Audiovisual Art Research Articles

Director’s Observation as a Focus of Authenticity of Real Events Perception in Contemporary Documentary Cinema

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.

Master’s Photo Art Project “Ancient Sambir in Modern Photographs”

The author’s idea of the series. The Master’s Photo Art Project is dedicated to the problem of preserving the value of material cultural monuments as significant elements of the cultural heritage of past eras, documented using photography and audiovisual art. The Master’s Photo Art Project presents a series of photographs of architectural monuments of the cultural and sacred material heritage of the ancient city of Sambir. It is noted that modern life is in full swing among the surviving monuments, and the walls of these structures inspire people with their power, originality, perfection and historicity.

Video Recording Technologies and Cameraman Auxiliary Equipment as an Integral Part of Achieving a Creative Idea in Audiovisual Art

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.

Peculiarities of Implementing a Director’s Idea in Contemporary Audiovisual Art

The purpose of the research is to analyse the peculiarities of the implementation of the director’s idea in fiction and documentary films using new hybrid genres that influence the specifics of contemporary audiovisual art, to determine the role of the mockumentary genre in modern cinema and to understand its impact on the creation of a film product. To explore the psychological impact of documentary films on the viewer’s perception and change of their worldview. To outline the standard and distinctive features of the director’s approach to making documentaries and fiction films. The research methodology is based on the following scientific methods: theoretical – for analysing the psychological factors that influence the perception of an audiovisual work, understanding outstanding examples of world cinema; comparative – for drawing parallels between fiction and documentary cinema. The research also uses structural-systemic and general scientific theoretical research methods (analysis, synthesis, induction, deduction, generalisation, classification, etc.) The scientific novelty is that, for the first time, the approaches to documentary and fiction filmmaking are compared; the details of the phenomenon of the hybrid cinematic genre of mockumentary are established, and its psychological impact on the viewer is studied; the influence of the mockumentary genre on the formation of an audiovisual work through associative editing is outlined. Conclusions. The article analyses the embodiment of the director’s idea in fiction and documentary cinema with the help of new hybrid genres that influence the specifics of contemporary audiovisual art. The role of the mockumentary genre in modern cinema is determined, and its influence on the creation of a film product is studied. The psychological factors of the viewer’s perception of documentary cinema, which help to change their worldview, are investigated.

Transformations of street photography in the era of digital technologies

The purpose of the article is to explore the main features of street photography’s development in the digital age. The methodology. Several methods were used to analyze the street photography genre. The logical-analytical method helped to organize and summarize key ideas. The subject-analytical method allowed a deeper look at photography as a form of art and social communication. The system-analytical method showed the connection between technology and the evolution of the genre. The typological method identified the main stages of street photography development, and the historical-cultural method traced the impact of cultural factors on the genre. The results. Digital technologies have greatly influenced the genre, transforming it from traditional to new forms. The use of mobile devices and social media has blurred the lines between professional and amateur photography, opening new creative possibilities. Street photography now includes elements of humanism, surrealism, and documentary film, creating visual stories that reflect the social space of the digital age. The scientific novelty. This study explores how digital technologies have changed street photography. It also explores how humanism, surrealism, and documentary film influence the genre, as well as its historical and modern development. The conclusions. Digital photography is flexible and widespread because of mobile devices, which affects how people create. Smartphones, social media, mirrorless cameras, and AI have changed the genre, making it harder to tell the difference between professional and amateur work. Street photography continues to adapt to the changing cultural space. The practical significance of the article is in its contribution to understanding how digital technologies affect street photography and audiovisual arts. It helps both researchers and artists better understand how technology is changing creative expression.

Digital transformation of cinematograph as a factor in forming a new visual aesthetic: an analysis of the foreign film discourse at the beginning of the XXI century

The purpose of the article is to consider the process of the digital cinematograph transformation as a factor in forming a new visual aesthetics through the analysis of the foreign cinema discourse at the beginning of the XXI century. The methodology of the research is based on a holistic approach, which involves formulating a picture of cinema in the digital world, based on different points of view of directors and film critics on the results of the impact of new technologies on reforming the foundations of cinema, resulting in the formation of a new visual aesthetic. This dictates the use of discourse analysis (a method of studying the content) of reviews, comments, surveys, etc. related to innovative approaches in the film industry. An attempt to define the influence of new media on cinematic aesthetics involves the use of the principle of techno(media)determinism, which helps to reveal the interconnections of technological, stylistic, programmatic, and socio-cultural processes. The results. It is confirmed that the computerization at the beginning of the XXI century actively contributed to the formation of new structures of representation and content, and also initiated a rethinking of the role of cinema in society. Digital technologies have freed traditional cinema from its aesthetic and stylistic tropes and languages, thus opening up cinematic aesthetics to the influences of automatisms integrated into digital tools and computer software. It is emphasized that, along with the choice of long shooting, deep focus and A. Bazin’s theory of the objective machine, where the filmmaker’s prejudices are minimized, proleptic editing and indexicality are also perceived as a choice, not as format-driven limitations. The computerization and dematerialization of the camera turns it into a co-creator and co-director, thereby dictating a new logic of seeing the mise-en-scene and the nature of authorship, and also determines the development of aesthetic styles that, thanks to the hybridity of digital images, go beyond the boundaries of visual realism. It is found out that the optimization and further spread of compositing, as well as digital intermediaries, changes the indexical nature of cinema and creates conditions for the consistent hybridization of visual forms and the transformation of aesthetic styles that become more similar in their characteristics to the visuals of video games and graphic novels than to photography. The scientific novelty. The article for the first time analyzes different points of view of foreign directors and film critics in the first decade of the XXI century on the consequences and prospects of the impact of digital technologies on reforming the foundations of cinema, and also considers several creative experiments within the framework of cinema 3.0 with new influences and genre hybridity that have influenced the formation of a new visual aesthetic. The practical significance. The results of this research can be used in the educational process when teaching a general course on the history of cinema and special courses on the digital transformation of audio-visual art and cinematograph in particular.

Transformation of directorial intent: from linear narration to omnidirectional space

The subject of the study is the transformation of the director's concept in the conditions of spherical cinematography. The study analyzes the peculiarities of the director's work in the omnidirectional space. New expressive means are considered, including spatial sound and multiplanar mise-en-scene, as well as changing approaches to editing and dramaturgy. Special attention is paid to the peculiarities of the viewer's perception of spherical content and the prospects for the development of this format in the film industry. The aim of this study is to examine the influence of omnidirectional space on the director's conception. The study aims to identify key changes in approaches to editing, composition and dramaturgy. The following objectives are set: to analyze the peculiarities of directorial work in 360° format; to identify new expressive means emerging in the spherical format; to determine the impact of omnidirectional narrative on the viewer's perception; to assess the prospects for the development of spherical cinema and its integration with other media. Based on the methods of comparative analysis, the paper examines the influence of omnidirectional space on directorial intent. The main conclusions of this study are that the director's usual tools are not always adapted for use in spherical space. The novelty of the study lies in the fact that the work identifies promising directions for the development of spherical cinematography. The study shows that the use of omnidirectional space requires directors to develop new expressive means and strategies of interaction with the audience. The paper offers an overview of the key problems (challenges) and opportunities of spherical cinematography, which makes it relevant for theorists and practitioners in the field of audiovisual arts and will be useful for the development of new program and methodological material for student directors of various specializations.

From the Perspective of Media Convergence: The Integration and Reference of Network Drama to Other Audio-visual Art Forms

Abstract: In recent years, the convergence of content and form between different media has become a significant trend. Online dramas, as an emerging media form based on streaming platforms, have developed rapidly since their inception, greatly impacting the market landscape of television dramas and films. Due to the inherent characteristics of streaming platforms, online dramas feature high market segmentation and expansive creative space. Many works have explored various content and form integrations, incorporating elements from other audiovisual art forms and reconstructing traditional television drama formats. Notably, the influences of films, short videos, and games on the shape of online dramas are most pronounced, demonstrating profound media convergence.

Phenomenon of Screen Dance in the Context of Dialogism of Choreographic and Audiovisual Arts

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.

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.

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.

Conceptualism of Sculpture Films of the 1970s–1980s in the Experimental Field of “Expanded Cinema”

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.

Japońska fotografia emancypacyjna, czyli kilka słów o twórczości Nagashimy Yurie

The article discusses the issue of depicting the female body in Japanese photography based on the work of Nagashima Yurie. The artist began her career in the nineties of the twentieth century, creating nude self-portraits. In 1996, a well-known Japanese photo critic called her a promoter of the so-called “girl's photography" (jap. onna no ko shashin). However, the term had negative connotations and disregarded the female artists who were referred to by it. Nagashima took up a polemic not only with the academic community, but also with the accepted norms of depicting in photographs. In her work, Nagashima drew attention to the problem of sexualization of the female body in Japanese photography. With the use of parody, she began a polemic with the majority of artists who used women as the main motif in their works. Through her work, she also initiated a public debate on the role of women using audiovisual arts in their activities.

An Analysis of Non-verbal Performance in Theatre

Theatre, commonly seen as an audiovisual art, has performance at its core. Performance is mainly narrative through language, movement, dance, music, art and other forms to create an artistic image for the stage, which contains verbal and non-verbal elements. Non-verbal elements have crucial implications for theatre practice and theoretical perception. The present research investigates non-verbal performance in theatre based on semiotics and non-verbal communication theory. The study found that non-verbal performance includes (not limited to) posture, movement, gestures, props, and costumes. To make a more comprehensive analysis of non-verbal performance in theatre, a mixed research method combining textual analysis and questionnaire survey to collect data was employed, comprehensively investigate non-verbal performance in theatre, and comprehensively discuss the definition, classification and characteristics of key elements of non-verbal performance in drama based on the research design of analytical study, and reveals how non-verbal performances are expressed in theatre. Then, it provides ideas for the theatre creation and education.

Inspirations, techniques and institutionality. Animation in Józef Robakowski’s experimental oeuvre

Józef Robakowski’s cinematic oeuvre functions mainly as an experimental form of audiovisual art exhibited in gallery spaces. In his avant-garde activities this intermedia artist, associated with the Film Form Workshop, often used techniques of animated film, as is evidenced by the author’s textual analysis of the films: Market (1970), Test 1 (1971), Test II (1971), Dynamic Rectangle (1971), 22x (1971), Impulsator (2000), Impulsator VI (2001), Attention Light! (2004). The analysis focuses on the techniques used by Robakowski as well as his potential or explicit inspirations. Creating experimental animations, often in the spirit of “pure film”, the avant-gardist has been appropriated by other scholarly disciplines such as art history or new media. The aim of this article is to include Józef Robakowski in the discourse of film studies: to demonstrate his stance as an animator over the course of his artistic work to date, but above all to place him in the history of Polish animated film.

Investigating the Influence of Online Novel Creation on Plot-Based Short Video: A Study Based on TikTok Examples

Born in the era of rapid internet technology development and riding the wave of "the era of fragmentation," short videos have emerged as a compelling form of media communication and audio-visual art, capturing the attention of audiences in China and globally. As a significant subtype of short videos, plot-based short videos are influenced not only by traditional audio-visual media but also by online novels, one of the products of the internet era. As a result, there has been a convergence between plot-based short videos and online novels. This trend highlights how the phenomenon of online novel creation is increasingly manifesting in the content of these videos. By examining examples within TikTok (specifically referring to the Chinese version in this paper), it becomes apparent that online novel creation can significantly drive the development of plot-based short videos. However, based on the current situation, it is evident that this convergence also poses several challenges, thereby requiring the development of innovative solutions.

Communicative potential of stop-motion animation in the practice of modern design

The relevance of the research is determined by the need to substantiate and implement effective visualnarrative media formats for creating effective visual communications capable of clearly conveying messages and ideas to the viewer. The purpose of the work is to reveal and evaluate the communicative potential of stop-motion animation in the context of audiovisual practices of modern design. Research methodology is formed by general scientific and special methods, in particular, comparative and historical analysis, scientific analysis and synthesis, methods of visual observation, modeling, art history and content analysis. The research substantiates the technical techniques, formal and artistic approaches of stop-motion and reveals their influence on the communicative potential of animation in the context of various project tasks. The effectiveness of the tools of stop-motion animation in modern audiovisual design practices for increasing the emotional involvement of the audience and improving the perception of content due to attractiveness and experimentation has been proven. The ability of stop-motion animation for detail, visual saturation, expressiveness and emotional expressiveness can play a key role in solving design problems where a deep narrative impact needs to be achieved. The paper substantiates the expediency of using the main technical techniques of stop-motion animation in the implementation of specific conceptual project tasks, in particular in short animated films of various genres, in advertising videos, in art projects, where the goal can be achieved due to the high artistic characteristics of the visual series, interactivity and emotional interaction with the viewer. The practical value of the work is determined by the possibility of implementing the research results into practical recommendations for the implementation of specific projects. The results of the research can be useful in the academic community for the further development of the theoretical foundations of stop-motion animation and the expansion of project approaches in educational courses related to audiovisual art and visual communication

Analysis of the Audiovisual Work’s Sound Component: Modern Research

The monograph by S. Zhelezniak “highlights the significance of the audio component in screen works, explores the features of the soundtrack in cinema, television and its transformation, comprehends the theoretical basis for the use of sound and its connection with the frame in art historical, cultural and other contexts, highlights the areas of application of soundtrack elements and their interaction with the image in various types and genres of contemporary audiovisual practices, and the impact of sound on the viewer”. According to the author, “the monograph may be of interest to scholars, in particular in the fields of art studies, cultural studies, teachers and students of the speciality “Audiovisual Art and Production”, sound engineers, film and television directors, and anyone else interested in screen culture and its sound element” (Zhelezniak, 2023, p. 1). The monograph consists of an introduction, a list of references, appendices, and nine chapters: “Theoretical and Methodological Foundations of the Study of the Sound Element”, “Key Concepts of the Study of the Audio Component of a Screen Work”, “Scientific Study of Phenomena and Processes in Contemporary Audiovisual Culture”, “Features of the Soundtrack in Different Types and Genres of Contemporary Cinema”, “Technological Basis of the Audio Element in a Video Project”, “Creative and Psychological Principles of Working with the Soundtrack in Screen Works”, “Problems of Using the Sound and Vision Component in Television: Traditional and Synthetic Genres”, “The Sound Component in Contemporary Audiovisual Practices: Interactive Works, Web Documents”, “Further Transformation of the Sound Element: Foundations and Prospects”.

Speech Puzzles (Spuzzles): Engaging the Reduced, Causal, and Semantic Listening Modes for Puzzle Design in Audio Games

This paper proposes a novel approach to audio game design by introducing the concept of speech puzzles (spuzzles) to describe the utilisation of recorded voice for the creation of audio puzzles in ways that challenge players’ different listening modes. In the fields of audio games and audio-interactive applications, speech serves instructive, descriptive, narrative, and in some cases—in the form of hints or quizzes—gameplay purposes by addressing users through language. The suggested approach of spuzzles extends this potential by including, besides encoded meaning, the acoustic properties of sound, thus engaging the user’s causal and reduced listening modes in parallel with the semantic listening mode. An audio game consisting of four inherently different spuzzles was designed as proof of concept and tested by seven third-year students of Audiovisual Arts, who elaborated on their experience through a focus group semi-structured discussion. Despite their difficulty, the spuzzles were well accepted by most of the participants (5/7), whereas all participants agreed on their acoustic richness, need for concentration, and independence from pre-existing musical knowledge. Therefore, the authors suggest that the proposed design approach could serve as a paradigm for future research in the design of complex audio-based game mechanics.

Representation of the Sacredness Phenomenon of Khortytsia Island and Cossack Culture by Means of Cinema and Photography

The purpose of the article is to analyse the means of cinema and photography used to represent the sacredness of Khortytsia Island and Cossack culture. To investigate the impact of audiovisual art on the perception and interpretation of the sacred aspects of Cossack culture and the history of Khortytsia Island as a sacred place through cinema and photography. The research methodology is to apply the following methods: theoretical (to analyse the source base of the study, collect information about the sacredness of Khortytsia Island and Cossack culture, review historical material, articles and scientific studies, compare information in these sources; select films and photographic materials that reflect the sacred aspects of Cossack culture and Khortytsia Island); comparative-analytical (to analyse the means of cinema and photography to identify the features and tools used to represent sacredness); empirical (to take photographs representing sacred objects and places in Zaporizhzhia). Scientific novelty. The article analyses for the first time how visual media can be used to preserve and reproduce the cultural traditions and intangible values of our people. The influence of audiovisual art on the formation of cultural discourse is investigated, and the role of visual culture in the modern world is studied. Conclusions. The article analyses the means of cinema and photography used to represent the sacredness of Khortytsia Island and Cossack culture. Examples of the successful use of cinema and photography tools and instruments to represent the sacredness of Khortytsia Island and Cossack culture are presented. It has been proved that these tools are effective in embodying the spiritual significance of the island in a visual form, helping viewers better understand and perceive the sacred aspects of the Cossacks and the history of Khortytsia, and can be used to preserve and reproduce cultural traditions.