Reflection on the process of origin and development of a regional school of any kind of artistic creativity is always an urgent problem of local history and regional art history. Defining the «genome» of a regional school, the set of traditions that precede its emergence, and the set of prerequisites for its emergence are important resources for understanding its specifics and growth prospects. More than 40 years ago, a professional interest in a new type of creativity for Siberia – art design-arose among progressive Krasnoyarsk masters. А few years later, the Department of decorative and applied arts with the Department of interior and equipment appeared in the newly formed Institute of arts in Krasnoyarsk. For more than 35 years, the Department of design of the Siberian state Institute of arts named after D. Hvorostovsky successfully trains artists and designers whose projects of spatial complexes, urban and Park ensembles, landscapes, public and residential premises are implemented and win all-Russian and international competitions. The main objective of the study is to analyze the conditions for the emergence of the Krasnoyarsk school of environmental design and the links between regional design and the traditions of domestic environmental design. The article discusses the foundations and methodological principles of the Krasnoyarsk school of design, aimed at educating specialists who are able to create full-fledged from the point of view of expediency, comfort and ideas about the aesthetics of the living conditions and activities of modern human.

The article considers the contribution of the outstanding Russian artist Mikhail Rutchenko to the development of artistic life in Siberia of the XIX century on the example of Irkutsk and Krasnoyarsk. The research method is biographical analysis. The article describes the relationship between M. A. Rutchenko and the equally famous Siberian artist V. I. Surikov. The research is based on archival sources. The name of M. A. Rutchenko, whose deeds were several years ahead of their time, entered the annals of the artistic life of the region. Krasnoyarsk residents are proud that his energy contributed to the first documented art exhibition in Krasnoyarsk. The research result showed that the track record of the artist's ideas actively brought closer the day when Siberia will be able to stand up "in bright colors, in thousands of images, in real paintings, and art will say what a hot word is powerless for a deaf heart ".

The research aim is to analyze the most striking films in the author's opinion, which reflect the history of the Republic of Kazakhstan in various degrees. The author makes research on the subject of visual solutions in Kazakh feature films from 1938 to 2019 and also asks the question: why none of the national cinematographers could not make a full-length historical film that glorifies the beauty of the Kazakh people and the land, filled not only with patriotism and pathos of modernity, but with love for the Motherland and respect for the deeds of their ancestors (the exception is the film epic "Kyz-Zhibek" directed By Khodzhikov, operator A. Ashrapov). The films selected for the study are a vivid examples of the transformation of the creative vision of filmmakers (from the ideological to the national, and then to the individual). The study of this topic, conducted on the basis of historical and film studies, comparative and visual analysis shows how justified the relationship of historical films based on facts and folk legends with political propaganda in various periods of development of the Republic of Kazakhstan in the XX and XXI centuries. The text contains indisputable facts from the research of Russian and Kazakh film critics who express their views on the development of cinema.               

The history of society is a complex, contradictory process in which rapid rise and heavy fall, inspirational successes and deep disappointments are closely intertwined. And society was guided by a certain, not always right set of paradigms in each of the historical periods. The adoption of new paradigms was facilitated not so much by their potential world-describing power as by the satisfaction of fleeting demands of a part of society. Method of this research is a systematic analysis, the purpose of which is to consider Deleuzian paradigm in the context of modern architecture. The research result has showed that the Deleuzian paradigm success was caused by the deepest ideological crisis of Western European culture of the second half of the ХХth century, which led to the failure of most social institutions, the recognition of almost complete inability to solve even the simplest problems. The Deleuzian paradigm, if not completely, partially has significantly changed the way of architectural thinking along with the transformation of the form, filling the designed objects by the new functional content. Architectural thinking on the background of human impotence in front of Nature, immersion in a state of despair ceased to follow the usual trajectory – to appeal to perfection, beauty, absolute truth, ideals.