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The research is focused on the issues concerning personal and genealogical composition of the Sovereign court during the great reign of Vasily the Third (1505–1533). The relevance of the research is connected with the small number of works devoted to Vasily Ivanovich’s reign (in particular, monographs by A.A. Zimin and A.I. Filyushkin), and with that fact that such institute of the organization of the upper class and middle class of the Russian society as the Sovereign court is insufficiently studied. On the basis of the earlier developed methodology of allocating the servant landowners who constitued the capital court, and the reconstruction of the court nobility in the first third of the 16th century, the authors for the first time analyze the genealogical structure of the Vasily III court. It is proved that the core of the Vasily Ivanovich’s court was formed by those surnames, which had already been known under his father Ivan III. However some changes are also revealed. There was a limited access to the court nobility for little-known and lowborn surnames, so the composition of the court became more aristocratic. This was partly due to strengthening of princely aristocracy represented by the Gediminovich prince’s sons of Northeast Russia, as well as princes of the Lithuanian origin. The greatest number of departures on service to the capital took place from Lithuania and passed against the background of Russian struggle for Smolensk. Another understudied aspect of the court concerns Pskov accession to Moscow and the formation of Pskov service corporation. This article attempts to restore the composition of the first Pskov landowners, to determine the initial land accessory (mainly from the Novgorod land) and to trace their gradual inclusion in the capital court during the first half of the 16th century. A section about Vasily the Third’s clerks concludes the publication. The composition of the grand-ducal office is studied, its comparison with the clerks of Ivan III is carried out, and a conclusion is made about a significant increase in the prestige of the clerk’s service and the beginning of the folding of the dynasties of departmental employees. As an illustration, monograms and signatures of the famous clerks of Vasily III are given. The authors analyze the reasons of the substitution of monograms for signatures which was reflected in office-work of the end of the 15th – first third of the 16th century. A.L. Korzinin analyzed personal and genealogical structure of the Sovereign court in the first third of the 16th century. N.V. Basnin studied the change in traditions of the paperwork (signing, monograms, clerks’ signatures) in the context of the history of state institutions.

Death of the Mogulsis a detailed assessment of the last days of the \"rulers of film.\" Wheeler Winston Dixon examines the careers of such moguls as Harry Cohn at Columbia, Louis B. Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic in the dying days of their once-mighty empires. He asserts that the sheer force of personality and business acumen displayed by these moguls made the studios successful; their deaths or departures hastened the studios' collapse. Almost none had a plan for leadership succession; they simply couldn't imagine a world in which they didn't reign supreme. Covering 20th Century-Fox, Selznick International Pictures, Metro-Goldwyn-Mayer, Paramount Pictures, RKO Radio Pictures, Warner Brothers, Universal Pictures, Republic Pictures, Monogram Pictures and Columbia Pictures, Dixon briefly introduces the studios and their respective bosses in the late 1940s, just before the collapse, then chronicles the last productions from the studios and their eventual demise in the late 1950s and early 1960s. He details such game-changing factors as the de Havilland decision, which made actors free agents; the Consent Decree, which forced the studios to get rid of their theaters; how the moguls dealt with their collapsing empires in the television era; and the end of the conventional studio assembly line, where producers had rosters of directors, writers, and actors under their command.Complemented by rare, behind-the-scenes stills,Death of the Mogulsis a compelling narrative of the end of the studio system at each of the Hollywood majors as television, the de Havilland decision, and the Consent Decree forced studios to slash payrolls, make the shift to color, 3D, and CinemaScope in desperate last-ditch efforts to save their kingdoms. The aftermath for some was the final switch to television production and, in some cases, the distribution of independent film.