Art History Research Articles

Iconografía precolombina en el arte urbano y el grafiti en Bogotá. Un acercamiento a la prácticade pintura mural precolombina en espaciosconvencionales y no convencionales

The past, far from being a remote time framed in remi-niscence and faint imagery, is latent and susceptible to change. The main objective of this paper was to applymethodologies provided by fields of knowledge such asethnography, sociology, and art history, in order to capture and delve into the presence of pre-Columbian iconography in urban art and graffiti in the city of Bogotá, in both conventional and unconventional spaces; taking an epistemological approach to the practice of mural painting with allusions to pre-Columbian elements. In this way, through urban drifts, iconographic and iconological visual analysis, mapping, and qualitative interviews, we examined over twenty mural paintings, from which theoretical approaches were derived in relation to the use of public space, on the one hand, and the use of symbols, on the other. The conclusion reached is that artistic interventions, by participating in the construction and reconstruction of the social fabric, allow us to understand space as a volatile phenomenon; likewise, in the exercise of reflecting on the presence of art in the city, it is critical to pay attention to the conditions of production under which a piece is made, insofar as images have historically been powerful semantic toolsthat embody a purpose. Finally, the paper is an argument in favor of observation as a space of learning. The present reflections were part of a research process developed for the class “Uses of the past in the present: The Iconography of Antiquity in the Contemporary Culture”, at the Universidad de los Andes, first semester of 2023.

Representing and translating art speak in films and TV

The term “artspeak” was first popularised by art historian Robert Atkins (1990). According to those who are sceptic of the necessity and value of artspeak, its function has been little more than that of creating “a mystique surrounding the work of certain artists” (ibidem: ix). This suspicion towards the act of verbalising and conceptualising art is also reflected in the representation of artspeak in film and TV dialogue. This article offers some insights on the representation of artspeak in original and translated audiovisual dialogue focusing on a case study – the film Velvet Buzzshaw (2019) – in which the language of contemporary art has been believably represented.

Роль китайских пушкинистов в популяризации русской литературы в культурном континууме КНР

The aim of the study is to assess the scale of research and educational activities of Chinese scientists, whose focus is Russian literature, namely the work of Alexander Sergeevich Pushkin. To do this, the authors of the article identify and systematize the scientific works of Chinese scientists using the information capabilities of the scientific platform CNKI (China National Knowledge Infrastructure, “Zhongguo Zhiwan” – hereinafter Zhiwan). Various scientific materials are posted here, including those that provide an opportunity to get acquainted with the most popular works of Chinese Pushkin scholars. An analysis of the entire volume of publications on this site made it possible to highlight the names of outstanding Chinese scientists who devoted their lives to the study and popularization of Russian culture and literature among their com-patriots. The characteristic features of the activities of Chinese Russian scholars are highlighted and described. The authors identified and systematized, according to the degree of publication activity, Chinese printed publications that posted materials on the Zhiwan website that, to one degree or another, related to the study of the works of the great Russian poet and prose writer. Particular attention is paid to the systematization of monographs and articles not only by philologists, but also by representatives of other scientific fields. The authors presented a brief description of public events (conferences, competitions, etc.) held in China by scientific and educational institutions to popularize Russian spiritual culture. The research results reflected in the reports of Chinese Pushkin scholars can be found on the Zhiwan website. The methodological basis is the dialectical method of scientific knowledge, which made it possible to trace the continuity of the scientific research of Chinese Pushkinists. The systematic method revealed the wide capabilities of the CNKI scientific platform. The statistical method for identifying and processing textual information provided a quantitative description of the scale and depth of the study of Russian literature abroad. Thanks to the analytical-synthetic method, not only was a database of scientific works created by Chinese researchers of the life and work of A.S. Pushkin, but also their role in the popularization of Russian culture in China was revealed. The conducted research is interdisciplinary in nature and may be in demand by domestic and Chinese Pushkin scholars (philologists, historians, cultural experts, specialists in the field of art history).

A long look at Copley's A Boy with a Flying Squirrel: implications for the default mode network.

What happens in the brain when a person spends 3 hours viewing a single painting? Geoffrey Schott examines the account of an art history professor who did just that, and considers what their observations reveal about the differences between seeing and looking, and between looking and perceiving.

Provision of "Isms" and Spontaneous Art: From the Development of Art History

This paper explores the development of art from early cave paintings to modern Provisionism and spontaneous art, analyzing how art, as a significant form of human cultural expression, has continuously evolved with changes in society and technology. As time progresses, the definition and boundaries of art are no longer fixed but have expanded along with the shifting roles of artists. The rise of Provisionism indicates that artists are no longer merely creators of works but designers of audience experiences, with the meaning of artworks further extended and enriched through audience participation. At the same time, spontaneous art blurs the line between art and everyday life, suggesting that ordinary actions and improvisations can be considered art in the right context. This paper also discusses how these emerging art forms challenge traditional art concepts and provide new perspectives for the future development of art.

Modern Criticism of Rococo Chinoiserie: Visual Narrative and Their Written Variations of Singerie

Chinoiserie (“ 中国风”) began to appear in Europe in the 13th century, and gradually exerted more and more influence on its art and culture. By the 19th century, it had become an academic term, specifically refers to European art trends influenced by Chinese or more broadly Far Eastern culture. Rococo Chinoiserie (“ 洛可可式中国风”) is a representative art form during the peak period of the development of Chinese style. Singerie(“ 猴戏画”)is a typical representative of Rococo Chinese style. As a humorous painting theme, Singerie depicts the imitation of human activities by apes. It originated from Flemish painting in the 16th century. It became famous with the popularity of French court culture in Europe in the 18th century, and is regarded as an important type of painting in Rococo art. This pattern is a typical representative of “Rococo Chinese style”. It is the result of the convergence of developments in art history, iconography, and biology. However, this result,this creation is based on a voyeuristic visual narrative and a written variation of allegorical painting. This type of drawing constructs space, controls timing, and guides sight in a specific painting form. The realization of its value and function depends on the writing variation of the allegorical painting from “appearance-concept-picture” to “appearance-idea-picture”.

Expanding Understandings of Curatorial Practice Through Virtual Exhibition Building

This article reflects on the translation of gallery space into a virtually immersive experience in an era of remote access. Curators and scholars such as Mary Nooter Roberts, Susan Vogel, Carol Duncan, Tony Bennet, Stephen Greenblatt, Judith Mastai, and Barbara Kirshenblatt-Gimblett have discussed the myriad of ways in which the experience of culturally significant objects and sites in person has been critical to the study of art and its history. Focusing on theories of curation and display, I utilize practice-based examples from six virtual reality (VR) exhibitions produced in three different institutional contexts: the International Journal of Digital Art History’s online gallery, the European Cultural Center’s Performance Art program, and the Digital Humanities program at the University of California, Los Angeles. By documenting and analyzing the extended reality (XR) methods employed and the methodological approaches to the digital curatorial work, I address some of the challenges and opportunities of presenting objects in virtual space, offering comparisons to those faced when building physical exhibitions. I also consider how digital modalities provide a distinctly different paradigm for epistemologies of art and culture that offer greater contextualized understandings and can reshape exhibition documentation and the teaching of curatorial practice and museum studies.

The Framework of Modeling Buddhist Head in 3D with Semantic Information

Abstract. Buddhist statues hold profound spiritual and cultural significance, yet their comprehensive analysis and identification remain largely reliant on manual annotation and expert scrutiny. Despite advancements in 3D modeling, the nuanced representation of these statues, essential for automated analysis, remains elusive. Integrating semantic information such as symbolic and cultural elements poses a further challenge. There currently exists no standardized method for modeling Buddhist heads in 3D with semantic information. This paper proposes a framework for the component-based analysis of Buddhist statues, particularly focusing on their heads, to bridge this gap. Drawing from diverse disciplines including archaeology, art history, and conservation, the framework leverages advancements in 3D reconstruction to provide a detailed depiction of intricate features. Building upon existing research outcomes, the framework facilitates the seamless integration of semantic information, capturing not only the physical attributes but also the cultural, historical, and spiritual dimensions of these sculptures. This approach aids in overcoming challenges in automated analysis and virtual restoration, providing a dynamic tool for exploration, preservation, and interpretation of cultural heritage. By enabling interdisciplinary synergy, the framework emerges as a dynamic tool for exploring, preserving, and interpreting the profound heritage of Buddhist art with unprecedented depth and clarity.

The Pictorial Turn and Visual Rhetoric: Analyzing Image Agency and Persuasion in Contemporary Media

In a time where the role of the image within academic and cultural contexts is undergoing a paradigm shift, especially since the notion of the pictorial turn proposed by the American art historian W J T Mitchell, the following paper will argue that the image is not only a passive representation, but has also become an active force in the construction of social realities, public opinion and the formation of subjectivity. The theory of image agency by Mitchell will be discussed in order to explain how images in political propaganda, social movements and advertising are used to either reaffirm or challenge hegemonic decisions. Examples such as the poster Rosie the Riveter and the advertisement If Youre Not Fast, Youre Food by Timberland will be used to illustrate the persuasive power of the image in modern communication. The proliferation of digital platforms such as Instagram or TikTok, which support a predominantly visual mode of communication, will be discussed in order to demonstrate how images come with an expanded force of impact. In this manner, the conclusion will underline that image studies and visual rhetoric are of utmost importance to an understanding of the contemporary information dissemination.

Design and Art Tools Formation of Visual Context in Modern Anthropogenic Environment

The purpose of the article is to establish the design and artistic means of forming the cultural-artistic context of modern anthropogenic space. The research methodology involved the use of synthesis and analysis methods with the involvement of interdisciplinary connections (architecture, art history, cultural studies, psychology, design), which made it possible to develop the available theoretical and practical experience on the subject of the article; the method of theoretical generalisation was used to formulate conclusions regarding the outlined problem. The scientific novelty of the article lies in the fact that it actualises the issue of the role of the visual and plastic language of design in the formation of the communicative and cultural content of the anthropogenic environment. Conclusions. With the change of socio-cultural, political and economic conditions, people's requirements for their environment also change. Design and artistic techniques make it possible to dynamically adjust the visual context of the space, to modernise it. The visual plastic design language of the modern anthropogenic environment is presented in artistically decorated stationary and moving objects, their parts, which add character and individuality to it, cause certain emotions in people who interact with such a space. The presence of murals, graffiti, street stencils, sticker art, aerosol art, posters, photo wallpapers, knitted graffiti, mosaics, LED art, media facades, sculptures, video mapping contributes to the formation of a new visual context of the environment, 3D images. Unsystematic, chaotic formation of the visual context of the space can disrupt its artistic integrity. It is worth considering the location of the object, its role in the general structure of the environment, architectural, historical or ethnic context.

Omissions and Marginalization: Asian American Representation in Art History and Education

Asian Americans have been historically marginalized and underrepresented in U.S. history and education due to stereotypes and the essentialization of diverse ethnicities and cultures. This article explores the exclusion of Asian American arts and artists through the lens of Asian Critical theory. The near invisibility and misunderstanding of Asian American arts have impacted art education, which remains centered on Whiteness and Euro-Western perspectives. To disrupt the status quo, more artists and art educators are striving to enhance the representation of Asian American arts and address the racism against Asian and Asian American communities. The article suggests two pedagogical approaches: (a) designing an inclusive curriculum incorporating diverse representations of Asian American artists; and (b) creating spaces for students to engage in counterstorytelling. It concludes by urging art educators to incorporate Asian American arts and experiences and foster critical discussions on racism against Asian Americans in the U.S. in their teaching and research.

Evolution of the Concept of Traumatic Experience: Cultural Aspect

The purpose of the article is to conduct a cultural reflection to clarify the peculiarities of the evolution of the concept of traumatic experience, to outline the specifics of its conceptual and semantic deployment in the European socio-cultural space. The research methodology includes general scientific principles of systematisation and generalisation of the problem under study, which allowed to identify and scientifically substantiate existing theories, conceptual approaches to understanding the content of the concepts of ‘trauma’, ‘traumatic experience’, ‘trauma of modernisation’, ‘trauma of social change’. The purpose and objectives of the article led to the use of an axiological approach, which allowed identifying the interdisciplinary nature of the theories under consideration, revealing personalised scientific positions and their cultural context. The use of the analytical method allowed us to identify conceptual foundations for further scientific perspectives on the problematisation of traumatic experience, namely, to clarify the role and significance of cultural/creative practices in processing traumatic experience by studying the evolution of this concept within the framework of the formation of trauma studies as an independent field of scientific knowledge and to make an attempt to develop algorithms for their practical implementation in the discourse of applied cultural studies. The scientific novelty lies in the cultural analysis of personalised scientific positions on the evolution of the concept of ‘traumatic experience’, in view of the specifics of its conceptual and semantic deployment in the European socio-cultural space. Conclusions. The conceptual and semantic development of the concept of traumatic experience unfolds against the dynamic change in the European general socio-cultural context caused by the outbreak and course of the First World War. Already during the war and after its end, on the basis of the empirical experience gained in the treatment of numerous traumas and mental disorders, scientific understanding of their nature, the specifics of traumatic experience manifestations began, and practicing military doctors, psychiatrists and psychologists developed recommendations for its experience, overcoming, and processing/working through. The evolution of the concept of traumatic experience in the discourse of classical psychoanalysis developed in the unity of epistemological and hermeneutical theory of experience, playing a leading role in explicating trauma and traumatic experience in the sphere of interest of various social sciences and humanities, from art history and cultural studies to sociology and political science. By expanding the subject field of studying trauma and traumatic experience, Freud laid the foundation for a methodological principle that is called interdisciplinary and becomes one of the basic ones for further studying trauma and traumatic experience against the broad background of a holistic picture of human existence in society and the world of culture.

Intermediality of Modern Art and Technologies of its Perception

The purpose of the article is to reveal the peculiarities of the manifestation of termediality in modern art in their influence on perceptual processes and to propose appropriate technologies for the perception of intermedial artistic phenomena. The research methodology is based on the concepts of media theory, communication theory, modern art theory and uses general scientific principles of interconnection, systematisation, and synergy. The purpose and objectives of the article necessitated the application of the method of extrapolation of heuristic algorithms of exact sciences to the heuristics of artistic phenomena with a view to practical methods of organising the perception of the intermediality of modern art by students of higher education. The use of the analytical method made it possible to identify the content and design resources of intermediality in its current development. The scientific novelty consists in projecting the properties of intermediality of modern art onto the technology of its perception in the process of university training. In the article, for the first time in domestic art history, the peculiarities of the manifestations of intermediality of modern art in connection with the communication of its recipients are understood. Conclusions. Intermediality is one of the main trends in the development of art, which consists in a kind of dialogue. From the point of view of perceptual processes, intermediality actualises the integrity of perception, which involves different sensory modalities. Intermediality in the modern artistic space outgrows the boundaries of the interaction of arts, connecting other spheres of culture and ensuring the inseparability of synthesised elements in creative practices different from traditional ones. Perception of intermedia modern art requires preparation, which should be carried out in the educational process. Effective technologies for perceiving the intermediality of modern art are interactive and intermedial.

Artistic-Stylistic Search for Cinematic Expression and Hybrid Documentary: To the Question of Genealogy of Mockumentary

The purpose of article is to analyse the artistic-stylistic search for cinema expression in connection with the emergence of hybrid documentary as an audio-visual environment and a context for the development of mockumentary. Research methodology is based on the culturological approach that allowed us to expand the context of consideration of the problem genealogy of mockumentary and special-scientific methods of art history. Considering the synthetic nature of the researched phenomenon, the work is comprehensive and interdisciplinary. Without involving knowledge in philosophy, aesthetics, the theory of cinema and television is difficult to understand such multifaceted and complex phenomena, such as hybrid documentary and mockumentary. Scientific novelty of the research lies in the fact that for the first time, at the level of a single research, attention is focused on the role of artistic-stylistic searches for cinematic expressiveness and hybrid documentary in shaping the context of the formation of mockumentary as a genreform and phenomenon of audio-visual culture in the second half of the XX century. Conclusions. If is proved that they should not exclude the practice of embodying life material in a work of fiction and documentary, which is directly related to the stylistic search for cinematic expressiveness as an important determinant of the genealogy of mockumentary. It is affirmed that the advent of television convinced us that the mobility of the boundaries between the chronicle and the staged aspect is not limited to on-screen synthesis and experiments with form, but also refers to semantic hybridisation, which has led to the formation of various genreforms within television documentaries, such as mockumentaries, documentary drama, or “docudrama”. Genre mutations and convergent processes, which also encompassed hybrid documentaries, eventually led to the expansion of the documentary sphere towards the emergence of mixed forms as hybrids of the fiction, fictional and real spheres, i.e. the transformation of the artistic-aesthetic system of documentary led to the emergence of mockumentary as a fiction film with fictional content in documentary form in the audio-visual culture of the second half of the XX century.

Genesis of Music Video Clip as a Popular Form of Modern Audiovisual Culture: Experiments with Music Visualisation

The purpose of the article is to reveal the peculiarities of the development of the music video clip in the context of the historical interaction of musical and audiovisual culture. Research methodology. General scientific methods of cognition were applied, in particular analysis and synthesis, systematisation of theoretical data, the method of structural-functional analysis, which made it possible to reveal specific aspects of the interaction of music and various forms of artistic practices in the space of audiovisual culture; a typological method, with the help of which various features of the music video clip in the structure of modern audiovisual culture are revealed. Scientific novelty. The genesis of the music video clip as a popular form of modern audiovisual culture is studied; the problem of integration of visual images and music as part of artistic practices in historical retrospect is considered. Little-known works of foreign scientists, the problems of which are correlated with the subject area of research were introduced into scientific circulation. Conclusions. The genesis of the music video clip testifies to the significant role of artistic practices in the process of image and music interaction at the early stages, which contributed to the invention of new creative ways of representing the imaginary – animation and montage proposed by avant-garde artists; videos and video installations created by mastering the television image; music videos that opened a new dimension for experimentation, becoming an influential form of modern culture. Artistic history of analogue interactions between cinema and music during the 20th century demonstrates the antecedent conditions of production, perception, and socio-political context that were necessary for the mass popularization of the music video as an established form. Thanks to the early experiments in the formation of visualised music, the music video as a new form of audiovisual art gained cultural value, which allowed it to play a significant role at the modern stage. The music video played and continues to play a key role in the socio-cultural space. The technological evolution from analogue to digital means of production and display has accelerated the development of both the form and the aesthetics of the music video, which emphasises one of the most important roles of art in society – to provoke thought and encourage a rethinking of social, political and cultural conditions and surroundings, using this is the main means of communication, including popular music.

Francesco Paolo Tosti Related Literature Review of the Creation and Singing Research of the Works

Among the many excellent and classic European art songs, the Italian composer Francesco Paolo Tosti's art songs are favored and respected by the singers. Francesco Paolo Tosti focuses on the creation of vocal music works. In the development history of Italian vocal music art, his creation is like a sea of pearls, waiting for us to analyze, study and explore. First of all, I based on 's vocal music works, analyzes his creative techniques and explores his creative logic. Secondly, through the induction of his musical style through his creative techniques. Finally, I will discuss the role of his vocal music works on singing training. By focusing on these topics, my research interest will be broadened in the wider academic literature.

Genre and Style Metamorphoses of German Choral Cantata of 18th-19th Centuries

The purpose of the work is to reveal the genre-stylistic and spiritual-content instructions of the German choral cantata and the peculiarities of its existence in the musical-historical tradition of the 18th-19th centuries. The methodology of the work has a complex nature and is based on a combination of the principles of interdisciplinary, historical-typological, hermeneutic, art history and genre-stylistic research methods. The scientific novelty of the work lies in the fact that, for the first time, it offers a generalisation of the poetic-intonational specificity of the German spiritual cantata of the 18th-19th centuries and its genre-stylistic metamorphoses in the specified period. Conclusions. The genre specificity of the German spiritual cantata is determined by its contact with the liturgical practice of the German Protestant church. This genre is directly related to the church sermon and therefore was called "sermon music", "motet", "concert", "dialogue", summarised by the concept of Hauptmusik ("Main music of the day"). The contact of the German spiritual cantata with its Italian analogues and opera did not exclude the presence of original features in it, among which the Protestant chorale, based on traditional for the 18th-19th centuries, dominates. polyphonic forms, on the significant role of the instrumental beginning. An essential feature of the genre can be considered its figurative and semantic focus on the reproduction of the sacred aspects of a person's life path, their spiritual ascent-transformation, interpreted in the context of the instructions of the Lutheran faith. The German romantic cantata, represented in the works of R. Schumann, F. Mendelssohn, R. Wagner, and J. Brahms, on the one hand, reflected a wide genre and style spectrum of the creative searches of the named authors, within the framework of which the cantata was synthesised with the typology of various genres – from chamber a vocal cycle, a leader's play up to an oratorio, a dramatic scene (in the works of R. Schuman). On the other hand, the romantics' appeal to the poetics of the choral cantata symbolised the revival of the German spiritual and musical tradition, summarised by the name of J. S. Bach, which was directly reproduced in the cantata compositions of F. Mendelssohn, R. Wagner ("The Brotherly Meal of the Apostles") and works of Y. Brahms. Despite all the differences in the textual basis of the works of the named authors and their aesthetic guidelines (Y. V. Goethe, M. Horn, T. Moore, paraphrases of biblical texts), their unifying quality is the "memory of the genre", focused on the reproduction of the individual's spiritual path and the high didactic and ethical meaning of their inner transformation.

Evolution of Flute Art: From Archaic Musical Traditions to the Present

The purpose of the work is to substantiate the evolution of pipe art as a special phenomenon from archaic musical traditions to the present. The methodology. Significant for this work were historical, analytical, musicological, and cultural methods, which were used to reveal various aspects of flute art, including its evolution, use in different cultural and social contexts, and its impact on the music culture of Ukraine. The scientific novelty of the work is determined by its analytical perspective, which represents a comprehensive view of the history and evolutionary development of pipe art from archaic musical traditions to the present. Conclusions. The presented materials reveal the evolution of pipe art and its role in the modern world of musical performance and musical genres. Attention is focused on changes in materials and construction when making a musical instrument. The advantages of the chromatic flute as a unique instrument with a wide range of performance and musical-tonal possibilities are argued. The study demonstrates the significance and relevance of flute art for contemporary cultural and musical environments, opening up new prospects for future research in musicology.

Michael Tippett: Specification of the Work for Orchestra and Soprano "Byzantia"

The purpose of the research is to reveal the deep image-sound layers and features of the Irish bardic tradition in the work of M. Tippett through the prism of the work for orchestra and soprano "Byzantium". The methodological basis of the research is historical-conceptual, hermeneutic method and comparative analysis of factual data based on the works of Thomas Weiskel, David Clark, Edward Venn, and Meirion Bowen. Scientific novelty. For the first time in the Ukrainian art history segment, M. Tippett's work for orchestra and soprano "Byzantium" was analysed with an emphasis on the dramaturgy of the composition, cyclical elements, metaphorical sound images, symbolism and characteristic features of the musical and poetic tradition of Irish bards. Conclusions. Biographical collisions of M. Tippett influenced his creative aspirations and attitude to the surrounding world. M. Tippett's aesthetic views are a dialogue between romantic aspirations and sceptical realism of the modern era. Michael Tippett's musical language absorbed both tradition and the entire palette of accumulated world musical experience, as well as duality of meanings, symbolism, imagery and conflict. The work analyses the composition for orchestra and soprano "Byzantium" by M. Tippet, which is based on the mosaic of images, the logical sequence of musical motifs, and cyclicity. It is necessary to highlight the fragmentary nature of musical sections, variable motifs, the presence of contrasting material, the symbolism of magical, changing life force as secular ephemerality, the destruction of the musical text using the technique of expansion and fragmentation. Thus, the composition "Byzantium" is a reincarnation of Irish cultural nationalism in the aspect of traditional forms of bardic poetry. The musical language of M. Tippett in the work "Byzantium" is based on the forms crystallised by the work of L. Beethoven and updated by the musical context of modern and postmodern.

Dance Culture in Screen and Stage Discourse

The purpose of the article is to conduct a comprehensive analysis and determine the specifics of the director's means of adapting choreographic art in the screen plane. Research methodology. In the development of the topic, an interdisciplinary approach was used, based on the application of such general scientific methods as: a system of theoretical methods – induction, deduction, complex art analysis, synthesis. This enabled the author to study the factual material of choreographic numbers on stage and screen. The method of generalisation and systematisation was used in order to argue the originality of screen direction in the presentation of choreographic art. The use of analytical and systematic methods was effective and useful for researching the art history aspect of the given problem. The scientific novelty of the article is the delineation by the researcher of the vectors of mutual influence and mutual enrichment of choreographic and audiovisual arts in the modernisation of visual and expressive means of directorial skill in the screen and stage plane; in revealing the peculiarities of the director's activity in the presentation of choreographic works in screen productions, which became the subject of a special study for the first time; in the identification of creative dominants in the production of screen works in which choreographic experience is adapted. Conclusions. It is substantiated that screen direction not only popularises, but also with the help of audiovisual means opens up new opportunities for showing works of choreographic art (in particular, folk dance), the work of choreographers, choreographers, choreographic groups, and individual performers.