The subject of the study is education in the field of culture and art, its purpose is to assess public policy in the field of art education. The article analyzes the reasons for the appearance in the film industry of specialists with a low level of training. The study was based on the regulatory legal acts of the Ministry of Education and Science of Russia, data from Federal State Statistics Service, portals of the Ministry of Education and Science of Russia: ‘Monitoring the employment of graduates’ and ‘How to enter the UNIVERSITY correctly’. During the study, a hypothesis was formulated on the trend of an increase in the training of specialists in creative specialties in non-core educational organizations. The hypothesis was tested on the basis of a regressive analysis of the distribution of admission quotas to higher education organizations, regardless of their departmental affiliation, and the construction of a linear regression. The article applies methods based on the establishment of an internal relationship of phenomena, their mathematical description. According to the analysis, the assessment of the quality of education in the field of culture and art should be determined not only by conducting online exams and testing graduates, and by questioning employers about the quality of their professional training. The author suggests measures aimed at changing the existing methodology for distributing admission quotas for creative specialties to educational organizations of higher education of the Ministry of Culture of Russia and other universities for which creative specialties are not specialized, and tightening requirements for material, technical and personnel support of a full-fledged educational process.
PANKRATOVA MARINA I.
Ministry of Culture of Russian Federation
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The article considers possible scenarios of introduction of mechanisms of Soviet and French models of cinema management in modern economic conditions. Nowadays the most part of social and cultural sectors in Russia including filmmaking are financed at the expense of budgetary funds. The lack of theoretical development of the problem and the urgent practical need for the formation of effective ways to manage the film industry determine the relevance of addressing this topic. The interest in the issue is quite natural taking into account the fact that in the early 2000s, in the conditions of insufficient budgetary financing of domestic film industry, the course towards the introduction of refundable financial mechanism to film production was chosen. In accordance with the decree of the Government of the Russian Federation of January 26, 2016 № 38 ‘on the provision of subsidies from the Federal budget to support the cinema', since January 2016 the Fund for social and economic support of national cinematography directs funds for the production of national films on condition of 100% repayment of the funds provided. The author presents the conclusions made on the basis of the study of literature on the subject of research, analysis of its historical development, the mechanism of financing of the film process in the Soviet period, as well as the systems of state support for French and Polish cinema. The paper proves that the effective management of the domestic film industry requires the development of quality mechanisms to improve state support. They are based on generalized international and domestic experience. The author proposes measures aimed at improving the state support for film production, in particular, the transition to off-budget financing of the film industry and the transfer of the functions of its investor to film screenings and secondary markets for domestic films.
