90's, after having come in contact with the Western productions , the Russian television mastered production of telenovełlas and contemporary crime dramas at the end of the XXth century. At the outset the Russian tv, while being independent from the state, developed the big-scale production of the tv series. After 2000 the rule of Putin and the dominance of the state sponsoring accounted for the further development of the Russian tv series market, due to the realization by the state authorities of the educational and propaganda potential of this tv genre. The author describes the most important thematic sub-genres of Rus sian tv series, as: military, sensation, historical, and particular importance of the historical crime drama.

Данная работа продолжает цикл статей, посвящённых рассмотрению разнообразных форм присутствия и способов функционирования образов восточнославянского язычества в современной российской культуре. В настоящей статье речь идёт о проникновении языческих образов и мотивов в различные передачи современного российского телевидения. Показано, что в последние годы таких передач становится всё больше, что, очевидно, связано с выраженным интересом аудитории к теме славянского язычества. Отношение создателей таких передач к язычеству может быть разным, от негативного до апологетического, при этом второй вариант преобладает. Однако независимо от этого отношения, языческие верования чаще всего подаются в качестве адекватного средства отражения действительности. Таким образом, языческая магия изображается как эффективное средство решения различных жизненных проблем, а языческие боги представляются как реально существующие сверхъестественные существа. Формирующиеся таким образом представления о древних славянах как носителях необычайных сакральных знаний представляют собой новый элемент российской массовой культуры.

This publication continues a series of articles dedicated to a wide variety of Eastern-Slavic Pagan forms present in modern Russian culture and the way these images function. This paper demonstrates how some of the Pagan images and motifs infiltrate in various modern Russian TV programmes. This study attempts to analyze these TV programmes and from this analysis the following conclusions were made. First, the number of such TV programmes is becoming more and more in recent years, apparently due to the expressed interest of the audience to the theme of Slavic Paganism. Second, television journalists’ position on the Slavic Paganism varies from negative to apologia, but the second option is more common. Third, Pagan beliefs, generally, are portrayed as an adequate reflection of reality. Thus, Pagan magic is portrayed as an effective means of solving the various life problems, and Pagan gods are presented as real-life supernatural beings. As a result, forming ideas about the ancient Slavs as the owners of an extraordinary sacred knowledge became a new element of Russian popular culture.