Digitalization, the development of the Internet and media technologies lead to transformation not only of functions of journalism, but also to the analysis of the conceptual model of a journalist, which also gives a result in a literary text. Viktor Pelevin subtly captures emanations of this kind and, at least allegorically, but quite accurately represents them in postmodernist artistic text. In the article we will focus on the study of the image of a journalist as the author of a media text and his role in shaping reality, presented in Pelevin's works. The material of the study was the novels "The Sacred Book of the Werewolf" (2004) and "Empire V" (2006). The paper presents the results of the analysis of media space, implemented in the works of V. Pelevin, which is the subject of the study. The novelty of the work is due to the fact that for the first time the role of journalism in the formation of the chronotope of a postmodernist work is analyzed on the example of V. Pelevin's novels. A successful attempt has been made to apply the knowledge of online news journalism to media texts in the structure of a work of art. Cultural-historical, structural-typological methods and structural analysis were used. The article is devoted to the study of the media space, which is considered as a simulacrum of reality, in the structure of the artistic world of a postmodern work. It is proved that the media space created by journalists is mosaic, its boundaries are conditional, blurred or completely absent, in the organization of space at different levels we see a rhizomatic structure, the author often uses the mirror principle.

В статье поставлена проблема снижения содержательного и художественного уровня современных фильмов о Великой Отечественной войне на основе сравнительного анализа особенностей содержания современных фильмов на эту тематику в аспекте снижения их художественного и воспитательного уровня. Выдвигается тезис о том, что современные фильмы о Великой Отечественной войне менее востребованы зрительской аудиторией чем те, которые были сняты в советский период, исследуются причины этого явления, подкрепленные примерами и социологическими опросами зрителей. Подчеркивается необходимость повышения содержательного уровня фильмов о Великой Отечественной войне и экспертизы фактического материала, включенного в фильмы. The article raises the problem of reducing the content and artistic level of modern films about the Great Patriotic War on the basis of a comparative analysis of the features of the content of modern films on this subject in terms of reducing their artistic and educational level. The thesis is put forward that modern films about the Great Patriotic War are less in demand by the audience than those that were filmed in the Soviet period, the reasons for this phenomenon are investigated, supported by examples and sociological surveys of viewers. The necessity of raising the content level of films about the Great Patriotic War, the need for an examination of the factual material included in the films is emphasized.

The subject of the study is the specifics of the functioning of the pronoun "we" in the self-presentation of authors and presenters of modern podcasts. The object of the study is a semantic shift in the profile of this pronoun, due to the increasing popularity of the podcast as a genre. The authors consider in detail such aspects of the topic as the differentiation of the inclusive and exclusive pronoun "we" and the distinction within the inclusive meaning of extended and nuclear inclusiveness. Particular attention is paid to the implementation of extended inclusion in various podcasts and tracing the trend of expansion of this form in the speech of the presenter. The texts of various podcasts focused on children and youth audience are considered. The main conclusion of the study is the statement of the increasing role of the extended inclusive semantic version of "we" in modern Russian media, as well as the distinction according to linguistic criteria between the genre of podcast and radio. A special contribution of the authors to the study of the topic is the analysis of the contexts of the use of the pronoun "we" and its derivatives in modern podcasts and the generalization of the patterns of its use. The novelty of the research lies in the study of changes in the semantic profile of the pronoun "we" on the example of podcasting: previously, such studies were conducted only in relation to children's radio shows, podcasts, despite their increasing popularity with the audience, are practically not analyzed in terms of linguistic content and influence on the linguistic landscape of the modern Russian language.