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# 2(7) 2012: Kino|text

The Guest-Editor of the Issue — Lyubov Bugaeva — Ph.D., St. Petersburg branch of the Russian Institute for Cultural Research, Researcher, St. Petersburg State University, Faculty of Philology, Associate Professor

Nowadays, it seems that the term “kino-text” is repeatedly being used in film studies. Quite often, “kino-text” simply stands for an information message expressed through the vehicle of cinematography. However, even as early as 1927, Yury Tynyanov identified possible approaches to kino-text based on its complex and multiple-valued notion: the search for a unique “hero” of cinematography, the decomposition of film narrative into the simultaneous layers of the viewer’s perception, an analysis of the means of expressivity in films and literature, the comparison of a literary novel with a kino-novel, research into styles and genres in literature and cinema, etc.

Cinematography is the first medium to combine content(?) and text. The history of cinematography is the history of film mediality (Igor Smirnov), and hence the history of kino-text. Between film and text, a breathtaking diversity of relations exists: film and text, film versus text, text for the film, text in the film, text after the film, film as text, text as film, and finally kino-text as integrity. What then is “kino-text”? Does kino-text analysis have a distinctive character? Our goal is to clarify the notion of “kino-text”, to trace its dynamics, and to expose the “cognitive rearrangement of the world” accomplished by cinematography.

Related topics include

• Kino-text semantics, syntaxes and pragmatics
• Intertextuality and intermediality in cinematography
• Kino-text and structures of experience, cine-cogitation
• Kino-text interpretation
• Text dynamics vs. kino-text dynamics
• Narrative and kino-narrative
• Literary cinematicity
• Genres in cinema and literature
• Kino-text as a creolized text
• Kino-text translation

Submissions are welcome