Specifics of Acting in Prose Literary Works and Poems in Audiovisual Art: Contemporary Practices

The purpose of the study is to analyze the criteria for combining folk sound with modern sound, the peculiarities of its mixing and reproduction on the screen; to determine the pictorial properties of music and noise in audiovisual art; to explore the techniques and approach to working on a music album in the genre of folktronics, as well as its auxiliary properties in screen work. The research methodology is based on the following methods: theoretical – for analyzing publications related to the properties of sound in cinema; empirical – for systematizing one's own experience, determining techniques in the work of a sound producer on the composition of visual material; generalization – for drawing conclusions based on the literature; systematization, with the help of which the information block of the scientific research is collected and systematized in the context of technical and creative components regarding the properties of sound. Scientific novelty. For the first time, the possibilities of combining folk and electronic music with a virtual orchestra in the context of depicting soundscapes that will complement an audiovisual work, have been investigated and substantiated. For the first time, the concept of “soundscape” is illustrated in screen form through patterned abstractions, which allows the listener to imagine his or her picture through interactive and creative interaction; the subtleties of building such a landscape and its audio embodiment, the role of sound instruments in creating such work are described. The article reveals the possibilities of folktronica as an independent genre that combines folk sound with a modern sound, its combination with noises within the album, which are reproduced on the screen through visualization. Conclusions. The article analyzes the combination of folk and modern sound, identifies the visual properties of the musical and noise components, and their combination in the context of screen work. The technical aspect of working on the album is studied, and the importance of priority in the context of combining sound components in audiovisual art is emphasized. With the help of relevant sources, the main ideas concerning the audio aspect of the picture are emphasized.

The purpose of the research is to find out the development history of the technical component of audiovisual arts, namely the development of film and television cameras, video and sound recording devices, equipment for editing, colour correction and special effects; to study the components of the evolution of video recording technologies, the dependence of the possibilities of embodying creative ideas in audiovisual works on the current development of auxiliary camera equipment; to analyse the importance of the correct choice and use of the entire available range of shooting and auxiliary camera equipment by the operator. The research methodology is determined by the following methods: theoretical – for studying the relevant literature, scientific research and articles in professional periodicals; collecting and analysing information on the topic, generalisation and typification – for systematising technical and scientific material, selection and analysis – for studying the characteristics of filming and auxiliary equipment, generalising their impact on the implementation of the qualitative and creative components of the visual range, determining the interdependence of filming equipment and the latest technologies. The empirical method is used to describe the author’s experience of working as a cameraman using various filming and auxiliary equipment to create television content. Scientific novelty. For the first time, the influence of the development of camera equipment and auxiliary equipment on the possibility of implementing new expressive forms by the cameraman and achieving a unique pictorial character and style that will correspond to the creative director’s intention in an audiovisual work is analysed. Conclusions. In the course of the study, the components of the video recording technology development were identified; based on special technical publications and the author’s own practical experience, the author has highlighted in detail the dependence of the possibility of practical implementation of the creative idea on the availability of the necessary professional filming equipment, various specialised equipment and modern technologies.

The purpose of the research is to review all types of modern audiovisual art, understand its components and novelty, which it offers. The article also analyzes the interactions of an audiovisual artist with the audience together with the new aspects of the interaction of the consumer with the artistic content. Moreover, it is important to understand the influence of this type of art on human consciousness as well as the changes it brings with it into long known forms such as films and video games. The methodology of the research consists in using the following methods: theoretical (regarding the scientific articles, which conduct the discussion concerning audiovisual art within theoretical plain) and empirical (consideration and analysis of various media materials to receive information on the latest audiovisual art products). Scientific novelty. Considering that audiovisual art appeared fairly recently, there is not a big quantity of researches, which would analyze the components of audiovisual art in-depth as well as the elements of novelty, which the said type of art offers. It has to be noted that the scientific novelty abroad is present to a lesser extent, however, within the space of Ukrainian scientific thought, this type of art is still not being researched thoroughly. Conclusions. Throughout the research, we have established the primary traits of audiovisual art, regarded in detail the relationships and interactions of the audiovisual artist with his audience and the degree of control available to the consumer over the artistic idea. The article also established the possibility of using audiovisual art as a therapeutic method for healing mental traumas.

The purpose of the article is to reveal the peculiarities of the phenomenon of screen dance in the context of dialogism of choreographic and audiovisual art. Research methodology. The method of analysis and synthesis was applied (to study the scientific literature on the research topic and identify the main concepts of screen dance), the terminological method (to clarify the concept of "screen dance"); the typological method and the method of historical and cultural analysis (to identify the peculiarities of the interaction of choreographic and audiovisual art in historical retrospect), the method of generalisation. Scientific novelty. The phenomenon of screen dance is studied in the context of dialogism of choreographic and audiovisual art in historical retrospect; the concept of "screen dance" has been clarified; the properties of screen dance are understood, the points of common influence and mutual exchange between film and dance are considered, which define it as an autonomous practice; little-known and unknown sources, as well as the results of research by modern foreign scientists, were introduced into scientific circulation. Conclusions. The study found that there are no strict criteria for defining screen dance in the scientific literature. During the historical development, this art form was usually denoted by a number of terms limited by indications of materiality (video dance, film dance, dance film), but it is screen dance that formulates the common denominator between them. Within the problematics of dialogism of choreographic and audiovisual art, screen dance can be considered as a form of research that studies the relationships between composition, choreographic language, and the meanings of body, movement, space, and time in the context of contemporary debates about cultural practices. Screen dance can take many forms and features and cross genres, with no limits on how it can be produced, filmed, edited and distributed. The coexistence of choreographic and audiovisual in the concept of screen dance is characterised by a constant dynamic interaction, the specifics of which are determined by innovative technological inventions and trends in the socio-cultural space.

The purpose of the article is to determine the main types of narrative tempo in Ukrainian audiovisual art of the period of Independence and to identify the most commonly used methods among Ukrainian artists for achieving various forms of narrative tempo. The research aims to expand the analytical framework for understanding how temporal structures — particularly tempo and rhythm — shape the narrative, stylistic, and genre characteristics of screen works. The methodology. The methodology is based on narratological analysis, in which an audiovisual work is treated as a narrative text with an internal temporal structure. This is supplemented by systematic analysis that considers the work as a coherent system, as well as methods of systematization, generalization, and art studies. The study introduces and defines core concepts such as temporality (the interrelation between events in the story and the unfolding of the narrative), tempo (the speed of narrative progression), and rhythm (the frequency and nature of narrative technique changes — editing, sound, visuals, verbal and non-verbal strategies). The results. The article introduces and conceptualizes temporality as a key structural component of audiovisual narrative, emphasizing its role in the organization of story events and the unfolding of narrative time. A clear distinction is established between tempo — the speed at which narrative events unfold — and rhythm — the frequency and pattern of changes in narrative techniques such as editing, visual and auditory cues, and expressive devices. The research identifies five major types of narrative tempo: realistic pace, extension, compression, omission, and pause (including diegetic pause as a specific technique in fictional storytelling). It is observed that documentary cinema primarily employs realistic pace and omission, reflecting its affinity for observational and selective storytelling. In contrast, fictional audiovisual works in Ukraine make use of a broader spectrum of tempo types, allowing for more nuanced narrative manipulation. The study highlights the significance of tempo in generating connotative meanings that shape the emotional and semantic depth of a scene. Ultimately, the research proposes a comprehensive analytical model for studying tempo and rhythm in Ukrainian audiovisual works, thus contributing to the expansion of narratological approaches within contemporary media theory. The scientific novelty of the research lies in the fact that it is the first systematic study in Ukrainian academic discourse focused specifically on the temporal dimension of audiovisual narrative. It introduces a functional typology of narrative tempos, refines the terminology of narrative temporality, and applies narratological theory in a context-specific manner — addressing Ukrainian cinema of the post-independence era. The practical significance of the article is that it provides an analytical framework and terminology that can be applied by scholars, critics, and audiovisual creators. By offering concrete categories and tools for analyzing narrative tempo and rhythm, the research enhances the understanding of temporal dynamics in screen storytelling and informs the practice of audiovisual production, editing, and genre development in Ukrainian cinema and beyond. The practical significance of the article lies in its applicability for both academic and creative fields. By offering a clear typology and definitions of narrative tempo and rhythm, the study provides researchers with a structured framework for analyzing the temporal organization of audiovisual texts. At the same time, it equips practitioners — directors, screenwriters, editors, and producers — with tools for conscious shaping the temporal dynamics of their works to achieve desired narrative effects. This analytical approach enhances the capacity for intentional storytelling, stylistic experimentation, and genre development in Ukrainian cinema and can serve as a methodological basis for further research and pedagogical practices in audiovisual art.

The study was conducted in order to find out the implementation of concept mapping technique and interest in reading literary works towards narrative writing ability of the students at class V SDN.7 Pedungan Denpasar. The problems of the study involved : ( 1 ) Was there any different narrative writing ability of students joining concept mapping technique instructional model ? (2) Was there any differernt narrative writing ability between the students having high interest in reading literary works with those having low interest in reading literary works ? (3) Was there any contributive interaction between concept mapping technique with interest in the reading literary works towards narrative writing ability ? (4) Was there any different narrative writing ability of students joining concept mapping technique instruction with others joining a conventional instructional model among the students having high interest in reading literary works ? (5) Was there any different narrative writing ability of the students joining concept mapping technique instruction with others joining a conventional instructional model among the students having low interest in reading literary works

The purpose of the research is to find out the role of the director’s observation in the authenticity of the perception of actual events in contemporary documentary films. Research methodology. The article uses the following methods: analytical – to understand publications on contemporary documentary theory, works by well-known theorists and practitioners; empirical – to study the use of director’s observation in creating an anti-war narrative; communicative audience analysis – to identify viewers’ reactions and responses to documentaries, which allowed us to explore how viewers perceive certain narratives in them and how this can affect their perceptions of global issues. Scientific novelty. The study analyses for the first time the role of the director’s observation as a tool for achieving authenticity in the perception of real events in contemporary documentary cinema, including the impact of interviews as a tool for revealing the inner world of the protagonist and identifying the role of the observation method in creating an anti-war narrative. The article expands the horizons of understanding contemporary audiovisual art and the contribution of the director’s observation to contemporary documentary practice. It clarifies the specifics of using these methods in the context of modern challenges and cultural changes. Conclusions. The director’s observation is identified as a key tool that helps to focus the authenticity of the perception of real events in contemporary documentary cinema. The study of the role of the observation method has shown that objectivity in contemporary documentary cinema is a difficult task due to the subjective point of view of the director. Still, this subjectivity can create a richer, more emotional narrative that is more open to the representation of reality. By analysing the approaches and views of well-known theorists and by examining examples from audiovisual art, the article shows the importance of the director’s observation as a tool that helps bring the viewer closer to the reality of events and also establishes the role of interviews in exploring the inner world of characters.

Reading Theory Now: An ABC of Good Reading with J. Hillis Miller

The authors analyze the publications, which studied the changes in the morphological structures of audiovisual arts in modern times. The paper considers the modus operandi of the non-locality principle on the genre structures of audiovisual arts. The study explores the changes in the genre structures of audiovisual arts in the presentation of different communication platforms. The creation mechanisms of the modern genres-hybrids in audiovisual arts are described. The influence of the non-locality principle on the present situation of “unstable” determinacy is revealed.The aim of the article is to examine the changes in the genre structure of audiovisual arts under the influence of the non-locality principle.Research methodology. The study is based on the methods developed in the research works by I. Danilevskiy, I. Yevin, E. F. Smerichevskyi and others. The authors analyze the publications that study the communication and pragmatic characteristic features in the genre structure of audiovisual arts. The authors analyze the publications, which studied the changes in the morphological structures of audiovisual arts in modern times.Results. The paper considers the genesis of genre morphology of audiovisual arts at different stages of existence: from cinematic genres of live-action film and nonfiction film; television genres that originated from journalism and film journalism to the modern hybrid-genres of audiovisual origin. The paper considers the modus operandi of the non-locality principle on the genre structures of audiovisual arts. The study explores the changes in the genre structures of audiovisual arts in the presentation of different communication platforms. The authors provide evidence for the various genre classifications of Internet genres of audiovisual origin (“channel-centric classification”, the classification by expressive means, etc.). The creation mechanisms of the modern genres-hybrids in audiovisual arts are described. The influence of the non-locality principle on the present situation of “unstable” determinacy is revealed.Novelty. The paper is the first attempt for the reinterpretation of the existence of classical, non-classical and post-classic genre morphologies of audiovisual arts under the influence of the non-locality principle.The practical significance. The evidence from this study suggests a variety of means for further scientific reflection on the latest unstable genre arrangement. For the higher education in the special field 021 “Audiovisual art and production” it is crucially important to identify the methodological principles of the analysis of the sources and consequences of modern morphogenesis in the specified artistic realm. Such scientific tools will enhance the qualification of future specialists in audiovisual arts and production. The obtained results make it possible to identify the genre features of audiovisual works, their narrative and event opportunities.

The purpose of the research is to prove the importance of publishing successful stories of IDP integration on the screen and in the modern information space, to outline their impact on the life of the host communities, with emphasis on the historical component, to analyse the problems of social and psychological adaptation and integration of IDPs. To establish the relationship between the portrayal of modern migration processes in literary and audiovisual works. The research methodology. The following methods were used: theoretical (analysis of films, information sources, generalisation of information material, determination of the interdependence of the components that form attitudes towards IDPs in general); comparative and analytical (study of the impact of IDPs on the life of host communities); empirical (observation of life and display of various aspects on the screen that can be used for further research). The scientific novelty. For the first time, the problems of socio-psychological adaptation and integration of IDPs are analysed in contemporary screen discourse. A literature review is carried out, and a detailed analysis is made of the interdependence of factors that shape attitudes towards IDPs as active participants in the functioning of host communities. Through the theoretical analysis of audiovisual works, the author establishes the relationship between the representation of modern migration processes in literary and audiovisual works. Conclusions. The article analyses the problems of socio-psychological adaptation and integration of IDPs in contemporary screen discourse. A literature review is carried out, and a detailed analysis is made of the interdependence of factors that shape attitudes towards IDPs as active participants in the functioning of host communities. The author summarises the factors that prove that contemporary cinema presents the issues in sufficient detail, conveying dry facts to the audience and allowing them to understand the psychological aspects of forced displacement.

The aim of the article is to analyse conceptual foundations of sculpture films in the 1970s–1980s in the context of experiments with “cinema expansion”. Results. Sculpture films of the 1970s–1980s show signs of a tendency toward conceptualism inherent in postmodern art. In innovative experiments on the audiovisual art and sculpture synthesis, not only the updated artistic toolkit became basic, but the process of meaning creation with a mandatory appeal to the audience’s perception as well. All this was organically integrated into the general search of avant-garde directors, aimed at developing the technological and artistic possibilities of cinematography, which received a generalised name “expanded cinema” (G. Youngblood). W. Turnbull, A. Forbes, D. Ashton, R. Horn, V. Pye, G. Matta-Clark, L. Lijn, B. Flanagan, R. Smithson, G. Stevens, P. Dockley, D. Hall, D. Dye, E. McCall, L. Lye, J. Hilliard, T. Hill, and many others, can be considered the figures in this direction. Scientific novelty. For the first time, the conceptual foundations of sculpture films of the 1970s–1980s are systematically analysed in the context of avant-garde searches by masters in creating interdisciplinary arts, and in extended cinema as well. Conclusions. The analysis of projects significant for sculpture cinema in the 1970s–1980s reveals a few conceptual creative approaches: video documentation of the process of creating a sculpture, and presenting an audiovisual work as an independent art object; filming the transformation and destruction of sculpture works for the purpose of provocative statements on current topics; use of cinematographic equipment as a material for creating sculptures; expanded interpretation of the concept of “sculpture” as a form, the construction of which is not limited to solid materials or inanimate objects; fixation on film of kinetic sculptures, the contemplation of which is inseparable from the surrounding environment. A general conclusion is made that experiments with sculpture films contributed to the video art formation, and influenced the further development of media art.

The purpose of the work. The study focuses on expressiveness in an audiovisual advertising work. The methodology consists in applying the methods of observation, analysis and theoretical generalization of practical data in the field of audiovisual art. Scientific novelty. The type of television audiovisual advertising, which is divided by types, is defined: social advertising with national-patriotic symbols, social-household and commercial musical-image advertising. The system of means of artistic expressiveness of audiovisual works is revealed, and the visual means and the musical-linguistic structure are described, where the functions of music, noise and language in the television advertising audiovisual works are specified. Conclusions. Audiovisual TV advertising is today the most popular cinematic work. Due to the different stylistic direction of the audiovisual work, all means of expressiveness adhere to a certain image. The synthesis of visual and musical sound scores and the whole range of expressive media adds an audiovisual product of saturation and bright palette, which has a strong influence on the viewer and an incredible impression. Key words: advertising audiovisual works, advertising videos, means of expression.

The relevance of the research topic. The issue of the spatial dimension of an audiovisual work has not lost its relevance since the emergence of sound recording and sound engineering, that is, since the beginning of the XX century. It is the study of the historical development of sound recording of musical texts that has become the basis for the analysis of the spatial sound field of screen works. The development of modern surround sound systems opens up new opportunities for the implementation of the authorial idea for authors of audiovisual works due to the expansion of the visual and expressive capabilities of the spatial sound field, which must be taken into account in modern audiovisual production. The purpose of the article is to perform a retrospective analysis of spatial sound solutions, starting from the period of the emergence of cinema to the current possibilities of using multi-channel systems in modern screen works, focusing on the role of sound in creating the spatial field of an audiovisual work. The research methodology is based on a systemic approach, which involves a holistic, comprehensive formation of a picture of the development of spatial sound solutions in screen works. Retrospective analysis of the development of the spatial sound field of a screen work led to the use of a historical approach to highlight the process of development of technical sound solutions in audiovisual art and their awareness of the impact on the audiovisual industry. In addition, the article uses such general scientific methods as synthesis, generalization, explanation. The results. It is confirmed that the spatial sound field of a screen work is an important visual and expressive means of audiovisual art, the transformations of which are associated with the development of modern technologies and the digitalization of the production of art works. The implementation of sound in cinema not only led to a revolution in editing techniques, but also dramatically changed the visual and expressive means of artists, and enhanced the emotional impact of audiovisual works on viewers. The scientific novelty of the research is the implementation of a comprehensive retrospective analysis of spatial sound solutions of audiovisual art, which has not previously been carried out in scientific research. It is the retrospective analysis of the formation and development of the spatial sound field in screen works that allows us to understand the general trends of sound solutions in audiovisual art and to highlight the role of sound in the construction of screen images. The practical significance. The results of the study can be used in teaching courses on the history of cinema, sound engineering and sound design of audiovisual works, as well as in the creative activities of audiovisual production practitioners. Conclusions. Sound technologies influence the way films are created and perceived no less actively than image technologies. It is the spatial sound field of a screen work in artistic unity with the dramaturgy of the film that provides impressive results in terms of the power of its influence on the audience. Spatial sound systems and technological achievements in this area are quite actively discussed in the information field, a retrospective analysis of the development of the spatial sound field of a screen work allows us to create a holistic picture of its perception as an important visual and expressive means of audiovisual art.

While reading literary works, what do readers experience? Do they experience only the words they listen to or read? How can we describe the experience of reading literary works? Do phantasy and imagination play any role during such experiences? These kinds of questions usually give rise to a twofold kind of research: on the one hand, a philosophical effort of combing through literature itself as a philosophical object of study, and — on the other hand — an attempt to argue for a cognitive portrait of those processes triggered by reading or listening to words (cf. Dehaene, 2007). Nevertheless, if we put aside these two sets of studies, which are plenty widespread and partly related to scientific branches, three new and interwoven ways of broaching the issue of literary experience come to light: 1) readers’ experiences of literary worlds; 2) readers’ visual involvement in literary experiences; 3) phantasy’s and imagination’s involvement in such experiences. These issues are strongly interwoven since each of them deals with the experience of reading literary works from slightly different perspectives: the first concerns the objects of literary experiences, the second focuses on a specific component of literary experiences, while the third aims at comprehending what role is up to phantasy and imagination during such experiences. The following research purports to answer the aforementioned questions and, in so doing, it develops and argues for the following thesis, which is the heart of the matter: reading literary works means experiencing literary worlds and, consequently, describing literary experiences means describing the literary worlds we experience while reading literary works.

The purpose of the article is to show the close ties between Lesia Ukrainka’s literary works and choreographic, musical, stage, and audiovisual arts and outline the directorial means of adapting poetic texts by means of screen, musical, stage, and choreographic arts. Research methodology. The article uses general scientific methods (induction, deduction, comprehensive art historical analysis, synthesis). This made it possible to comprehensively analyze the historical and cultural background of the problem under study. The study used the methods of systematization and generalization to argue for the originality of the phenomenon of choreography in the context of the stage, music, and screen arts. The scientific novelty of the research is to clarify the specifics of directorial activity through the coverage of the film adaptation of Lesia Ukrainka’s literary works using the means of choreographic art. Conclusions. It is substantiated that the use of expressive means by directors and choreographers that provide the chronology of image creation (long shots, intra-frame editing, acoustic, light and shadow effects) is evidence of a high degree of skill in screen, stage, and choreographic art. It is proved that the screen creativity of directors contributes to the wide popularization of ballet, stage, and musical art.