Additional Visuals: Current Trends of Filling the Screen Space of a Television Shot

This article reveals the phenomenon of multilayer of the television screen space, updated in the 21st century thanks to creative methods and technical means related to the information era. The relevance of the topic under study is based on the permanent changeability of the technologies for creating visual constructs on the screen. The author traces the evolution of the original techniques of supplementing the composition of the shot in a historical context: from the classical caption to the artistic and expressive computer embodiment of graphic or other visual objects, including a simulacrum, corresponding to the properties of the concept of “additional visuals”. During the study, a rigorous analysis of the screen space is carried out when additional visuals pass into the status of augmented reality. In the view of studying the visual component of the television footage, the article draws close attention to the extra-spatial nature of the objects of the expressive compositional structure of the frame, and the variety of presentation of the composition components in the context of the multivisuality of the screen. The vertical frame composition is another subject of this study related to the use of mobile devices with video recording function. The article provides examples of using smartphones with a vertically located screen in video shooting, taking into account not only convenience, but also changes in the visual range, concentrated audience perception of the content. The filling of the screen space reveals new aspects in the construction of multi-valued compositions of the frame. Against this background, further developments in the research field of additional visuals on the television screen are very important. In this regard, this publication may be of interest to specialists in the field of media, as well as a wide range of readers and viewers.

IMAGINARY SPECIAL EFFECTS IN THE CLASSICAL ROMANTIC GESAMTKUNSTWERK FANTASY

This study aims to contribute to the field of contemporary art-technology by leaving a historical-artistic touch in line with the function of the fine arts on our ‘senses’ that were conceived, imagined, and took place on the stage by dint of human labor and creative ability during the absence of technology. The prominent outcome shows that an integrated Opera where optics and acoustics dominate and the production of spectacular effects depends more on the art of the stage machinist is among the auditory-visual spectacles of the scene that one which has the most need for ‘artificial visions’.The study has shown that the ideal of achieving a holistic work of art, by aestheticizing the ‘scenic space’ has been stated by the Italian scenographer Pietro Gonzaga (1751-1831) in one of his several theoretical treatises: “À Propos d'Optique Théâtrale”(About Theatre Optics) stamped in 1807 in St. Petersburg before Richard Wagner's (1813–1883) conception of the total work of art has been professed. The scenographer has particularly considered that the stage which contains the show and its simulation in the place where the event takes place could itself be expressive. The study concludes by referring to the clairvoyant point of view of a scenographer who could be regarded as the pioneer of modern day directing art, that the total work of stage art took place in 18th -19th centuries is envisaged to function as a kind of television screen.

Features of the Formation of Visual Series of Music Videos

This article explores the typology of visual means of modern music videos on the television screen and their impact on the audience. For the first time, there are studied the distinctive features of building visual series of music videos basing on three types of musical compositions. The structure of the visual series is based on their connection with the plot features of the work and their impact on the viewer based on the sense of belonging of the audience to what is happening on the screen, attracting their attention to the aesthetic opportunities of music video products.The article examines the features of building visual series in combination with visual means of music videos. There are considered the origin, periods of development and features of the visual series of music videos. The basis for drawing the foundations of cinema to the visual and expressive means of music videos is its aesthetics, which contributes to constructive transformations in the development of new, modern means of computer technologies. The use of cinematic aesthetics contributes to the development of the narrative thought of music videos. In this study, the following typology of visual video series is highlighted: plot, illustrative, parallel; some examples of music videos are given. There is established that each of the considered visual series of videos is based on the features of the musical content of the work and its plot construction. This is based on a specific perception by the viewer, which causes penetration into the image, a sense of belonging to what is happening on the screen, and feelings for the characters. The article concludes that the viewer’s perception is influenced, to a certain, extent by the features of the visual series of videos, which have their own contrapuntal aesthetics, coupled with the general idea of the music video and the differences in the performer’s vision of the composition.

Wide Bezel Televisions Decrease Immersive Experiences

This study explored how telepresence could be affected by stimuli from reality that distracts people while they are watching television. The sample comprised of 36 undergraduate and graduate students from a university in South Korea (age range: 18–38 years, M = 22.61, and SD = 4.12). A between-subjects experimental design was employed with two types of viewing equipment (a television screen vs. a television screen with side screens that act as stimuli from reality) and two bezel widths (2 cm vs. 10 cm) to examine how each condition influenced the viewers’ perceived telepresence. The results revealed that participants’ perception of telepresence was not affected by the type of viewing equipment. However, the level of telepresence was affected by the bezel width: the thinner the bezel, the more telepresence felt by the viewers. These findings provide important insights that can guide the future designs of screen bezels for televisions and other devices in order to more effectively create immersive virtual worlds. Future studies are needed to examine the relationship between central vision and telepresence.

PEMAKNAAN KHALAYAK TERHADAP KONFLIK SELEBRITI PADA TAYANGAN INFOTAINMENT

Infotainment news about artists that air on television is always unique and interesting to watch. This is caused by conflicts displayed on the television screen. To still be able to exist, celebrities carry out a strategy by creating a variety of controversial and behavioral behaviors which are then widely covered and broadcast by infotainment on television. The conflict news program carried out by these celebrities contained codes for each event. So this study tries to find out how the analysis of public receptions on the contents of messages in the reporting of celebrity conflicts in infotainment. This study uses a reception analysis method by conducting interviews with informants who have met certain criteria. The theory used is the Encoding-Decoding Theory by Stuart Hall. The results show that there are 3 reception categories in celebrity conflict news on the audience. Four people in the Dominant Hegemonic category, one in the Negotiated category, and one in the Oppositional category. Keywords: News, Celebrities, Infotainment, Reception Analysis, Encoding-Decoding.

Crime, Prostitution, and Karaoke

The development of tourism in the Bandungan region, Semarang Regency is also influenced by the rise of karaoke businesses and prostitution activities by Karaoke Guide services. The high number of consumers has led to the growing development of the karaoke business in the Bandungan region. In this study, the author tried to uncover the reason the entrepreneur opened a karaoke business as well as the existing criminal liability. This study aims to (a) Know the reason for the entrepreneur opening a karaoke business in the Bandungan tourist area of ​​Semarang Regency, (b) Explain the form of criminal liability for prostitution services provided. The approach of this research is through an empirical juridical approach with the addition of normative elements and combining the results of primary data. Data in the study were obtained through interviews, direct observation, documentation and literature study. Basically karaoke is a form of entertainment where someone sings accompanied by music along with the lyrics of the text shown on a television screen. But there are some who provide prostitution to satisfy the lust of men, and there are also buying and selling narcotics which are illegal drugs. Karaoke entrepreneurs give security money to individual police officers so that their business is safe from lawsuits and raids.

The ancient world as serial television drama

When Samsung introduced its new curved television screen in 2014, I was struck not by the technology but by its official television advert. Rather than using science fiction or another ultra-modern environment to showcase this innovative new gadget, the advertisement featured a father and son in their pyjamas in the middle of a gladiatorial arena. All the tropes of screen antiquity were represented in the 30-second clip: the crowds, the arena, the evil emperor and of course the gladiators with their swords and sandals that defined the genre. What this advert encapsulated for me was not only that the audience’s interest in antiquity was alive and well, but also that there was an intrinsic connection between fictional antiquity and the (no longer so) small screen....

Television and/as testimony in the Jimmy Savile case

In October 2012, TV presenter Jimmy Savile was identified as a sexual predator in an ITV documentary, Exposure. Focusing on documentaries dealing with the case, this article explores the interrogation and recalibration of the television archive. Paying attention both to the use of archival footage of Savile, and televisual testimony of victim/survivors, I argue that the Savile documentaries present an unusual space where victim/survivor testimony is accumulated and ultimately privileged. In light of the 2017 sexual abuse allegations in the film industry, the Savile case offers useful lessons in representing the aftermath of abuse in and on the television screen.

La Campagne présidentielle de 2017 sous le signe (ou au risque) de la télé-réalité

The 2017 presidential campaign as seen through the media was not like a ‘horse race’ or a boxing match. This traditional piece of political theatre seemed to desert the well codified world of spectacle to cast itself in a television genre which is both popular and disparaged: reality TV. Locked inside a permanently lit television screen telling the story of the campaign as it unfolds, thanks to rolling news channels, the players in this political adventure became reality TV stars. Themes from private lives dominated, while confessions, revelations and scandals multiplied. Emotion infiltrated everything; candidates were eliminated after a series of obstacles worthy of the producers of Big Brother or Koh Lanta! 2017 was a far cry from the calm and rational competition which might have been hoped for from the media, at this crucial moment in French democracy. A fortuitous consequence of the ‘velvet revolution’ led by Emmanuel Macron, or the beginning of a trend?