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2.Mcquillan M., ed. The narrative reader. London, Routledge, 2000, p. 323.
3.Mcquillan M., ed. The narrative reader. London, Routledge, 2000, p. 9.
4.Mcquillan M., ed. The narrative reader. London, Routledge, 2000, p. 324.
5.Anon. Defining Film Narrative. Available at: http://www.filmreference.com/encyclopedia/Independent-Film- Road-Movies/Narrative-DEFINING-FILM-NARRATIVE.html.
6.Bordwell D. Narration in the fiction film. Madison, University of Wisconsin Press, 1985, p. 124.
7.Vidler A. Warped space: Art, architecture, and anxiety in modern culture. Cambridge, Massachusetts Institute of Technology, 2000, p. 100.
8.Tschumi B. Manhattan transcripts, London, Academy Editions, 1994, p. 10.
9.Pushkinsky 2011. Available at: http://www.architizer.com/img/competitions/en/CTF2011.pdf.
10.Axenov K., Brade I., Bondarchuk E. The transformation of urban space in Post-Soviet Russia. London and New York, Routledge, 2006, p. 9.
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12.Golubchikov O., Nicholas A. P. The political economy of place at the post-socialist urban periphery: Governing growth on the edge of Moscow. Transactions of the Institute of British Geographers, vol. 36, no. 3, p. 426, pp. 425–440.
13.Gritsai O. Business services and restructuring of urban space in Moscow. GeoJournal, 1997, vol. 42, no. 4. p. 367, pp. 365–37.
14.Stam R. Film Theory: An Introduction. Malden, Mass, Blackwell, 2000, p. 258.
15.Stam R. Film Theory: An Introduction. Malden, Mass, Blackwell, 2000, p. 259.
16.Eisenstein S. Film Form: Essays in Film Theory, 1949, San Diego, New York and London, Harcourt, ed.: L. Jay.
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19.Robertson R. Eisenstein on the audiovisual, the montage of music, ımage and sound in cinema. London and New York, Tauris Academic Studies, 2009, p. 6.
20.Robertson R. Eisenstein on the audiovisual, the montage of music, image and sound in cinema. London and New York, Tauris Academic Studies, 2009, p. 3.
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22.Robertson R. Eisenstein on the audiovisual, the montage of music, image and sound in cinema. London and New York, Tauris Academic Studies, 2009, p. 7.
23.Robertson R. Eisenstein on the audiovisual, the montage of music, image and sound in cinema. London and New York, Tauris Academic Studies, 2009, p. 3.
24.Vendina O. I. Transformation processes in Moscow and intra-urban stratification of population. GeoJournal, 1997, vol. 42, no. 4, p. 349, pp. 349–363.
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25.Chatman S. Story and discourse, narrative structure in fiction and film. Ithaca and London, Cornell University Press, 1980, p. 19.
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INSTRUCTIONS TO AUTHORS
1. Contributions should be clear and comprehensible. The essential element is Introduction (~0.5 pages) and Conclusions (~0.5 pages), other structure elements (sections and perhaps, subsections) should be introduced as titles.
1.1.Introduction involves:
justification of the importance of the study;
analysis of the latest publications on the relevant topic that are referred to in the manuscript;
identification of the issues yet to be addressed (problems);
identification of the purpose of the study (statement of the problem).
1.2.The main body should be structured using logical elements as titles. There should be no general titles (e.g., “Theoretical Part”, “Experimental Part”). More specific topics are preferred (“Theoretical Justification of Designing Anisotropic Cost Surfaces”, “Analysis of the Nature of Failure in the Experimental Samples”, “Calculation of the Strength of Foundation Cores”). Overall there should be no less than two sections.
1.3.Conclusions end the paper and specify the scientific novelty of the study results (“It has been for the first time determined/calculated…”, “We found…”, “The obtained results proved/denied…”).
2.Special attention is to be given to the abstract: it should be concise and reflect the main points of the study. Logical abstracts as well as the text are divided into three parts ––
Statement of the problem, Results and Conclusions that are highlighted with titles. Each of the parts summarizes corresponding parts of the text, i.e. introduction, main body and conclusions.
The abstract should contain no less than 10 and no more than 15 lines.
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5.For the main body use 12-point Times New Roman, equalizing the width of the text. Do not use another other font. In order to keep the style consistent, do not use italics as well as highlights.
In order to introduce extra elements of the text (author information, abstracts, keywords, references, notes, captions of figures and tables), use 10-Times New Roman (also single spaced).
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