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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">history</journal-id><journal-title-group><journal-title xml:lang="ru">Вестник РГГУ. Серия: Литературоведение. Языкознание. Культурология</journal-title><trans-title-group xml:lang="en"><trans-title>RSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, Series</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2073-6355</issn><publisher><publisher-name>RSUH</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.28995/2686-7249-2017-10-2-280-288</article-id><article-id custom-type="elpub" pub-id-type="custom">history-398</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>МЕДИАИССЛЕДОВАНИЯ</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>MEDIA STUDIES</subject></subj-group></article-categories><title-group><article-title>Функциональные особенности современного кинотеатрального трейлера</article-title><trans-title-group xml:lang="en"><trans-title>Functional Features of the Contemporary Theatrical Movie Trailer</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Суковатых</surname><given-names>Глеб Алексеевич</given-names></name><name name-style="western" xml:lang="en"><surname>Sukovatykh</surname><given-names>Gleb</given-names></name></name-alternatives><email xlink:type="simple">flooptron@gmail.com</email><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff-alternatives id="aff-1"><aff xml:lang="ru"><institution>Российский государственный гуманитарный университет</institution><country>Россия</country></aff><aff xml:lang="en"><institution>Russian StateUniversity for the Humanities</institution><country>Russian Federation</country></aff></aff-alternatives><pub-date pub-type="collection"><year>2017</year></pub-date><pub-date pub-type="epub"><day>25</day><month>11</month><year>2018</year></pub-date><volume>0</volume><issue>10-2</issue><fpage>280</fpage><lpage>288</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Суковатых Г.А., 2018</copyright-statement><copyright-year>2018</copyright-year><copyright-holder xml:lang="ru">Суковатых Г.А.</copyright-holder><copyright-holder xml:lang="en">Sukovatykh G.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://history.rsuh.ru/jour/article/view/398">https://history.rsuh.ru/jour/article/view/398</self-uri><abstract><p>В статье рассматривается изменение функций современного кинотеатрального трейлера и раскрываются их причины. Данные изменения демонстрируется на примере типовых кинотеатральных трейлеров к фильмам различных жанров, выпущенных в три временных периода - «классический», «переходный» и «современный». Доказывается, что трейлер и способы его воздействия на зрителя подверглись существенным изменениям в контексте современной экранной культуры. Как следствие ключевая функция трейлера на протяжении этих периодов также претерпела существенные изменения.</p></abstract><trans-abstract xml:lang="en"><p>The article examines the changing functions of a modern theatrical trailer and reveals the causes of such alterations. These changes are demonstrated on the example of typical theatrical trailers for films of different genres that were released in three time periods - the“classical”, “transitional” and “modern”. The author argues that the trailer and the way it affects the viewer has undergone a substantial change in the context of the contemporary screen culture. As a result,during these three time periods the key function of the movie trailer has also undergone significant changes.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>трейлер</kwd><kwd>кино</kwd><kwd>фильм</kwd><kwd>функция</kwd><kwd>зритель</kwd><kwd>экранная культура</kwd><kwd>trailer</kwd><kwd>film</kwd><kwd>function</kwd><kwd>audience</kwd><kwd>screen culture</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Hediger V. Verführung zum Film. Der amerikanische Kinotrailer seit 1912. Schüren, 2001. S. 13.</mixed-citation><mixed-citation xml:lang="en">Hediger V. Verführung zum Film. Der amerikanische Kinotrailer seit 1912. Schüren, 2001. S. 13.</mixed-citation></citation-alternatives></ref><ref id="cit2"><label>2</label><citation-alternatives><mixed-citation xml:lang="ru">Плотникова К.А. 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