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Anna Polibina-Polansky

Our epoch lasts until we create films and festivities. It is not going to be up copied, repeated or reminded. 515 of my films (including shortcuts and arthouse) are finished up with a movie of my half-uncle Micelangelo Antonioni and his Italian filmography. Tonino Guerra was also amongst my acquaintances of the last century, but Antonioni and Pazolini are of unique meaningfulness to my genres. Anna Polibina-Polansky. *****

Experimental shortcut films by Anna Polibina-Polansky, a filmmaker originating from Moscow, are characterized by the genre-and-thematic novelty and by the fresh tools for embodiment of  the plot. Anna screens films of the silver age of the Russian poetry (predominantly in English, at her own equity-rhythmic stanzas), of oriental and country-discovering subjects, of half-forgotten talented people and their lost estates in Russia, of Russian and European monasteries of the 16-17th centuries. Her films embrace a gamma of plots and protagonists, of stylistic manners and metaphoric gadgets. They are up screened in English, French, Italian, Russian and Spanish. Anna translates poetry into English and French, from Arabian, Persian, Turkish, Italian, Russian, Spanish.

Among her characters, there are: Dickinson, Pozzi, Pluth and Sexton, Verlaine and Baudlaire, Dali and Eloire, Appaulinaire, Prevert and de Nerval, Yeats and Keats, Byron and Coleridge, Machado and Lorca, Neruda and Ibanez, G.-A.Becquer and J.Updike, R.Stone and Tr.Capote, T.Williams, Cavafis and Elitis; nearly every representative of the Russian silver age in poetry, including the poetic followers of Akhmatova and her envvironment...'

She organizes demonstrations of her films, for various audiences, in Europ, Asia, Africa, Latin America, Australia (nerly worldwide). The most  Nothern, Arctic areas are of her special interest (because of mixed Arabian-Aleutan ancscestry). She has shown her poetic (lyric) films-essays in Poland, Germany, Russia, France, Switzerland, Italy, Malta, so far. She is waiting for invitations of her thematic movie programs to your  area (she takes no fee for shwings themselves, the demonstrations are totally altruistic). She propagandizes acute feeling for istory, genres of arts, creative personalities - artisans for those genres.

Anna Polibina-Polansky is a script writer, a director and an organzer for the video rows of her films-essays. She has gathered crops of diplomas, grand-prix and golden statues of international film festivals (in Moscow, New York, Paris, Valette, Strasbourg, Berlin, Basel) for her experimental films, so far. Her monocineartstudio has existed for 15 years already; it is simultaneously a lab for her genres and stylistic manners.

Currently Anna screens up plots at the genre of Oriental poetic-and-experimental films. She has issued 60 shortcut (from 10 up to 30 minutes, the length of each) over a variety of themes, starting from the Middle Sea and Maghreb to Tibetan India, Mongolia, Japan and Korea. Actually genuine orientalists at the cinematograph of nowadays are very few. They stick to their former genre techniques and cultivate fresh stylistics due to the subtle visual and verbal practices of the traditional East. Anna's themes profoundly correlate with the history of Arabian countries and of the Far East. She introduces her plots, protagonists and themes at a variety of European ans Asian festivals, as those works have a lot to do with medieval history and the genre scale.

I ASK A BIT OF YOUR ATTENTION, CO-THINKERS, COLLEAGUES, GENRE WORSHIPERS, CRYTICISTS AND VIEWERS! Several postards with self-announcements for my genre works have completely and irrevocably disappeared from this site. You cannot enjoy my works, in a gamma of hues and at verbal colors, anymore. Obviously this sphere of the site (a layer) was seld off to thieves and marrodeurs, sort of criminals. Otherwise, this loss cannot be explained. I offer the former rulers to give up the false services of doubtful newcomers who have got nothing to do with arts and genre cinema, as it is. The competence of former masters (C.Robillard, Br. Chatelin) was ignorantly rejected. I offer to my European colleagues to discharge the presence of those newcoming criminals. If you appreciate my genres and works, deny the presence of this cut-off site in your life of Inet-users. Artful matters have disappeared with grest filmmasters of the prior epoch. Anna Polibina-Polansky

23.11.2019 My feature video reports (colorful narratives in English and French) from artful festivities and video rows of local (Moscow) festivals are now a part of video reality. Emily Dickinson, Zurab Tsereteli, the silver age poets and artists now have become my protagonists, as well as Antonia Pozzi, Salvador Dali, Paul Valerie, Virginia Wolfe  and Anne Sexton. My character, Anna Akhmatova, received her laureate's prize from the hands od Ernst the Unknown and L.G.Parfyonov. So the outer destinies of my protagonists grow to become another reality and an independent life.

My genres greatly vary, and the stylistics for videorows changes depending at the theme. Authenticity correlates to life prospective of the protagonist. The theoretical scale goes tightly alongside with the practical angle for the theme and the style. Anna Polibina-Polansky, Moscow, +7-925-331-2422.

Poetizing by Anna Polibina-Polansky

*** Another wintry season here in Russia.

Snegurochka is given here, for Masha.

So we are talking of another season.

The dome of heavens is cut up by scissors.

I think up riddles   and discounted prices.

It is yet less that no will or crisis.

Up blended, foamy splinters come to ices.

So fleas are equitated to black lice, yet.

 I spend another winter at the Black Sea...

It is enough not to look up at taxes,

Nor to diminishing of sums and incoms.

The nature does repose. The beach is stinking.

There have been winters, better, softer, lighter,

This season, as I render now, for righteous.

Remarkable aer thighs and knees and ankles.

But I dream, for the most, of storms and ankors.

November, 2019; the Crymea 


The tankard of the sun

Is getting multiplied.

It takes years, to get sunk.

The sea game isn't light.

The tar of arrows red

Are coming from beyond.

Deep sorrows, tears, regrets.

The bad comes at a bond.

Get tanned at orchards' bloom..

Pich up a nosegay...

The spring is such a loom:

For your eyes, here's a game!

*** New England, what a mixture!

Though tarnished is the picture.

The "hollandaise" fair tales

Are all for nightingales.

Immaculate are sphynxes

Of Russia. Goes ink, off.

The birds of upper latitudes!

Oh, fabulous is their entity!

Moths are all equalized

With crickets telling lies.

Great lakes reproach the bays:

The pain, it looks, off pays!

Of timber, stocks and bridges:

For epochs, they serve, ridges.


My Maltese Mosaics

By Anna Polibina-Polansky

The Ambracian Gulf lies by the Ionic Sea.

The syrocco wind throws out its blooming seeds.

Afterwards, there will be yet another spring.

That is what the wind is daring to bring.

Stanzas of the Rothshields come out to the Naples.

So go destroyed the ancient chapels.

So by violin players the notes are prefelt.

So the conches and shellfish, in grades, go smelled.

So Byron walks Boracca gardens and villas.

So Phoenician orchards go grown with pynias, tuyas and willows.

November 2014, Malta - November 2019, Moscow

Una messa a Micelangelo Antonioni

The mess of Grana, one by Liste.

A cry. Adventure. Night. Eclypse.

Red desert lies ahead, ahead...

Zabriski-point. And female cats.

The league of herzogs, sacred dukes.

Pontano's lines can't be rebuked.

Oh, Saint Amrogio, Sforzesco.

Un'allegoria, grotesco.

Well, Pomponazzi e Ponquelli.

Milano, Ponti, Son Pirelli.

O Anyadelle and Ravenna,

O Specia, o shades and veins blue.

Take the initial - I'll turn

A serpent. All in vain, its spurns.

Toscana's victimizing blank,

Your fan is so of visual prank.


* At a View of a Lagoon and Judecca

                     By Anna Polibina-Polansky (Malta-Moscow)

Lagoons are where eyes sojourn now.

Oh Thunderstorm, one of Giorgione.

Oh Tintoretto's proud kopts.

The faces of efebos join it:

"O, per piacere!" Take it hot!

San Marco. Porticus. Arcada.

The speel San Giorgio, in dark.

Of waves Judeccian, ruladas

Are heard, as if Paul's dogs do bark.

Academy, Korrer, Ka d'Oro.

Malicious Campanilla, doze!

Quadriga, amplify the horror!

These are the masks, to be  exposed.


Sottovoce: una nipota de Micelangelo Antonioni

Che e passato e perche? Che cosa?

Il verso e sonoro e merviglioso.

Il Mortola, fortezza con il Duomo.

Airole, San Philippo, San Giacomo.

A Balci Rossie sobre la rocca -

O, io sonno ci, con una mocca.

Gli versi mi dirige la, al passo.

E io adesso sonno, mia frasa.

Val Nervi, Ventimiglia e Riviera -

Rivieraa dei fiori, Bordighera.

Ospidaletti e Bayardo, Pinya.

Giovanni Prati, Cieriana, Vinya.

Il Sanctuario della donna dell'Rovere.

Diano, Ciervo, Remo, Bodighera.

Verdegia, Loreto e Triora.

Bartolomeo - il rovere d'oro.

Oneglia, San Giovanne - Maraliano.

La ciesa San Batist' Agostiani.

Pornaccio, Torria, Piev' di Teco.

Diano Arentino, Ciusaveccia...

La villa Belveder, la cass' Faraldi.

Bajardo, Apricale, Perinaldo.

L'estate pontedacio riscaldo

Gle ovre - Maraliano e Cambiaso...

Imperia Onelia, Pontedassio.

Trekkani, Agienori e Savino.

Molini di Triora, Pantasina.

Canzone dell'afisha Aristona.

San Remo, Liguria di Madonna.

Anna Polibina-Polansky, Gli imagi d'Antonioni (Mosca-Malta)

Let us support the creative crew of Bruno et Clarisse, our colleagues, for each of their actions and ideas. Mr Bruno Chatelin and Mlle Clarisse Robillard, je suis avec vous! Anna Polibina-Polansky

I have seen purely hostile personalities who serve me opponents (probably bribed by Russians and former Russians). I wonder if I can help Bruno and Clarisse at their wavy route towards truth. Keep all your laureate's prizes and annulate those ones that were forced out away from you! The Hage and Strasbourg are alongside with us! To Bruno Ch-n and our co-thinkers. Social belonging means little at our way to fair awarding. I consider primarily my screen works, as my posessment and grand-prix for my lasting work and for my long experience at genres. The rheuthorics is simplistic: the aesthetic status of each work would be re-considered, and statues would be alienated. It is no good for white Easterners (i.e. Russians) to grab diplomas and statues from those ones who upplanedly deserve them for the offered material. The first page ought to be dismissed and totally revised. It is shameful to let into the conference those ones who keep the basic editor entangled. I keep the principle of liberty at any angle of aesthetics, and cheap prizes serve only provocative material for half-priced up screened canvas. Legitimate liberty ought to be universal and non-victimizing. The nation of francophones (Galles) have every trump for establishing policy, and violent actions in cinema are beforehand prohibited. Anna.

However unfortunate, we end up at a discordant note. In our epoch a conglomerate of respected film festivities can be rudely alienated and neglected by outer characters, unexplainably and chaotically, out of jealosy. Who hinders you to give basement to the festivity at your climate zone? Huh? Even the prises of Cote d'Azurre generally widely spectated can go to sporadic troops. It is yet hard to trust that Scorcese (the only up split face) in the context of postmodernity yet reveals the ethnic facade forr the genre.  Other characters of minor impact insult the tropheys of postmodernism at a smaller scale. So it sounds from here.

It is obvious that "The Sin", a cheap chronical immitation by K*, was directed for Rome, and they sent them a variant. However, his concession for the theme is visible. How can he prove that Micelangelo lived for marble, not for flesh? K* is a strict, let him out! Chamaeleonic smirks of an aged comic doesn't do! Queers also may keep to marriages, and no aged comic pretending to be a fashionable quibble may prove the opposite. Get away with the entire layer. Who let him into Rome? He was acclaimed to meet Tallinn nights with his hat on and to dream of Bertolucci and Pazoini, at least. A French lady Gagarina gave him too much chances. An abominable figure.

"The Carmine Frescoes of Joseph Brodsky: the Venetian Sheen" (2012). A Poetic film by Anna Polibina-Polansky. Prizes 2014-16: Nice, Sundance, the Cannes, Venetian Biennale.

"Overcoming the Name of Darkness" (2011), a poetic film by Anna Polibina-Polansky; in memory of O.S.Beglov, a missionary at Malta; 2015; probably (a Sicilian festivity).

"I Give My Voice For Hopes and Mirth" ("Всё-ничего_0002") - a poetic dedication to my co-thinker and colleague, Mnsr Bruno Chatelin, a film cryticist and a festival organizer (the Cannes), currently victimized by Russian barbarians at cinema.

"That Scarce Creation Wounded With the Sense" (a film-essay of Marc Aldanov, a portraitist of Paul the First), 2012, directed and created by Anna Polibina-Polansky, Moscow - Malta; devoted to the French creators of film premiums at the Cote d'Azure. Firstly noted at the Tribeca Cinema, Manhattan, New York, in the year 2012.

"Poetic Cavafiana: the True Price of the Transgression" (of Cavafis, the best poetician of Brodsky). Firstly told of at the Moscow Embassy of Greece in 2017. Director-essayist for the movie - Anna Polibina-Polansky (Moscow).

"The Vague Harbor of the Redemption" (a colorful poetic film in English, two-parted), author - Anna Polibina-Polansky (Moscow), of Brodsky.Both sides of the Atlantic ocean granted diplomas to this film (2011).

"L'ange que peut amorcer mes espoires" (2018; regisseur-essayist - Anna Polibina-Polansky). Nice - 2109.

Poetic Films (court metrage)  by Anna Polibina-Polansky for "Le Marcher des Filmes aux Cannes - 2019".

"Dove siamo?" (Locarno - 2019).

""De tout ou bien de rien" (Mostra del cinema - La biennale veneciano). (an English movie and a poetic script by Anna Polibina-Polansky). Rotterdam; Santa Monica - 2019.

"Sans tes yeux" (Aspen Films - 2019), aprove par maestro  Charles Aznavoure a l'annee 2013, a Paris.

"Les couleurs et les gouts" (au style du siecle 19). Kustendorf.

"Avec les larmes" (Fantaspro)

"Un regard" (San Sebastian)


La joie est nait avec mes yeux...

En surcoit, votre vis, monsieur!

Million regards, million baisees,

Mille emotions - et c'est assez!

Au theatre, a la variete -

Bien sure, je peut dire que j'etait.

Les masques, les robes et les voiles -

Les gens vivent a la belle etoile.

Nous somme derriere, a fin du siecle -

Au centre de Paris, en regle.

On bon annee, mes chers amis!

Deja, c'est once et demi.

Les ombre de la balle sont partouts,

Loins et proches et desparus...

Les fleuves des garlandies, mon choix...

La vie vient a peur et a joie.

C'est ne q'un nouveau mais depat.

Ver le present - et quelques pas.

Souvent L'hiver

Aime de prier.

On ne joue pas avec les chers!

Les amoreux reprendent le tout.

La terre respire, le vent est doux.

L'Hiver prends de la vie, du coeur.

J'ai le besoin a cette blanche soeur!

Merci a Miguel et Corine de N-a pour le sujet! Moscou, Anna Polibina-Polansky

-Il inverno rafretto -

Buon Natale compresso

Nel tempo e nello spazio! Uno diverso dall'altro.

Non si puo recitare -

Gli versi per gle bambini.

E richiesto, devono usare -

La maschera attoriale

                    non puo bastare, -

Far passare -

La vita: non cambiando nulla. Del spirito - e un salto.

Ogni segue i fili della propianesistenza.

Nessuno assomiglia all'altro, massi o mini...


- Commemorando di Dario Fo -

Uno dei capolavori

Dei cuori -

Di andare oltre -

La forza.

La proprieta e venduta.

Giutto, mio giutto!

Mia principessa,

Della vista e del discorso!

Giutto, lei e conosciuto.

Coppla aperta a grand' amore?!

Un riso contagioso e l'impareggiabile,

Il Dio e il diavolo.

El Linguaggio del regista e del Artisto,

La Buffonade d'esse un sposo.

Sposate l'anima al giullari...

Sonno con Lei, mii cari!

2019, Mosca



Verses in old-styled  ivrite by Anna Polibina-Polansky

Lahoma? Effafa, hahamim!


Lo ra, lo ra!


Tavi lanu la menorA

V'la sefer.



Naim meod!

Le hitra'ot.

Tshuva, utfila, ucdaka.

Shena metukA.


Al ezrah!

Todah rabah!

Ma in'yanim?

Al ha panim?

Lehahir naim!


Shomer mitsarot nafsho!


Shtika - syag lahomA!

Hag sameah!

Shimri al atsmah!

Tsedek tirdof. Yihye tov.

Shalom uvraha!

Al tadik et haverhA...

GdolA tsdakA.

Eyn somhin al anEs.

Al tidag - tidagA. MarbE kehasim - deagA...

Tova benaA umatimA. MarbE hohmA!

Tavi lanU - Hashbon, AvinU!

Et lehEm hukeinU!

Bazman azE -

Shum davAr zE.

Mar, kama zman ata ba Arets?

2020, Moscow

***MOre of Poems in Ivrite, by Anna Polibina-Polansky

- Lo BasmAn AzE - (Not in Our Days)

Ase lehA sefEr -

UkmE lehA havEr...




Lo deagA...


Al tadIk et haverhA...


Aem bayamIm

Aya al anisIm...

- Ani nesuA - (I am married)

- Ma inyanIm?

Asa lehA hahamIm -


Ad meA veesrIm.

AnI yodeAt al anisIm.


BeezrAt pashEm...

Hag sameah!

Toda, Mashiah!

ItgaagAti elEha.



Yey ratsOn milefane-ha.

Toda rabah!

Toda al' ezrah!

MarbE yeshivA -

Tavi lanutshuvA.


Hevanti et haverhA.

2020, the City of Moscow

*** dait haverha - hahamim: reahein... al azaaru

(two wise interlocutors: colors of words)

An Excerpt in Hebrew, by Anna Polibina-Polansky

Ma inyanim, hahamim?

Al ha panim!

Naim lehakir, emir!


Al tadik et haverha...

Al reahein leitvakeah.

Hag sameah, hag sameah!

YeshivA - ur'e gdolA v'aguelA.

Esh li osher.

En li osher. Eizeu osher?

Shomer osher - shomer

Al deagA.

Syag lahoma - shtikA.

Al tidag.

Shimri al atsma.

Be Allah.

Et hakol' - ak.

Yitkadesh shimA!

Leets ehad... loleahbirA,

dirA tovA veneA umatimA.

Tov maavrim et rOa agzerA.


Naim meod!

Gam. Be haver adam... ur'e. UtsdakA!

UvrahA, lo deagA.


- BehatslahA! Yitkamdesh shimha!

- Ma shlomha?

- Lyo tov misman. V'azE basman.

- Tov shem - ester al Betlehem!

Yei ratsOn milefanEha.

- Tavo mal'kuteha...

2020, Moscow














Three Articles Concerning the Nature of Artistic Images and Artful Semiotics

Narrative Semiotics and the Theory of Artful Images in Cinema and Fiction : Three Meta-Excerpts by Anna Polibina-Polansky

The Seventh Art Throughout the Daily Impressions
A Featuring Article-Summary - Metadiscovery by Anna Polibina-Polansky (Basel - Moscow)

An Epigraph. "The bright gloss of Jung and Nitzche greatly annoys me" (by M.Bezrodny "The End of Quotation").
The myth, the meaningful stratagem, the archetypic realm are of signs and images, rather arbitarily and at random, than definitely, at a row of modern contexts. We can consider cineanthropology and screen germeneutics as semiotic, over-linguistic, under-verbal structures. Zero-screening can be considered both as a counting system and a sheerly mythological structure, at the terms of Roland Barthes. Spread archetypes and shaped chronotopes can be taken for conditional significatory elements, at this prospective.
Philosophy and aesthetics of the film are announced as self-developing sums of images (Gille Deleuse, "Images in movement and Time", 1983-85). The significantly prior articles of Ricciotto Canudo and Giovanni Papini (1906-07) affirm us of almost the same matters, when "the 7th art" and "the tenth muse" were yet in progressing discovery.
Gofredo Belonci  and Munsterberg (1916) explore the video projection of the drama narration (actually we can interpret the genre as a featuring film or a chatting series) formulated as a separate thematic phenomenon. Their "Photoplay" (1916) initiates the genre the development of which proves to be incessant and involves employment in roles. We fairly confess this genre at the screenings of nowadays (the script remains yet, highly meaningful).
L.Delluke and M. l'Erbier announced the evolution of the indusrial reality, through influential screenings.  Henri Bergson, however, back in 1907 had foreseen the artistic evolution of the world, through cinema reels.
Salynsky, Yampolsky and Tsyvyan based their researchery at the allegoric and symbolic cinema (metaphoric dialogues, etc.). The semiotics (as a theoretic genre)has a lot to do with the screen language. Both are summoned to symbolize the experience and to witness the expansion of screen images into the reality. Actual plots may develop into the genre novelty and to the subjects' freshness. The metareality of the screen is significant, as it serves an aspect for the daily artistic (or creative) practice. The empiric mythology (on the contrary) may comprise a system of screen plots, later on, no matter if the essence for the plots is repeating and reproducting or unique. The screen narration may boost the resource of fantasies and get unexpected parallels awakened, with the time.
We can consider a film or  a reel, as a congregation of pieces of plausible experience (that may come undermeant). Showings and air demonstrations, the accessibility of media resources are all highly meaningful (by Frank Webster, in the Russian feature translation, by Anna Polibina-Polansky, 2003). The etherial archetypes are appointed to be perceived and digested. We accumulate and duly comprehend (in emotions or verbally) those semasiological resources beckoning to us from afar. Images, genres, themes are all meaningful structures.
Narrations and literally dramatic substances are of impact onto our consciousness, and they may engage a number of psychological reactions. Dialogues and plots may be figured out and interpreted at a certain mode. A film canva allows us to ponder over the material  and to create meta-films within ourselves (based at the primary "screen reality" or some coming up similes and occurring parallels).  Clarified associations may appear also after the process of acquaintance with the texture of the thematic material. The particles of gnosis (semantic monades, essence's corpuscules) can go in combinations or can grow multi-layered and branchy (so Yves Citton, Antoine Compagnon, T.Todorov and D.Maingueneau affirm, almost unanimously, minding the versions of full-blood  interpretations of surrealistic narrations). The subconscious layer may be involved into the structure of the cinenarration (as an inevitable aspect of emotional perception). Senses are inevitably engaged, when it comes for digestion of the fabulized material.
The dying of fiction comes, in due stages. Documentaries may acquire the form of the general feature narration. Subtexts, allusions and multiple interpretations create a field for elaborating themes, plots, dialogues, remarks, etc. The undermeant, allows the genres to float about and to feed the interest with a stunning intrigue (we are kept busy and stunned). The "gnostic eons" and archetypes prove to be more profound and curious by their contents than it has been expected or foreseen. Hemingway was a plain, homely man of restricted mental resources and poor capacities, but his lyric character (inner protagonist, somehow) keeps us occupied, all along (I can openly affirm this, despite all counter-judgments and remarks). By the same way, Prouste had been an ungifted translator from English and a sheer epigone in French, when he started his "Researching of the Lost Time": it is commonly known in France and Swisse...
The logical scheme and the iconic (pattern-like, stencil, ideal) essence of the theory, go yet deeper. I am a great fan and a follower of Daniel Cohn (Grenoble), Alain Badiou (Paris) and Gottfried Boehm (my countryman by Basel). They dig into such phenomena, cathegories and notions as: Being, Truth, theme, image, impression, mightiness of the gift, impact of the narration, critical access to images, cognitive and over-verbal vectors.
Cassirer, Merleau-Ponti, Fidler and Gadamaire interpret such denotations and semantic structures as: visible meanings, mental ideas, shades of fenomena, hues of impressive layers (Akhmatova, on the contrary, used the term, "verbal imagination", for instance - as far as I can recollect). Geidelberg, Briedekamp and Belting try to discrown the very myth of images and impressions (quite in vain, by the way, as the emotional juice goes from their essays, with those influential terms). Panofsky, Varburg, and Weulfin delve into the essence of images starting up from Durer and Rembrandt. Witgenstein goes even further and affirms that inner processes and hidden, spiritual plots need outer criteria and signs. H.S.Yauss, R.Barthe, U.Eco and S.Fische muse upon the actualization and needed use of certain interpretations.
Citton, Jeunette and Barthe all admit multiple interpretations and their appliance "at need", depending on the supposed depth of discovery, genre, reading's nuances and the mode of "ofference" to the image's consumer (reader, viewer, listener, etc.).
They suppose that this access may also be insufficient and narrow, under a number of objective circumstances (perhaps minor and unnnoticable). So "the crytics of images" (G.Boehm, Basel) remains at the ridge. The "shades of phenomenology" (Gadamaire, Geidelberg) remain basic criteria of the appraisal of a featuring narration. September, 2020; Moscow.

Strokes for the Theory of Surrealistic Drama - by Anna Polibina-Polansky
Prouste, Sartre and Gabrielle Marcelle: the Astounding Music of Pondering

Theoretic laws of screenwriting and playwriting are in tight correspondance with the theory of the viewer's percepting and interpreting the offered screen reality. We cannot neglect the minor components of genres, at all their structure.  Semiotics and theory of signs widely spread into allegories and traveling archetypes (metaphors, in poetry). The chronotope may dictate the genre and may not, at the post-modern practice ("The Theory of Contemporary Screenwriting: a Manual for My Students in RATI-GITIS" by Anna Polibina-Polansky, 2012).
Noami Kristen (S.-Gallaine, Swiss) speaks of the author's "creative self". The phenomenon of Prouste, often envied, leads us back to his early epigone's capacity and to his emploi of a weak, second-row English translator of publicity. Now we can normally witness for his unique role in fiction. The upper capacity may be acquired aposteriori, by the work of art or its creator.
The screen utterance offers us an excerpt from the reality. It ought to be a wholesome, weighty narration with lapses into human emotions (how frequent and dense - depends upon the genre). Clear, articulate and well-bordered (well-shaped) - those attributes for the plot sound inevitable and obligatory. The air of hinting and the prospectives may lurk, but the realm has to be defined, however (articles by Anna Polibina-Polansky delving into theories of cinema).
Intuition involves under-developed images. They acquire definitions and clearnesss (Conrad Fidler, essays of "visibility" of the works of art; quoted by Daniel Cohen and Yves Citton).
Richard Rortey (1967) formulates a new turn at the history of arts as "iconic", somewhat canonic, basic, offering a platform for genre  interpretation. In 1994 Gottfried and Boehm offer the idea of logical interpretation of images (and so, in their dynamics); images are of deep impact and mightiness, by the notion itself. In Basel Boehm confesses the theory of self-dominance of images within the inverbal, widening consciousness (it may be evoked by remnants of Napoleo's canonic imperialism and idealistic egotism, in philosophyzing, to my view). So the theory of arts, according to Boehm, proves to be rational, objective and logic, due to its "iconic turn". Inconstants fanthoms of art prove to be caught and duly replied. Images are influential, at their slippery, ranging panorama.
The spiritual and transhistorical imperative of images (subtle, sophisticated, psychological) is sheerly perceptible. Those figurative structures (images) are cohesive mechanisms of the world, the inner devices that counterstand to the emptiness and absolute non-existance. It is as sure and definite as  contradictory being itself (details are revealed, and the deity remains hidden, absolute and everlasting, like the unseen compromise between panteism and monoteism).
The private experience (of an author, of a character, of a hidden self of a narrator) may comprise an entire branch of philosophy (by Gabriel Marceille, an outstanding thinker who contradicted to Camus and Sartre). Such existentialism offers a broad access to viewing the personal basis. Co-thinking and parallel existance is also productive and meaningful, as a metaphorical tool. The personal, subjective metaphysics and the struggling spirit of the abstract are appreciated the most, following Henri Bergson. Kierkegor and Nitzsche confessed ateism passionately. Their self fights for its own liberty only. Marceille contemplated a free human of Sartre, as rootless and senseless... Marceille admits that "others" are developing, philosophic personalities with their irrepeatable self. He judges as a dramatist and a playwright.
Culture presupposes the subjective Being, and culture offers foundation for the science itself, affirms G.Marceille (following qualitism of Aristotle and epistemologt of Bashlyare).  "Philosophy of creed", so, turns to be the basic. Here is the existentialism of a true playwright based on credentials, discussion and inner support (or discord). Sartre thought "others to be the Hell". Marceille thought inner dialogues to be the essence of the cultural existance (of the genre matter). Former posing of questions and amazement before the existential problems, remain to be alive and striking. His anxious searching for the initial truth added a lot to the traditional modes of filosophizing and elated pondering. Dramatism of the existential search proves to be his remarkable genre. He is astounded and shocked, before the unbending truth of Being.
Mr Cohen affirms that images are logical and come at a consequence dictated by the theme's structure. I also explain this possibility of rowing, with purely genre matters.
Reading and watching, can serve an Event (a wholesome script), or a process of the truth's revelation. Alain Badiou (1989) gives an idea of a manifesto protecting the reader's musing and innner logic of the thought (which is over wording itself). It is like keeping faith into the first amazement before love. Transmission of knowledge concerning arts is a delicated and complicated process that may demand multi-layered, sofisticated media potentiality.
The work of art exists since it has got something to tell us, to transmit some idea, principle, generalization or truth (featuring utterance, figurative or precise, corresponding to the initial genre matter). Individuation of the talking point is summoned to highlight and to emphasize the author's and the character's singulation, but actually the world of others (other protagonists) can be "totally hostile" (by Sartre), and yet, it may appeal to overcoming "mental distances". Camus proved to confess a more humanistic access (Sylvia Beach at the rendition of Anna Poibina-Polansky). Artificial beings, fraud worlds, instant existential theories, fake realms reflect the varying modes of abstract and emotional being. The situation of a dialogue (interpersonal, inner, outer, multipersonal; rheuthoric questioning and constatating the Truth) is especially meaningful in drama, as it is.
The composing, up thinking, conceiving the idea, enrolling the narration, distracted musing comprise a conditional center of the narration. Wherever the narrator is placed, we choose this location to be the axis point. He dictates us the modes of verbalized and sensational existence. He shapes genres and forms of the consequently lurking narrative constructions.
Boehm watches the images at their segregations.  I recall Basel in the summery-and-fall seasons, with ts Banhof clowns, street musicians (flute, cello and violin players), Musichalls and filarmonic domes, educated beggars, samedi soir clubbers, night fashion followers, multi-tongue bakers, luxurious bouregois, self-made jewellers, talented refugees, roving monks, colorful kindergartens, Pakistani girls with loops of gold in their faces, Turkish aged ladies in flowered babushkas... The colorite of the city is generously imposed onto the remembrances. September, 2020; the Moscow Region.

Anna  Akhmatova as a Dramatist and Her Scale of Genres
A Brief Review by Anna Polibina-Polansky

The shining side of the artists's essence (Akhmatova of Modigliani) is the most noticeable and catching the outer eye. Everything seems to depend at the scalle of the genius, how the matter reveals itself and what traces it leaves, and the lyricist is ever able to revise his future, beforehand, to make a personal sketchery of the coming stitches, as the overtones (inner layers) of the genre itself. The sullen darkness is lurking against that "verbalized experience". "Enuma Elish" is a broad-phylosophical, syncretic Babylonian stylization of Akhmatova in drama, and this work was written in the Middle Asia, during her evacuation at war.
"Vous etes en moi comme une hantise", yells the author to congenial (equigenius) author. So the "verbal imagination" (an expression of Akhmatova) gradually develops. 
"Les sujets doivent etre sauvage". Les juifs laids sont partouts..." - The bored protagonist of Akhmatova is searching for the genre novelty, at the Oriental realms. Akhmatova is also looking for a wholesome world, afraid and somewhat alert  of the civilized disguises of the genres. That trend attends her much later than the phenomenon of Gumilyov. So she finds herself at the boundaries of Magrib much later than her remarkable first husband did.
The demand of ethnic authors and truly exotic names casts its shadow at Akhmatova no earlier than in the 1960s, actually, at the end of her life. The outskirts of the developed world had been contemplated by her at the spell of war: "We'll go live and die, to Samarkand...". Her world is cofined in artificial borders, and the field for development that the life offers, is much the same... It is vivid and visible, from her very tonality and the cobweb of repeating images, from a decade to a decade.
"The weight of the unneeded life" and the burden of its contents are much the same, for years. The artist is a habitualized victim normally viewed as a martyr. We contemplate the genre in its social and humanistic reflections. Of what we can yet conclude? Mysanthropic rejecting of the Creator borders with the pan-Christian acceptance of the yoke of the human breed. This theme varies at all registers, in lyrics of perceptible plots. "Sic transit gloria mundi", sings out the narrator. But genre activities may not be accomplished out of sheer ambitions; there come up obvious educational, social, aesthetic needs. We ought to mind broader viewpoints and to accentuate the unforeseen, but the brackets of the civilization yet prove to be quite tight.
Our fancies and whims may produce plots, schemes and subjects for dreams. But reveries may be deprived of some chain's links, though fully replentished in intensive feelings. Moving, developing, progressing, dinamic, they may lack needed nuances or thematic matters. Though we may be fully sufficed with their brightness and appealing mode of what occurs there. The inner striving and passion dominate, and artistic inertia and feature purposes prove to be not that much peremptory. So the genre of revery is common and universal, but it differs with genre matters, in every way. Artificial dreams can be easily verbalized, like under the fether of Blok or Pasternak... We confess genres, out of something highly contradictory to the plain dream. Images are highly influential and psychologically reflective (visual panoramas, eloquent details of surroundings, phrasing, strofic patterns, clusters of sounds, drippling notes, etc.).
Akhmatova is acutely making out cultural landscapes and foretells the destinies of her major texts, through her magnetic vision of the developing panoramas of images. September, 2020; Moscow.


About Anna Polibina-Polansky