SCREEN ENTELECHY: SURFACE AND PLANE

Abstract

As part of the modern discourse on screen art, the article examines the phenomenon of a display surface, which represents the boundary between the screen and real spaces. The relevance of this topic is concerned with the development of the technical base, owing to which the variety of screen types is considerable. In everyday life a few decades ago, the screen as an electronic device was primarily associated with a television receiver, whereas today, the methods of modeling visual reality are becoming more complicated, and various screens of mobile devices are increasingly used. It is noteworthy that in practice the inclusion of a display surface directly into the mise-en-scene being filmed has become widespread. The article discusses this kind of creative solution when creating the material; in particular, it substantiates and proposes the concept of "substitution technique", used in the filming process and which assumes the presence of a mobile device screen in the frame, for the introduction into scientific circulation. At the same time, the researcher's attention is directed to the study of the properties of the screen as a reflective surface in the cinema hall, and the surface of the screen of a monitor or a smartphone that emits a light flux. The author takes into account the physical patterns of the screen: the shape and structure of its surface, and also considers screen space. The study analyses the nature of a multi-plane screen. Against this background, the study of the multi-image screen and the discussion of the principles of image projection on the facades of architectural structures seem to be significant. The attention is focused on the mirror surface representing the surrounding world. From the perspective of the visual component of the television material, a set of colour spaces is studied in a single colouristic construct, expressed by the technical parameters of the screen itself and the visual information received from it by the recipient. The study of the multi-plane screen structure, as well as the multi-level screen space, is of practical importance, helping to develop relevant methods for presenting video content in the modern media environment. In theoretical terms, it contributes to the formation of a holistic picture when considering the sphere of television, and also provides intermediate results of scientific work, the main direction of which is the study of the figurative structure of the screen space. The publication may be of interest to professionals and a wide range of readers and viewers.