Pub Date : 2023-10-20DOI: 10.31866/2617-2674.6.2.2023.289313
Ihor Pecheranskyi
The purpose of the research is to characterize the most important milestones in the technical history and audiovisual parameters of electromechanical (mechanical) television of the 1840s–1930s as an audiovisual ecosystem. Research methodology. The study uses, firstly, an ecosystem approach, which made it possible to qualify television as a networked audiovisual ecosystem with internal dynamics and external interactions, and secondly, media archaeology as a field that attempts to understand the early stage and electromechanical practices of television through the prism of technical history, and, thirdly, general scientific methods of analysis and synthesis, induction and deduction, generalization and abstraction when working with theoretical material. Scientific novelty. For the first time, the article comprehensively and at the appropriate theoretical level considers the most significant milestones in the development of electromechanical (mechanical) television of the period and its audiovisual parameters. Conclusions. It is proved that during the 40 years since the patent for the “Nipkow disc” was granted in 1885 to the first public demonstration of television moving images by the Scottish inventor John Logie Baird in 1925, electromechanical TV has gone through a rapid and very significant path from broadcasting a static image (analogue of photography) to transmitting a moving image (analogue of cinema). It has been substantiated that despite numerous experiments aimed at “collaborating” the means of preserving and transmitting sound and image (telegraph, radio, telephone), early mechanical television broadcasts remained silent and black and white. It is emphasized that further technical development and improvement of audiovisual parameters of mechanical television led to the deepening of audiovisual synthesis in the industry and its transformation, which first resulted in the emergence of electromechanical and electronic systems with the ability to preserve colour images and later regular and cable television broadcasting systems.
{"title":"Brief Technical History and Audiovisual Parameters of Electromechanical Television","authors":"Ihor Pecheranskyi","doi":"10.31866/2617-2674.6.2.2023.289313","DOIUrl":"https://doi.org/10.31866/2617-2674.6.2.2023.289313","url":null,"abstract":"The purpose of the research is to characterize the most important milestones in the technical history and audiovisual parameters of electromechanical (mechanical) television of the 1840s–1930s as an audiovisual ecosystem. Research methodology. The study uses, firstly, an ecosystem approach, which made it possible to qualify television as a networked audiovisual ecosystem with internal dynamics and external interactions, and secondly, media archaeology as a field that attempts to understand the early stage and electromechanical practices of television through the prism of technical history, and, thirdly, general scientific methods of analysis and synthesis, induction and deduction, generalization and abstraction when working with theoretical material. Scientific novelty. For the first time, the article comprehensively and at the appropriate theoretical level considers the most significant milestones in the development of electromechanical (mechanical) television of the period and its audiovisual parameters. Conclusions. It is proved that during the 40 years since the patent for the “Nipkow disc” was granted in 1885 to the first public demonstration of television moving images by the Scottish inventor John Logie Baird in 1925, electromechanical TV has gone through a rapid and very significant path from broadcasting a static image (analogue of photography) to transmitting a moving image (analogue of cinema). It has been substantiated that despite numerous experiments aimed at “collaborating” the means of preserving and transmitting sound and image (telegraph, radio, telephone), early mechanical television broadcasts remained silent and black and white. It is emphasized that further technical development and improvement of audiovisual parameters of mechanical television led to the deepening of audiovisual synthesis in the industry and its transformation, which first resulted in the emergence of electromechanical and electronic systems with the ability to preserve colour images and later regular and cable television broadcasting systems.","PeriodicalId":33443,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Audiovizual''ne mistetstvo i virobnitstvo","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135665998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.31866/2617-2674.6.2.2023.289315
Serhii Tumasov
The “First Ray” project was launched in 2009. According to the idea and concept developed, the shooting takes place in the high mountain systems of the Himalayas, Karakoram, and the Cordillera at dawn. The shooting aims to capture the first rays of the sun illuminating the snow-capped mountain peaks. A prerequisite for shooting is no later than two minutes after the first touch of the sun's ray to the peak. Since the sun is still deep below the horizon at this time, the lighting at the shooting point corresponds to twilight conditions, although the subject is in daylight conditions. This provides additional opportunities for creative reinterpretation of the scene and presentation of the result as an art object. The prerequisites for achieving the result are that the photographer should be located mostly at an altitude of 4000 metres. The height of the peaks to be photographed is from 6500 metres above sea level. The exposition is arranged according to the light, which allows for detail and draws the viewer’s attention to the idea of the project. Additionally, to enhance the impression, the sky was “dulled” in post-processing until details and colour disappeared completely.
{"title":"Photo Art Project “First Ray”","authors":"Serhii Tumasov","doi":"10.31866/2617-2674.6.2.2023.289315","DOIUrl":"https://doi.org/10.31866/2617-2674.6.2.2023.289315","url":null,"abstract":"The “First Ray” project was launched in 2009. According to the idea and concept developed, the shooting takes place in the high mountain systems of the Himalayas, Karakoram, and the Cordillera at dawn. The shooting aims to capture the first rays of the sun illuminating the snow-capped mountain peaks. A prerequisite for shooting is no later than two minutes after the first touch of the sun's ray to the peak. Since the sun is still deep below the horizon at this time, the lighting at the shooting point corresponds to twilight conditions, although the subject is in daylight conditions. This provides additional opportunities for creative reinterpretation of the scene and presentation of the result as an art object. The prerequisites for achieving the result are that the photographer should be located mostly at an altitude of 4000 metres. The height of the peaks to be photographed is from 6500 metres above sea level. The exposition is arranged according to the light, which allows for detail and draws the viewer’s attention to the idea of the project. Additionally, to enhance the impression, the sky was “dulled” in post-processing until details and colour disappeared completely.","PeriodicalId":33443,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Audiovizual''ne mistetstvo i virobnitstvo","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135665507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.31866/2617-2674.6.2.2023.289310
Oleksandr Bezruchko, Maksym Sukhin
The purpose of the article is to analyze the peculiarities of animated documentary films’ production in the modern film process. It also aims to investigate the specifics of the combination of real facts and events with the animation of the storyline sequence in films, reveal modern animation techniques and the specifics of their combination with footage, determine their impact on the viewer, and identify the peculiarities of using storyboards for organizational and filming processes. Research methodology. It consists in applying of the following methods: theoretical-comparative – comparison of foreign animation-documentary films of the last century with modern ones; practical – disclosure of the peculiarities of work on “animadocs” and plagiarism in author’s and studio projects; analysis – the influence of audiovisual means of expression on the audience’s perception of animation style, sound accompaniment, and counterpoint in animated documentary cinema. Scientific novelty. For the first time the influence of stylistic features of animated documentaries on the viewers’ perception of the depicted events has been analyzed, the importance of using storyboards during the organizational and shooting process in Ukraine has been systematized, the main aspects of working with film dramaturgy have been revealed and the problems of using non-linear dramaturgy in animated films have been considered, the differences in story presentation between feature films and animated documentaries have been revealed. Conclusions. The peculiarities of animated documentary film production in the modern film process have been analyzed, the peculiarities of combining real facts and events with animation of the sequence of storylines in films have been investigated, and modern animation techniques and the peculiarities of their combination with film frames have been revealed, the specifics of film production and their impact on the viewer through audiovisual means of expression have been determined.
{"title":"Animated Documentaries in Modern Cinematic Art: Specifics of Production","authors":"Oleksandr Bezruchko, Maksym Sukhin","doi":"10.31866/2617-2674.6.2.2023.289310","DOIUrl":"https://doi.org/10.31866/2617-2674.6.2.2023.289310","url":null,"abstract":"The purpose of the article is to analyze the peculiarities of animated documentary films’ production in the modern film process. It also aims to investigate the specifics of the combination of real facts and events with the animation of the storyline sequence in films, reveal modern animation techniques and the specifics of their combination with footage, determine their impact on the viewer, and identify the peculiarities of using storyboards for organizational and filming processes. Research methodology. It consists in applying of the following methods: theoretical-comparative – comparison of foreign animation-documentary films of the last century with modern ones; practical – disclosure of the peculiarities of work on “animadocs” and plagiarism in author’s and studio projects; analysis – the influence of audiovisual means of expression on the audience’s perception of animation style, sound accompaniment, and counterpoint in animated documentary cinema. Scientific novelty. For the first time the influence of stylistic features of animated documentaries on the viewers’ perception of the depicted events has been analyzed, the importance of using storyboards during the organizational and shooting process in Ukraine has been systematized, the main aspects of working with film dramaturgy have been revealed and the problems of using non-linear dramaturgy in animated films have been considered, the differences in story presentation between feature films and animated documentaries have been revealed. Conclusions. The peculiarities of animated documentary film production in the modern film process have been analyzed, the peculiarities of combining real facts and events with animation of the sequence of storylines in films have been investigated, and modern animation techniques and the peculiarities of their combination with film frames have been revealed, the specifics of film production and their impact on the viewer through audiovisual means of expression have been determined.","PeriodicalId":33443,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Audiovizual''ne mistetstvo i virobnitstvo","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135665508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.31866/2617-2674.6.2.2023.289311
Alla Medvedieva, Oleksandra Rosliakova
The purpose of the article. It analyzes the components that influence the creation of movie images. Set the role of lighting in the shooting of an audiovisual product. Identify features and fragments when working with it. Prove the importance of the ability to use light sources in natural and pavilion locations. Identify the factors that affect the quality of the visual material. Research methodology. Such methods were used in the article: theoretical – analysis of movies, and publications; generalization – the influence of lighting on the quality of visual material; determination of interdependence (light, time of day and auxiliary objects that influence the creation of a frame); empirical – systematization of one’s own experience, determination of the relationship between lighting and the quality of visual material. Scientific novelty. The components that influence the creation of a visual image were analyzed for the first time, a detailed analysis of the dependence of the time of day and illumination in the field, which forms the illumination scheme, by means of theoretical analysis of films, the factors that influence the quality of the visual material are determined. Conclusions. In the course of the article, the main techniques of cinematography when creating audiovisual works are analyzed. The concepts of frame composition and the skill of conveying an emotional state are considered. The use of various lighting sources in natural and artificial locations is considered in detail. Based on the analysis of audiovisual products of leading masters, the importance of the ability to use different types of lighting sources has been proven. A list of the features and difficulties of using different types of lighting has been created and the key factors that have a direct impact on the quality of creating an audiovisual work have been outlined.
{"title":"Peculiarities of Using Lighting in the Process of Film Shooting","authors":"Alla Medvedieva, Oleksandra Rosliakova","doi":"10.31866/2617-2674.6.2.2023.289311","DOIUrl":"https://doi.org/10.31866/2617-2674.6.2.2023.289311","url":null,"abstract":"The purpose of the article. It analyzes the components that influence the creation of movie images. Set the role of lighting in the shooting of an audiovisual product. Identify features and fragments when working with it. Prove the importance of the ability to use light sources in natural and pavilion locations. Identify the factors that affect the quality of the visual material. Research methodology. Such methods were used in the article: theoretical – analysis of movies, and publications; generalization – the influence of lighting on the quality of visual material; determination of interdependence (light, time of day and auxiliary objects that influence the creation of a frame); empirical – systematization of one’s own experience, determination of the relationship between lighting and the quality of visual material. Scientific novelty. The components that influence the creation of a visual image were analyzed for the first time, a detailed analysis of the dependence of the time of day and illumination in the field, which forms the illumination scheme, by means of theoretical analysis of films, the factors that influence the quality of the visual material are determined. Conclusions. In the course of the article, the main techniques of cinematography when creating audiovisual works are analyzed. The concepts of frame composition and the skill of conveying an emotional state are considered. The use of various lighting sources in natural and artificial locations is considered in detail. Based on the analysis of audiovisual products of leading masters, the importance of the ability to use different types of lighting sources has been proven. A list of the features and difficulties of using different types of lighting has been created and the key factors that have a direct impact on the quality of creating an audiovisual work have been outlined.","PeriodicalId":33443,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Audiovizual''ne mistetstvo i virobnitstvo","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135665511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.31866/2617-2674.6.2.2023.289285
Serhii Honcharuk, Vladyslav Marusenko
The purpose of the article is to analyze the history of television art and electronic broadcasting in Ukraine; to find out the technologies that influence the development of the television industry; to consider the media market offers to the modern viewer and to conduct a comparative analysis of audiovisual works offered by the Internet; to find possible options for synthesis between television and the Internet; to find out the advantages and disadvantages of broadcasting and online media. Research Methodology. The following methods were used: theoretical – to study the historiography of the development of television, namely, information sources, infographics and publications; practical – to review the offers of the modern media market and compare it with audiovisual content on the Internet; analysis – to study the content under study in detail, in particular, an overview of television and the Internet, to understand the quality of media production; analogy – to draw clear parallels between the media product of television production and the Internet. Scientific novelty. For the first time, a detailed analysis of the history of electronic art in the context of screen broadcasting development is carried out, namely, the technologies of influence on television broadcasting, viewer tastes and preferences at certain stages of media market development are considered. The state of contemporary electronic art development and its impact on the viewer is analyzed, and a general vision of the viewer audience is formed. Variants of media products of the synthesis of television and the Internet are presented, taking into account new genres of audiovisual works. Conclusions. The article analyses the history of the formation and development of Ukrainian electronic art. The main stages of television technology formation and improvement of electronic broadcasting and cinema techniques have been identified. The state of transformation and changes in electronic art in the modern world, as well as the factors influencing the rapid changes in the technologies of screen broadcasting, have been analyzed. A general picture of the technology’s impact on the development of the modern media space has been formed.
{"title":"Impact of Technology on Electronic Broadcasting Development","authors":"Serhii Honcharuk, Vladyslav Marusenko","doi":"10.31866/2617-2674.6.2.2023.289285","DOIUrl":"https://doi.org/10.31866/2617-2674.6.2.2023.289285","url":null,"abstract":"The purpose of the article is to analyze the history of television art and electronic broadcasting in Ukraine; to find out the technologies that influence the development of the television industry; to consider the media market offers to the modern viewer and to conduct a comparative analysis of audiovisual works offered by the Internet; to find possible options for synthesis between television and the Internet; to find out the advantages and disadvantages of broadcasting and online media. Research Methodology. The following methods were used: theoretical – to study the historiography of the development of television, namely, information sources, infographics and publications; practical – to review the offers of the modern media market and compare it with audiovisual content on the Internet; analysis – to study the content under study in detail, in particular, an overview of television and the Internet, to understand the quality of media production; analogy – to draw clear parallels between the media product of television production and the Internet. Scientific novelty. For the first time, a detailed analysis of the history of electronic art in the context of screen broadcasting development is carried out, namely, the technologies of influence on television broadcasting, viewer tastes and preferences at certain stages of media market development are considered. The state of contemporary electronic art development and its impact on the viewer is analyzed, and a general vision of the viewer audience is formed. Variants of media products of the synthesis of television and the Internet are presented, taking into account new genres of audiovisual works. Conclusions. The article analyses the history of the formation and development of Ukrainian electronic art. The main stages of television technology formation and improvement of electronic broadcasting and cinema techniques have been identified. The state of transformation and changes in electronic art in the modern world, as well as the factors influencing the rapid changes in the technologies of screen broadcasting, have been analyzed. A general picture of the technology’s impact on the development of the modern media space has been formed.","PeriodicalId":33443,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Audiovizual''ne mistetstvo i virobnitstvo","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135665506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.31866/2617-2674.6.2.2023.289314
Vitalii Zaporozhchenko, Oleksandra Sydorenko
The author’s idea of the master’s photography project was to recreate the unique atmosphere, sacred and historical spirit of Khortytsia Island, where the symbol of the Ukrainian Cossacks, the Zaporizhzhia Sich, was located. For every nation, its history is essential, and Khortytsia has been preserving the heritage of our people for many centuries. At all times, the island has been attractive not only for its beauty but also for its sacred meaning. Nowadays, Khortytsia is not often depicted in cinematic works. Therefore, the relevance of the work is due to the need to draw the cinematographic community’s attention to the historical and sacred heritage of this Cossack Island. The representation of Khortytsia does not always reflect the historical and cultural aspects of this sacred place. Often films portray the island as a beautiful natural area without paying due attention to its cultural and historical significance for the Ukrainian people. Audiovisual works can treat Khortytsia only as a landscape for filming, without resorting to a detailed study of the cultural heritage. The cinematography does not always succeed in accurately conveying the character and appearance of the island’s sanctity, which can cause misconceptions among viewers. The project aims to reflect the mystery, mysticism, and spirituality of these places through the language of photography. The photographs demonstrate different historical periods, starting from the Bronze Age (Braharnya sanctuary), the Cossack period (a series of Zaporizhian Sich images), and up to the present day, showing the evolution of humanity and its impact on the world. The photo art project “Manifestations of Sacred Zaporizhzhia” is an informative, emotional, and visually exciting journey into the past that will inspire viewers to a deeper understanding of Ukrainian culture. The aim of the project is to reveal the depth of sacred Zaporizhzhia through photography, allowing viewers to immerse themselves in its mysteries, spirituality, and history, to see the diversity of this region and its impact on the cultural heritage of Ukraine.
{"title":"Master’s Photo Art Project “Manifestations of the Sacred Zaporizhzhia”","authors":"Vitalii Zaporozhchenko, Oleksandra Sydorenko","doi":"10.31866/2617-2674.6.2.2023.289314","DOIUrl":"https://doi.org/10.31866/2617-2674.6.2.2023.289314","url":null,"abstract":"The author’s idea of the master’s photography project was to recreate the unique atmosphere, sacred and historical spirit of Khortytsia Island, where the symbol of the Ukrainian Cossacks, the Zaporizhzhia Sich, was located. For every nation, its history is essential, and Khortytsia has been preserving the heritage of our people for many centuries. At all times, the island has been attractive not only for its beauty but also for its sacred meaning. Nowadays, Khortytsia is not often depicted in cinematic works. Therefore, the relevance of the work is due to the need to draw the cinematographic community’s attention to the historical and sacred heritage of this Cossack Island. The representation of Khortytsia does not always reflect the historical and cultural aspects of this sacred place. Often films portray the island as a beautiful natural area without paying due attention to its cultural and historical significance for the Ukrainian people. Audiovisual works can treat Khortytsia only as a landscape for filming, without resorting to a detailed study of the cultural heritage. The cinematography does not always succeed in accurately conveying the character and appearance of the island’s sanctity, which can cause misconceptions among viewers. The project aims to reflect the mystery, mysticism, and spirituality of these places through the language of photography. The photographs demonstrate different historical periods, starting from the Bronze Age (Braharnya sanctuary), the Cossack period (a series of Zaporizhian Sich images), and up to the present day, showing the evolution of humanity and its impact on the world. The photo art project “Manifestations of Sacred Zaporizhzhia” is an informative, emotional, and visually exciting journey into the past that will inspire viewers to a deeper understanding of Ukrainian culture. The aim of the project is to reveal the depth of sacred Zaporizhzhia through photography, allowing viewers to immerse themselves in its mysteries, spirituality, and history, to see the diversity of this region and its impact on the cultural heritage of Ukraine.","PeriodicalId":33443,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Audiovizual''ne mistetstvo i virobnitstvo","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135665996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.31866/2617-2674.6.2.2023.289316
Volodymyr Myslavskyi
Larysa Briukhovetska’s monograph “Interrupted Flight. Ukrainian Cinema of the VUFKU Era: An Attempt at Reconstruction”, based on documentary sources – 1920s periodicals, archives and memoirs of participants in the film process – reconstructs an almost unknown but extremely rich and fruitful period in the history of Ukrainian cinema, namely the activities of the All-Ukrainian Photo and Film Administration under conditions of autonomous management. This research is one of the first in Ukraine to comprehensively cover not only cinematic art but also the development of the film industry and film distribution, as well as the defence of national interests by the VUFCU board, which helped cinema to create conditions for successful development.
{"title":"Interrupted Flight. Ukrainian Cinema of the All-Ukrainian Photo and Film Administration Era","authors":"Volodymyr Myslavskyi","doi":"10.31866/2617-2674.6.2.2023.289316","DOIUrl":"https://doi.org/10.31866/2617-2674.6.2.2023.289316","url":null,"abstract":"Larysa Briukhovetska’s monograph “Interrupted Flight. Ukrainian Cinema of the VUFKU Era: An Attempt at Reconstruction”, based on documentary sources – 1920s periodicals, archives and memoirs of participants in the film process – reconstructs an almost unknown but extremely rich and fruitful period in the history of Ukrainian cinema, namely the activities of the All-Ukrainian Photo and Film Administration under conditions of autonomous management. This research is one of the first in Ukraine to comprehensively cover not only cinematic art but also the development of the film industry and film distribution, as well as the defence of national interests by the VUFCU board, which helped cinema to create conditions for successful development.","PeriodicalId":33443,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Audiovizual''ne mistetstvo i virobnitstvo","volume":"61 14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135665999","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.31866/2617-2674.6.2.2023.289307
Vadym Skurativskyi, Valerii Andriienko
The purpose of the article is to analyze the specifics of sound effects used in feature films, to identify methods of using various variations of sounds in cinema, to clarify the process of creating sound effects and to trace the development of historical trends in the field of creating sounds for cinema, as well as to predict the specifics of sound effects development in feature films in the future. Research Methodology. The following methods were used: theoretical – to study sound effects in feature films, to study various scientific and practical recommendations for working with sound; empirical – to use the acquired knowledge through personal experience; analytical – to search for the interaction of sound with a person; analysis and synthesis, as well as the method of observation. Scientific novelty. For the first time, the specifics of sound effects in feature films have been studied using a retrospective view of the phenomenality of the object and its further progression, and the specifics of sound effects used in feature films have been analyzed. The study reveals specific aspects of the transformation of sound and sound effects through the use of different variations of sounds that can be used in feature films in the future. Conclusions. The article analyses the specifics of sound effects used in fiction films. The usage specificity of different variations of sounds has been determined, and the peculiarities of the sound effects creation process have been revealed using the method of observation and analytical conclusion. A unique role in the study was played by identifying the historical aspects of sound effects usage in feature films, which became possible by tracing the development of historical trends and directing the vector of the research field to the projection of the future.
{"title":"Specifics of Sound Effects in Feature Films","authors":"Vadym Skurativskyi, Valerii Andriienko","doi":"10.31866/2617-2674.6.2.2023.289307","DOIUrl":"https://doi.org/10.31866/2617-2674.6.2.2023.289307","url":null,"abstract":"The purpose of the article is to analyze the specifics of sound effects used in feature films, to identify methods of using various variations of sounds in cinema, to clarify the process of creating sound effects and to trace the development of historical trends in the field of creating sounds for cinema, as well as to predict the specifics of sound effects development in feature films in the future. Research Methodology. The following methods were used: theoretical – to study sound effects in feature films, to study various scientific and practical recommendations for working with sound; empirical – to use the acquired knowledge through personal experience; analytical – to search for the interaction of sound with a person; analysis and synthesis, as well as the method of observation. Scientific novelty. For the first time, the specifics of sound effects in feature films have been studied using a retrospective view of the phenomenality of the object and its further progression, and the specifics of sound effects used in feature films have been analyzed. The study reveals specific aspects of the transformation of sound and sound effects through the use of different variations of sounds that can be used in feature films in the future. Conclusions. The article analyses the specifics of sound effects used in fiction films. The usage specificity of different variations of sounds has been determined, and the peculiarities of the sound effects creation process have been revealed using the method of observation and analytical conclusion. A unique role in the study was played by identifying the historical aspects of sound effects usage in feature films, which became possible by tracing the development of historical trends and directing the vector of the research field to the projection of the future.","PeriodicalId":33443,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Audiovizual''ne mistetstvo i virobnitstvo","volume":"192 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135665338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.31866/2617-2674.6.2.2023.289309
Lev Riazantsev, Valentyn Lievshakov
The purpose of the article. The purpose of the article is to analyze modern technologies for creating a film’s sound and visual image and to reveal the core aspects of interaction in the process of creating an audiovisual product, to analyze the theory of sound, to study the process of film creation, and to reveal the methods used in cinema to form a film’s sound and visual image. Research methodology. The study used the methods of theoretical cognition, namely: analysis – to study the theory of sound and the process of film creation; synthesis – to reflect the interaction between the main elements of the film's sound and visual image; specification – to describe the periods that are crucial for the formation of the phenomenon of “image” in cinema; comparison – to characterize past and present experience in the process of forming the film's sound and visual image. Scientific novelty. For the first time, modern technologies for creating the sound and visual image of a film are analyzed and the main aspects of interaction in the formation of the phenomenon of “image” in cinema are revealed. The results of the study bring a new perspective on the relationship between sound theory and methods of recording and processing. The study focuses on modern sound and vision technologies, which are currently under-researched. Parallels are also drawn between the past and present experience of the process of forming the sound and visual image of a film. Conclusions. The role of sound and visual effects in films has been determined; the theory of sound and its classification has been considered; the process of filming has been analyzed; the most important aspects that should be paid attention to in order to record high-quality audio and video materials during the preparation of the film set and during the filming process have been identified; the interaction of the stages of forming the sound and visual image of a film in the context of using different types of sounds has been traced; it has been found that the use of different types of sound effects and visual elements depends on the genre of the film.
{"title":"Modern Technologies For Forming The Sound and Visual Film Image: Aspects of Interaction","authors":"Lev Riazantsev, Valentyn Lievshakov","doi":"10.31866/2617-2674.6.2.2023.289309","DOIUrl":"https://doi.org/10.31866/2617-2674.6.2.2023.289309","url":null,"abstract":"The purpose of the article. The purpose of the article is to analyze modern technologies for creating a film’s sound and visual image and to reveal the core aspects of interaction in the process of creating an audiovisual product, to analyze the theory of sound, to study the process of film creation, and to reveal the methods used in cinema to form a film’s sound and visual image. Research methodology. The study used the methods of theoretical cognition, namely: analysis – to study the theory of sound and the process of film creation; synthesis – to reflect the interaction between the main elements of the film's sound and visual image; specification – to describe the periods that are crucial for the formation of the phenomenon of “image” in cinema; comparison – to characterize past and present experience in the process of forming the film's sound and visual image. Scientific novelty. For the first time, modern technologies for creating the sound and visual image of a film are analyzed and the main aspects of interaction in the formation of the phenomenon of “image” in cinema are revealed. The results of the study bring a new perspective on the relationship between sound theory and methods of recording and processing. The study focuses on modern sound and vision technologies, which are currently under-researched. Parallels are also drawn between the past and present experience of the process of forming the sound and visual image of a film. Conclusions. The role of sound and visual effects in films has been determined; the theory of sound and its classification has been considered; the process of filming has been analyzed; the most important aspects that should be paid attention to in order to record high-quality audio and video materials during the preparation of the film set and during the filming process have been identified; the interaction of the stages of forming the sound and visual image of a film in the context of using different types of sounds has been traced; it has been found that the use of different types of sound effects and visual elements depends on the genre of the film.","PeriodicalId":33443,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Audiovizual''ne mistetstvo i virobnitstvo","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135666000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.31866/2617-2674.6.2.2023.289287
Halyna Pohrebnіak
The purpose of the article is to carry out a holistic analysis and determine the specifics of directorial means of interpreting ballet art in showing the formation of an artistic personality and delineating scientific guidelines that will contribute to studying the phenomenon of ballet directing in the screen and stage space. Research methodology. The research used an interdisciplinary approach based on the following general scientific methods: induction, deduction, complex art analysis, and synthesis, which contributed to the elaboration of a broad factual basis of the screen interpretation of ballet creativity in the context of the formation of the ballet personality of the performer. Argumentation of the uniqueness of ballet directing in the context of screen art was provided by using methods of systematization and generalization. The typological method helped to consider common artistic principles in the creative pursuits of masters of screen and stage art. Analytical and systematic methods contributed to the study of the art history aspect of the problem. Scientific novelty. The article systematizes and expands scientific ideas about the place and role of screen and stage directing in the system of humanitarian knowledge. The art of directing is defined as a universal type of artistic and aesthetic activity; the mutual influence is clarified and the mutual enrichment of theatrical and audiovisual arts in the development of directing tools is shown. Conclusions. It has been found that the directors' screen creativity expands and deepens knowledge of ballet art, and gives impetus to the active development of the ballet masters’ creativity, ballet performers in the stage space, in particular, in the production of musicals.
{"title":"Interpretation of Ballet Art Through Screen Directing Means","authors":"Halyna Pohrebnіak","doi":"10.31866/2617-2674.6.2.2023.289287","DOIUrl":"https://doi.org/10.31866/2617-2674.6.2.2023.289287","url":null,"abstract":"The purpose of the article is to carry out a holistic analysis and determine the specifics of directorial means of interpreting ballet art in showing the formation of an artistic personality and delineating scientific guidelines that will contribute to studying the phenomenon of ballet directing in the screen and stage space. Research methodology. The research used an interdisciplinary approach based on the following general scientific methods: induction, deduction, complex art analysis, and synthesis, which contributed to the elaboration of a broad factual basis of the screen interpretation of ballet creativity in the context of the formation of the ballet personality of the performer. Argumentation of the uniqueness of ballet directing in the context of screen art was provided by using methods of systematization and generalization. The typological method helped to consider common artistic principles in the creative pursuits of masters of screen and stage art. Analytical and systematic methods contributed to the study of the art history aspect of the problem. Scientific novelty. The article systematizes and expands scientific ideas about the place and role of screen and stage directing in the system of humanitarian knowledge. The art of directing is defined as a universal type of artistic and aesthetic activity; the mutual influence is clarified and the mutual enrichment of theatrical and audiovisual arts in the development of directing tools is shown. Conclusions. It has been found that the directors' screen creativity expands and deepens knowledge of ballet art, and gives impetus to the active development of the ballet masters’ creativity, ballet performers in the stage space, in particular, in the production of musicals.","PeriodicalId":33443,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Audiovizual''ne mistetstvo i virobnitstvo","volume":"162 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135665995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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