Technological processes of creating soundtrack in an audiovisual work

The purpose of the article is to study the main components of the technological process in the formation of the soundtrack of the audiovisual space. The research methodology is based on the use of methods of source search, systematization, and comparative analysis. The scientific novelty lies in the representation of the attempt to create a theoretical concept concerning the importance of technological processes in creating the sound design of works. Conclusions. The article presents the concept of technological processes for creating sound in the audiovisual context, as a scientific and practical phenomenon, in the form of a panoramic figure. The research will serve as an incentive to search for updated options for combining existing elements of the background composition, as well as to create previously unused sound effects. Keywords: sound design skills, background composition, sound field unit, sound recording techniques, sound design.

A condução narrativa na subjetividade de um personagem com Alzheimer: encruzilhada de incertezas no roteiro do filme Meu Pai

O artigo tem como objetivo explorar possibilidades narrativas de um narrador-personagem com a Doença de Alzheimer. Tendo como objeto o filme Meu Pai (The Father, 2020), discute-se as escolhas textuais e imagéticas para a imersão do espectador na dualidade das cenas, além das fragilidades inseridas nos processos mnemônicos do protagonista. Como metodologia, descreve-se o emaranhado narrativo, a partir da definição biomédica da doença, conhecida por atingir a memória do sujeito. Como aspectos conclusivos, aponta-se como a obra audiovisual contribui para compreensão de consequências sociais do Alzheimer, possibilitando criar empatia a respeito desta doença ainda sem cura definitiva.The narrative diretion in the subjectivity of a character with Alzheimer’s: crossroads of uncertainties in the script for the film The FatherAbstractThe article aims to explore narratives of a narrator-character with Alzheimer's Disease. With the object of the film The Father (2020), the textual and imagery choices for the immersion of the spectator in the duality of the scenes are discussed, in addition to the weaknesses inserted in the protagonist's mnemonic processes. As a methodology, we teach the narrative entanglement, from the biomedical definition of the disease, known for reaching the subject's memory. As the conclusive aspects, it is pointed out how an audiovisual work contributes to the understanding of the social consequences of Alzheimer's, making it possible to create empathy about this disease that still has no definitive cure.Keywords: Memory; old age; alzheimer’s.

Use of Motion Design Elements in Modern Ukrainian Film and Television Production

The purpose of the research is to establish the role of motion design elements in Ukrainian cinema and television production, analyze the functions of motion-design objects, find out the prcularities of their use in various audiovisual works. The research methodology is based on a theoretical analysis of film and television production, generalization of the main compositional and technical techniques of visual content, determination of their interdependence and role in the process of creating an audiovisual product. Scientific novelty. The components of the motion design in the modern Ukrainian cinema and television production have been analyzed for the first time, a detailed analysis of the interdependence of the structural components of the motion design in various audiovisual works has been carried out, their influence on shaped solutions of film and television products has been shown. Conclusions. In the course of the article, we analyzed the elements of motion design in Ukrainian cinema and television. In the process of studying cinema, television products, the basic principles of creating animation graphics in the Ukrainian film, and telepost have been established. Composite and technical components of motion-design, which affect visual solutions of an audiovisual work have been processed in detail and systematized.

Key Challenges and Recommendations to Provide Europe With a Film-Subtitling Protocol in the Digital Era Through Three Case Studies

By analysing European cultural policies and paradigmatic case studies, this article highlights the close link between the normalisation of minority languages ​​in Europe and film subtitling. Film subtitling is an activity that urgently needs to be protocolised insofar as it guarantees both the preservation of the cultural originality of the audiovisual work and its value as tangible and intangible European cultural heritage. To do so, we will analyse the legal divide between the all-encompassing European Union declarations and their implementation by state and local administrations, which often occur in erratic, random, contingent packages of measures that lead to a systemic absence of results. Finally, we will propose some key challenges and recommendations to provide Europe with a film subtitling protocol to promote cultural diversity and normalise non-hegemonic languages.

TV Show Dramaturgy as an Analogue of the Audiovisual Syntax

The dramaturgy of a television work as structure-forming for the format basis of a television periodical is examined. The purpose of the study is to explain the fundamental features of a TV program as an integral artistic phenomenon, embodied in many variations based on a single format model. The task is to clarify the problem of the effective functioning of syntactic rules in the absence of basic linguistic units, which is characteristic of the audiovisual language of screen shows, that has been actualized by domestic and Western media researchers. A general thesis is put forward about the polymodality of an audiovisual work as a single text, the unfolding of which occurs according to pre-established schemes that regulate the effect of individual elements on the viewer's perception. The dramatic approach is considered in the discourse of the global iconic turn from the verbal culture to the visual culture, there are multi-branch attempts to identify possible basic units of the new combinatorial sign system. Syntactic constructions, defined as a chain of episodes, show signs of fragmentation, mosaicism, intertextuality, and other criteria of postmodern aesthetics. The dualism of screen attractions as aggressively influencing instruments and verbal narrative, their mutual influence and dramatic significance are emphasized. The concepts of syntactic uniformity, the constancy of the syntactic structure chosen for a given format, without the possibility of breaking it in variations of editions are considered.

TECHNOLOGICAL PROCESSES OF SOUND MAKING IN AUDIOVISUAL WORK

The relevance of the article. The article explores technological processes of creating sound accompaniment in audiovisual works and points out main categories that expose a panoramic picture of these processes. The soundtrack in relation to a motion picture is a flexible, modern structure with a large number of components. There is a number of technical means for reproducing sound accompaniment in audiovisual work. More than a hundred years ago, when it was necessary to make works of fine art more affecting and impressive with the help of sound, they used to fall back on acoustic musical instruments, which were part of various types of orchestras. Noise sounds were also widely used. At the same time, the development of audio–visual interaction in motion picture took place. Eventually, this process began to include technologies based on the use of vinyl records, discs, films and tape recordings. Today, they are replaced by the latest, rapidly updated digital equipment that enhances and expands the possibilities of sound in audiovisual work The purpose of the article is to reveal and systematize the main components of the technological process of reproducing sound accompaniment in a motion picture, as well as, generalize results in graphical form, showing a panoramic view of this process. Research methods of studying technological processes of sound production in audiovisual work are: system-analytical (investigating sources that reveal these prosesses, their comparative analysis and systematization) and generalizing (investigating origins of the main categories and exposing a panoramic picture of these processes). Conclusions. The work summarizes information on the technology of sound field creation, main categories that make up this process (sound as a unit of musical information and a core of the background composition; engineering equipment and a group of specialists responsible for sound recording), principles of sound sources processing (methods of working with sounds and effects), structural categories (holistic background compositions) and methods of implementation, the effectiveness of technological processes in creating sound design. The article outlines the author’s concept of creating soundtrack in audiovisual work as a scientific and practical process and gives prospects for its development.

Cultural Discourse of the Cinematic Language Evolution

The relevance. The problems of addressing the issue of crisis phenomena in the development of cinematic language is due to the need to identify and study the contradiction between the need to update the cinematic language and established audience stereotypes in the rigidly established semiotic code of cinema. The development of clip­thinking against the background of the transition from book culture to media culture facilitated the emergence of a new cinematic language, which gave impetus to shift the emphasis of semiotic code from frame­sign, frame­symbol to defragmentation of time pause between structural elements of multi­series audiovisual work: episodes and seasons. The purpose of the article is to describe the transition from “sign language” to “time language” as a logical revolutionary transformation of the classical language of cinema. The methodology is based on culturological, historical and semiotic approaches. The results. The development of modern technologies has led to a significant shift of emphasis from cinema towards the series. This was due to the possibility of expanding the story into projects, where the plot, characters and conflicts can be covered more deeply. A multi­series film can now better reveal the plot narrative, where there are more than twenty story lines and about two hundred important plot twists. Thus, the revolutionary changes in the semiotic code of the cinematic language have shifted towards serial creativity, which cannot be considered second­rate or low­quality — this is a fundamentally different set of logic. If you watch any good series according to the rules of watching a movie, where the frame is a hieroglyph, the result will be really bad. But if you apply clip­thinking­based principle of viewing, where the basic unit of information is time, the result will be completely different. A new cinematic language emerged due to the development of clip­thinking against the background of the transition from book culture to media culture, which gave impetus to shift the emphasis of semiotic code from frame­sign, frame­symbol to defragmentation of time pause between structural elements of multi­series audiovisual work: episodes and seasons. The topicality. Different approaches to the problem of understanding cinematic text as a complex semiotic device are determined by cultural codes. The article develops a conceptual approach which is based on the fact that the transition from the memory culture and text culture to media culture is accompanied by a rethinking of the semiotic code syntax of the audiovisual work, that is its language that changes rethinking traditional discourse of the semiotics of audiovisual work. The practical value. In the perspective of art history, the primary basis of cinema is a specific language developed throughout the history of cinema, which must develop, because the language that does not develop becomes a dead language. It is the understanding of cinematic language, the ability to freely express one’s ideas and be understandable to the viewer, allows the author to express his/her idea in cinema. Conclusions. The formation of clip­thinking in the era of media culture significantly encourages the search for new ways to develop the semiotic code of cinematic language. These processes should be in the field of close attention not only of art critics, but also of culturologists, sociologists, philologists and philosophers. Today, the emphasis of traditional cinema is gradually shifting from local history to expanding of its boundaries to infinity, that is the lack of a rigid structured entry point — transmedia storytelling. Time is a new constant of media text as opposed to cinematic text. The evolutionary development path of the language of traditional cinema did not stop, and the revolution did take place in the serial space, which led to the emergence of a new media syntax.

Video game in the system of intellectual property: the concept and features of legal protection

Keywords: video game, intellectual property law, computer program, software, digitalinformation, electronic information, multimedia work, audiovisual work The article is devoted to thestudy of the legal understanding of video games as an object of intellectual propertyrights. The author concludes that video games constitute digital information, whichgreatly facilitates their development, however, complicates the protection of intellectualproperty rights. There is a contradictory connection between the concepts of«electronic (digital) information», «audiovisual work», «computer program» and «literarywork», which establishes some uncertainty in the protection of video games,namely, what should be understood by these concepts in terms of law.The author found that the use of the latest technologies to improve the visual componentbrings the video game even closer to the game audiovisual object, which increasesthe complexity of the process of protection of intellectual property rights. However, thecurrent situation with the use of the term «computer program» in the context of protectionof intellectual property rights to video games does not cover all features of the latter,covering only the main program among the software recording and operation of thegame, such as audiovisual content. Therefore, there is a need to use the generalized conceptof «software» as opposed to the narrower concept of «computer program». In thiscase, in the absence of at least one of the characteristics of the multimedia work, the computerprogram should be referred to the scope of legal regulation of software.The author proposed to understand the video game as object of intellectual propertylaw in the following manner: multimedia work expressed in the form of digital(electronic) information, the principle of which is determined by the algorithms of thesoftware provided for installation in the memory of computer devices.In general, the digital nature of video games presupposes a revision of existing approachesto the protection of intellectual property rights, which may be aimed atweakening the regulatory function of the law where it is possible to regulate the relationshipby more flexible means.

THE ROLE OF CLICHÉS IN CONTEMPORARY DIGITAL AUDIOVISUAL ARTS

В данном исследовании анализируется роль клише в современных цифровых аудиовизуальных искусствах. Клише в искусстве может определяться как формула. Основываясь на подходе к формульности Джона Кавелти и Юрия Лотмана, мы анализируем роль клише в формировании виртуального пространства и гиперреального вымышленного мира, которые являются характерной особенностью культурной парадигмы постмодернистского общества. Так как клише играет важную роль в современной массовой культуре, мы приводим данные исследователя цифровой визуальной культуры Льва Мановича, который анализирует цифровую составляющую в цифровом аудиовизуальном медиуме. Тем самым впервые мы связываем подход Кавелти и Мановича в анализе современного цифрового аудиовизуального искусства. Говоря о цифровой составляющей в искусстве, следует упомянуть ее важную характеристику, которой является интерфейс, определяемый нами как формульное построение. Клише в современном искусстве является одним из главных структурных элементов художественного произведения, который влияет на эстетическую форму и содержание аудиовизуального произведения. При помощи клише мы создаем виртуальные и гиперреальные миры, которые помогают зрителю почувствовать эскапистские чувства и погрузиться в эти вымышленные миры. Также клише дает нам возможность увидеть новое в уже знакомом при восприятии искусства. Видение «нового в уже знакомом» мы определяем как прием «остранения» Виктора Шкловского. Перечисленные свойства клише проявляются во всех цифровых современных аудиовизуальных искусствах кино, видеоигры, видеоарта и видеоинсталляции, примеры которых мы приводим в нашем исследовании. In this study, I analyze the role of clichés in contemporary digital audiovisual arts. The use of clichés in the author’s high art is considered to be a manifestation of a low artistic level. But the same use of clichés in folklore and popular art is not considered to be a “primitive” performance. Clichés in art are defined as a formula. The article presents an approach to formulaic art by John G. Cawelti and Juri Lotman. This approach is the methodology of my study of the role of clichés in the creation of virtual space and hyperreal fictional world. Since clichés play a very important role in contemporary popular culture, I present the data by Lev Manovich, the researcher of digital visual culture. He analyzes the digital component in the digital audiovisual medium. Thus, for the first time, I link Cawelti and Manovich in the analysis of contemporary digital audiovisual art. Speaking about the digital component in art, I should mention that the interface, defined as a formulaic construction, is its important feature. The article states that the cliché in modern digital audiovisual art is one of the main structural elements of a work of art which affects the aesthetic form and content of an audiovisual work. Using clichés, we create virtual and hyperreal worlds that help the addressee to feel escapist feelings and get immersed in these fictional worlds. Also, clichés give us the opportunity to see the new in the already familiar in the perception of art. I define the vision of “new in the already familiar” as defamiliarization by Viktor Shklovsky. The listed properties of the cliché are manifested in all digital contemporary audiovisual arts: cinema, video games, video art, and video installation. The examples are given below in the study. The obtained results are relevant for studying the new types of digital audiovisual arts such as Internet art, interactive cinema, science art, computer art, and others. These arts are now at the stage of their formal, aesthetic and content formation. The obtained results will help to understand the new processes taking place in our postmodern society