How to create your own website for free

Website creation using free services:

Google Sites is an interactive tool for creating a website from Google. Any user registered in this system has access to create their own website. The resource has a lot of add-ons, ranging from adding not only text, but also various forms of its presentation, namely tables, presentations, forms, diagrams, and ending with embedding video materials, images, as well as changing the appearance of the website itself. The advantage of this constructor is access to all documents presented on the site.

How to create and name a website on the Google platform

1.Open the new version of Google Sites on your computer
2.Select a template under "Create a website."
3.Type the site name in the upper left corner of the screen and press Enter.
4.Add content.
5.In the upper right corner, click Publish.

Wix is an easy-to-use free website builder for creating a large number of websites thanks to thematic templates. To start working with this tool, you need to create an account in the system or connect using a Google or Facebook account. Next, based on the user’s answers to several questions about the future website, the designer offers several templates to choose from on a given topic. At the same stage, you can choose a general style, which can also be modified in the future. The designer offers a clear site structure that is easy to change at any time, numerous types of blocks, ranging from text forms and forms with images to a blog, adding files, chat, video, music and various kinds of events. At the end of work on the site, it must be published so that the created resource is visible to all users on the Internet.


How to create QR code

QR code (from the English quick response) is a two-dimensional barcode that helps present a large amount of information in a concise form. It can be an audio text, a video fragment, a music file, an illustration, a book, etc.

Anyone with a smartphone with a camera and Internet access can use the QR code. Such encryption is scanned in one motion, and information is entered quickly. Using a browser, you can instantly follow the embedded link, if there is one, or simply familiarize yourself with the presented data.

There are many generators and various programs for creating QR codes, for example:

Online map constructor

Using the Google Maps service, you can create an interactive map highlighting a zone for the site.

To work with the Google map designer, you must first create an account or log in to the website:

Go to the Google My Maps builder at:

Click - "Create a new card".

Online map maker to create an interactive map
Presenting geographic information has never been easier with Visme's map maker. Simply choose one of our stunning pre-designed templates to get started and customize it to suit your theme, brand or industry

Film Research Methodology:

«Today, proponents of anthropological and phenomenological approaches in historical research have developed several basic principles for analyzing films.
Firstly, the implicit content (invisible and non-obvious) in a film is of great value, that is, what the picture says beyond the desire and consciousness of its creators. What is read between the lines of the story being told (“unwritten values” of a given society, “random evidence”) is very significant. Therefore, when studying the content of the film, it is necessary to restore the elements of the reality that entered it as an implicit, unconscious background.
Secondly, the researcher must master the basics of art historical theory, know the laws of film genres, and have an idea of the specifics of a particular film. Analysis of a film should include several levels: surface-narrative, formal-aesthetic, stylistic and subconscious.
Thirdly, cinema can also be considered as a “parallel” history or “counter-history”, as a different type of historical discourse that may not coincide with official views on the past.
Fourth, there is no ideologically neutral film. Only this ideology can be either open or “encrypted.” It is the researcher's responsibility to recognize it in the film. It is necessary to carefully study exactly what in the film can avoid censorship.
Fifthly, any film is material for studying the collective unconscious of an era. A film work, in this sense, represents not facts, but thoughts, opinions, ideological attitudes of a historical period or national culture. The film is an important source on the history of mentalities.
Sixthly, the film is very interesting for historiographic analysis, as it demonstrates a certain vision of history, capturing it on the screen, and helps to comprehend the events of the past through visual and verbal images. A historical film is a version of the interpretation of the past “in the atmosphere” of an imaged culture. Cinema is one of the channels for the mythologization of history. Turning to the past, a historical film encodes the mythology of its contemporary society, that is, the view of history that a given society prefers to all others.
Cinema, from the point of view of historical research, apparently can be studied in two directions. First, an examination of how faithfully the film represents people and events of the past on screen. Secondly, an analysis of film as a cultural phenomenon, as a channel for broadcasting collective memory of the past from the point of view of visual anthropology. The second direction seems more promising and involves examining the film on three levels. First, you should pay attention to the pre-cinematic history of the picture, that is, study the concept, preparation and stages of its creation. Then, it is necessary to closely examine the cinematic level, that is, the interpretation of film images and the entire cultural text of the film. And finally, analyze the post-cinematic stage: explore the reaction of the authorities and society to the film.”
Volkov E.V., Ponomareva E.V. Fiction cinema as a historical source for the study of cultural memory // Bulletin of SUSU. Series “Social Sciences and Humanities”. Issue 18. 2012. No. 10 (269). pp. 22–26. pp. 23–24.  (in Russian)

«How to understand documentary films.

A documentary film is fundamentally different from different types of feature films (both fiction and non-fiction, for example, from works of video art) in that it does not have a production as an intermediary between reality and the film version representing it on the screen. Documentary cinema reflects reality itself: it has no actors, roles, exciting plot, or suspense. But this is still a movie, so a documentary film has a script, a compositional sequence of scenes, a system of characters, key images, symbols, and its own film language. Some directors make dynamic, action-packed documentaries on the topic of the day or on current historical topics, while others are inclined to poetic reflection on human life and death, problems of family, religion, and historical development. Many people in the digital video era shoot on black and white film.
1. Analysis of film narrative. The principles of film storytelling in documentary films differ significantly from plot construction in feature films. And although the narration is also embodied here in the words of the off-screen narrator and in the construction of video sequences - plans and shots, its structure is different. In a staged feature film, as in literature, one can distinguish between a narrator and a narrator. The narrator is someone who is not there from the characters’ point of view, “they don’t see him,” and the viewer never sees him through the eyes of the characters, although he may appear in the frame. The narrator is the one who, even without participating in the action and even being invisible on the screen, lives in the same world in which the heroes live. In documentary films there is no narrator in this sense. There may be an author's text in a film, but we perceive it as a statement about our real world, which means we are on the same level as the film's characters and the narrator, who often coincides with the author. In documentary films, the difference between plot and plot, which is fundamental for a fiction film, practically disappears. As a rule, the duration and sequence of events on the screen coincides with the real duration and sequence of events. Of course, often in documentary films there is a verbal account of events that can cover several years and even centuries in a few minutes of screen time. But such a story is either introductory and purely informational in nature, or - as in television documentary - is accompanied by the presence of the narrator on the screen in real time (which again indicates the coincidence of the plot and plot time plans).
The narrative fabric of the documentary film is divided into episodes. As in feature films, the criteria for highlighting an episode are the unity of place, action and composition of characters presented on the screen. It is necessary to highlight episodes in the context of a historical analysis of the film. Using episodic division, you can understand how the director structures the actual material. For example, if certain scenes are shown as confirmation of the author's earlier theses, one can expect that the interpretation of a historical phenomenon presented in the film may turn out to be biased when the facts are interpreted in the light of a certain ideology.
2. Analysis of scenes: points of view and sources of the film. As is the case of fiction films, in a documentary film the people and events shown are seen through someone's eyes; more often - through the eyes of the artist himself, less often - through the eyes of the heroes. If the director directly films what is happening, he gives a specific visual interpretation to the images that appear on the screen. If he uses newsreel footage and films witnesses to events talking about them, his point of view and assessment of events may appear in the choice of evidence: if he aims to express one or another ideological position, one interpretation will prevail in the film. If he wants to look at things from different sides, he attracts contradictory evidence. The very structure of the film depends on the chosen position: the director can look at history from the position of a contemporary, or maybe from the position of a descendant, a foreigner or a laugher. Highlighting this position is key to understanding the film.
3. Video and sound. The stylistic decision in the film reflects the author’s attitude to the events depicted. Thus, modern documentary films, telling, for example, about the totalitarian regimes of the twentieth century. or about recent wars, adheres to a rigid style of presentation of textual material, selects bright, frightening scenes from photo and video archives, newsreels. All means of influencing the viewer are used: contrasting shots, sound effects, specific music, style of scoring and pronunciation of the text. In documentary films, on the contrary, the entire range of artificial effects (soundtrack, voiceover, interviews) is often absent, and the focus is on representing reality itself. As mentioned, many directors shoot on black and white film. This, depending on the picture, can be interpreted as a stylization of historical reality (newsreel footage), or, on the contrary, as a departure from the color correspondence of reality itself and the aestheticization of the depicted world. (Author: A.V. Korchinsky).”
Troitsky Yu. L. Visual historical sources: typology and information potential // Visual images of the past: new strategies for use in educational and research practice. – Novosibirsk: NSPU Publishing House, 2014. – P.120–121. (in Russian)

«How to understand the poster.

Posters belong to visual genres and are therefore subject to the laws of perception characteristic of images: the viewer’s instant grasp of the entire picture. But, on the other hand, the poster also has a text part: a slogan, a short expression, an appeal, sometimes a short poem. As a rule, the leading image in the semantic field of a poster is the image, and the text part plays a supporting illustrative role. The purpose of the poster is to evoke immediate action from the viewer, to encourage him to take a specific action. That is why the poster so often uses imperative rhetoric: “Have you signed up for the Red Army?”, “Down with the fascist evil spirits!” To convince and motivate to action - the poster accomplishes this task using artistic visual means: drawing (caricature of the depicted is very often used), high-quality verbal accompaniment. One of the conditions for the effectiveness of a poster is its accessibility and understandability to any potential viewer. Consequently, poster art uses the most elementary means and basic, deep, often unconscious images. This implies the uniqueness of the poster, its semantic one-dimensionality. It would seem that these properties of the poster should remove this genre from the sphere of art, leaving it in the arsenal of purely propaganda, persuasive genres. However, the history of the poster convinces us of the possibility of high aesthetic forms of real art. A successful image, executed at a professional level, a precise slogan that penetrates the depths of consciousness, are sometimes created by masterpieces of poster art, for example, the military poster of the beginning of the Great Patriotic War “The Motherland is Calling!”, which became a symbol of the national struggle against fascism. Thus, the poster, being a synthesis of image and word, assumes the following analytical actions as a source of information:
– taking into account the addressee and purpose of a particular poster;
 – understanding the relationship between image and text: is there a leading line, or do image and word work on equal terms;
– establishing the degree of realism and conventionality of the poster;
– reconstruction of the viewer’s emotional reaction to the poster.”
Troitsky Yu. L. Visual historical sources: typology and information potential // Visual images of the past: new strategies for use in educational and research practice. Novosibirsk: NSPU Publishing House, 2014. pp. 112–113. (in Russian)