<?xml version="1.0" encoding="ISO-8859-1"?><article 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">
<front>
<journal-meta>
<journal-id>2218-3620</journal-id>
<journal-title><![CDATA[Revista Universidad y Sociedad]]></journal-title>
<abbrev-journal-title><![CDATA[Universidad y Sociedad]]></abbrev-journal-title>
<issn>2218-3620</issn>
<publisher>
<publisher-name><![CDATA[Editorial "Universo Sur"]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2218-36202020000600111</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Formation and development of teaching the genre &#8220;Portrait sketch&#8221; in the world and Russian television journalism]]></article-title>
<article-title xml:lang="es"><![CDATA[Formación y desarrollo de la enseñanza del género "Boceto de retrato" en el mundo y periodismo de televisión ruso]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Akhatova]]></surname>
<given-names><![CDATA[Ilsina I.]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Dautova]]></surname>
<given-names><![CDATA[Rezida V.]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Kazan Federal University  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Russian Federation</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2020</year>
</pub-date>
<volume>12</volume>
<numero>6</numero>
<fpage>111</fpage>
<lpage>116</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.sld.cu/scielo.php?script=sci_arttext&amp;pid=S2218-36202020000600111&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.sld.cu/scielo.php?script=sci_abstract&amp;pid=S2218-36202020000600111&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.sld.cu/scielo.php?script=sci_pdf&amp;pid=S2218-36202020000600111&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[ABSTRACT This paper teaches thesis that the rapid development of information and communication technologies, the processes of globalization and glocalization are common factors in the development of documentary films both in Russia and in foreign countries and tries to educate these factors. Although Russian and foreign documentaries have a different historical trajectory which is determined by specific historical and cultural, political, economic conditions, national traditions and ideological affinities, they largely enrich each other, actively interacting in the field of creative experience. The classic genre of journalism &#8220;portrait sketch&#8221;, which accounts for many famous documentaries, is currently undergoing a major transformation. This process is influenced by such factors as the commercialization of television, the prevalence of entertainment and gaming content, the formatting and unification of TV channels&#8217; products, as well as the intensive virtualization of society, where the bright line between the real world and the virtual world seems to be fading. The article presents the results from the study conducted on the basis of the Kazan Federal University, analyzes the scientific works of media researchers and documentaries of different years, mainly of the new century. The analysis incorporates the opinions of Russian and foreign researchers and famous directors.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[RESUMEN Este trabajo enseña la tesis de que el rápido desarrollo de las tecnologías de la información y la comunicación, los procesos de globalización y glocalización son factores comunes en el desarrollo de documentales tanto en Rusia como en países extranjeros y trata de educar estos factores. Aunque los documentales rusos y extranjeros tienen una trayectoria histórica diferente que está determinada por condiciones históricas y culturales, políticas, económicas, tradiciones nacionales y afinidades ideológicas específicas, se enriquecen en gran medida entre sí, interactuando activamente en el campo de la experiencia creativa. El género clásico del periodismo &#8220;retrato de bocetos&#8221;, que da cuenta de muchos documentales famosos, está experimentando actualmente una gran transformación. Este proceso está influenciado por factores como la comercialización de la televisión, la prevalencia del contenido de entretenimiento y juegos, el formateo y unificación de los productos de los canales de televisión, así como la virtualización intensiva de la sociedad, donde la línea clara entre el mundo real y el El mundo virtual parece desvanecerse. El artículo presenta los resultados del estudio realizado sobre la base de la Universidad Federal de Kazán, analiza los trabajos científicos de investigadores de medios y documentales de diferentes años, principalmente del nuevo siglo. El análisis incorpora las opiniones de investigadores y directores famosos rusos y extranjeros.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Educating the genre]]></kwd>
<kwd lng="en"><![CDATA[television]]></kwd>
<kwd lng="en"><![CDATA[portrait sketch]]></kwd>
<kwd lng="en"><![CDATA[genre transformation]]></kwd>
<kwd lng="es"><![CDATA[Educar el género]]></kwd>
<kwd lng="es"><![CDATA[la televisión]]></kwd>
<kwd lng="es"><![CDATA[el bosquejo de retratos]]></kwd>
<kwd lng="es"><![CDATA[la transformación de género]]></kwd>
</kwd-group>
</article-meta>
</front><back>
<ref-list>
<ref id="B1">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bakhtin]]></surname>
<given-names><![CDATA[&#1052;. &#1052;.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Author and The Character. Towards Philosophical Fundamentals of the Humanities]]></source>
<year>2000</year>
<publisher-name><![CDATA[Azbuka]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B2">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Belyaev]]></surname>
<given-names><![CDATA[I. K.]]></given-names>
</name>
</person-group>
<source><![CDATA[Introduction to Producing. The Course for Documentalists]]></source>
<year>1998</year>
<publisher-name><![CDATA[M]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B3">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Chion]]></surname>
<given-names><![CDATA[M.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Voice in Cinema]]></source>
<year>1999</year>
<publisher-name><![CDATA[Columbia Univ. Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B4">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[De Obaldia]]></surname>
<given-names><![CDATA[C.]]></given-names>
</name>
</person-group>
<source><![CDATA[The essayistic spirit: literature, modern criticism, and the essay]]></source>
<year>1995</year>
<publisher-name><![CDATA[Oxford University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B5">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Drobashenko]]></surname>
<given-names><![CDATA[S. &#1052;.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Space of Screen Document]]></source>
<year>1986</year>
<publisher-name><![CDATA[&#1052;]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B6">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Galloway]]></surname>
<given-names><![CDATA[A. R.]]></given-names>
</name>
</person-group>
<source><![CDATA[Gaming: Essays on Algorithmic Culture]]></source>
<year>2006</year>
<publisher-loc><![CDATA[Minneapolis ]]></publisher-loc>
<publisher-name><![CDATA[Univ. of Minnesota Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B7">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Grierson]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
<name>
<surname><![CDATA[Hardy]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
</person-group>
<source><![CDATA[Grierson on documentary]]></source>
<year>1971</year>
<publisher-name><![CDATA[Univ of California Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B8">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Ilchenko]]></surname>
<given-names><![CDATA[S. N.]]></given-names>
</name>
</person-group>
<source><![CDATA[Transformation of Genre Structure of Modern Russian Television Content: Actualization of Fiction Picture of Television]]></source>
<year>2012</year>
<publisher-name><![CDATA[Kazan Federal University]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B9">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Jameson]]></surname>
<given-names><![CDATA[F.]]></given-names>
</name>
<name>
<surname><![CDATA[Foster]]></surname>
<given-names><![CDATA[H.]]></given-names>
</name>
</person-group>
<source><![CDATA[The anti-aesthetic: Essays on postmodern culture]]></source>
<year>1983</year>
<publisher-name><![CDATA[Bay]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B10">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kahana]]></surname>
<given-names><![CDATA[J.]]></given-names>
</name>
</person-group>
<source><![CDATA[Intelligence work: The politics of American documentary]]></source>
<year>2008</year>
<publisher-name><![CDATA[Columbia University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B11">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Kritzman]]></surname>
<given-names><![CDATA[L. D.]]></given-names>
</name>
</person-group>
<source><![CDATA[The fabulous imagination: on Montaigne's Essays]]></source>
<year>2009</year>
<publisher-name><![CDATA[Columbia University Press]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B12">
<nlm-citation citation-type="journal">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Libergal]]></surname>
<given-names><![CDATA[G. A.]]></given-names>
</name>
</person-group>
<article-title xml:lang=""><![CDATA[Many Documentaries]]></article-title>
<source><![CDATA[Cinema Art.]]></source>
<year>2016</year>
<volume>8</volume>
<page-range>92</page-range></nlm-citation>
</ref>
<ref id="B13">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Martynenko]]></surname>
<given-names><![CDATA[Y.]]></given-names>
</name>
</person-group>
<source><![CDATA[Introduction to the Theory of Documentary Film]]></source>
<year>1973</year>
<publisher-name><![CDATA[&#1052;]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B14">
<nlm-citation citation-type="">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Prozhiko]]></surname>
<given-names><![CDATA[G. S.]]></given-names>
</name>
</person-group>
<source><![CDATA[The Conception of the Real World]]></source>
<year>2020</year>
</nlm-citation>
</ref>
<ref id="B15">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Shergova]]></surname>
<given-names><![CDATA[&#1050;. &#1040;.]]></given-names>
</name>
</person-group>
<source><![CDATA[Evolution of Genres in a Documentary Television Film]]></source>
<year>2010</year>
<publisher-name><![CDATA[Kazan Federal University]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
