Audiovisual Art Research Articles

Victor Kisin’s Pedagogical Concept as a Component of Media Education in Ukraine

The purpose of this research is to analyze Viktor Borysovych Kisin’s influence on the formation of a new pedagogical concept in media education in Ukraine. Describe the main aspects of the director's teaching activities. To analyze and systematize V.Kisin’s materials about creative innovation, which became the basis for training professionals in the field of audiovisual art. The methodology of the research is applied by the following methods: theoretical – the analysis of V.B. Kisin’s theoretical research, the biographical study of the main stages of the director’s teaching activity, the generalization of the influence of V.B. Kisin’s film pedagogical concepts for the development of the Ukrainian media school. The scientific novelty lies in the fact that various aspects of Viktor Kisin’s teaching activity have been comprehensively studied. The specifics of the director’s innovative research are outlined and his theoretical research is analyzed. Conclusions. According to the purpose of the research, various aspects of Viktor Borysovych Kisin’s pedagogical activity and theoretical research in the field of Ukrainian theatre, cinema and television were analyzed. During the analysis of the research topic and the scientific and memoir publications of Ukrainian scientists, teachers and artists were analyzed, a large number of newspaper and magazine material related to V. Kisin’s pedagogical and creative activity, as well as his colleagues and students were reviewed, and Kisin’s “foreign” period of media pedagogical activity at the Higher School of Television Arts in Hilverson (Netherlands) was also deepened.

The role of audiovisual arts in disaster risk perceptional education in children and adolescents

The role of audiovisual arts in disaster risk perceptional education in children and adolescents

Unpredictable Times: In memoriam Carole Chant (or Finer) and John Russell

‘Unpredictable Times’ could be a term to define the moment we are living in. It is also the name of a programme of audio-visual art curated by Unpredictable Series: Steve Beresford, Pierre Bouvier Patron and myself, conceived when the pandemic started and premiered online on Saturday, 27 June 2020.

Comedy film as a modern embodiment of the culture of laughter

The object of this article is the comedy cinematography. The subject is the comedy cinematography as a manifestation of the culture of laughter. The author examines such aspects of the topic as the culture of laughter and the history of its conceptualization in the humanities knowledge, historical manifestations of the culture of laughter in different eras. Special attention is given to the idea that comedy film is a significant embodiment of the culture of laughter in modern art. The author analyzes comedy as genre of cinematography; substantiates the impact of comedy film upon society through the means of cinematography as an audiovisual art. The main conclusions of the conducted research consist in the determined functions of comedy film as a manifestation of the culture of laughter in the modern era;  an idea that comedy cinematography along with manifestations of the culture of laughter of the previous historical eras, forms a specific anti-cultural world that demonstrates an underside of the surrounding world , and mostly of the society. The author’s special contribution into this work lies in consideration of the comedy genre of cinematography within the concept of the culture of laughter, which allowed highlighting the new aspects of this phenomenon and substantiating its significance in the spiritual life of modern society. The novelty consists in application of the conceptual framework of the culture of laughter with regards to the analysis of comedy film, which views the phenomenon at hand from the universal worldview perspective.

Interactive Design for Audio-Visual Language of Marine Animation: A Simulation Study

Feng, K., 2020. Interactive design for audio-visual language of marine animation: A simulation study. In: Gong, D.; Zhang, M., and Liu, R. (eds.), Advances in Coastal Research: Engineering, Industry, Economy, and Sustainable Development. Journal of Coastal Research, Special Issue No. 106, pp. 646–649. Coconut Creek (Florida), ISSN 0749-0208.The application of virtual simulation technology in the interactive design of an ocean animation audio-visual language provides a new interactive experience for ocean animation and users. Compared with the traditional design mode, virtual simulation technology can improve the satisfaction of users, improve the efficiency of the design scheme, interact with the audience's audio-visual language, and become part of the audio-visual language art of marine animation. This study first analyzes the interactive design points of an audio-visual language of marine animation, then introduces the advantages of the application of virtual simulation in the interactive design, and finally delivers an interactive design scheme of marine animation based on virtual technology.

The Creative industry in promoting the tradition of Croatian-Chinese cooperation

The efficiency of economic cooperation is based on its cultural understanding as well as on a tradition that is expressed through business effects promoted by products from the creative industry domain. Since the creative industry relies on project activities in a large number of sectors, it is possible to predict that one creative product can be realized in a number of creative sectors (e.g., in publishing, architecture, music, audiovisual arts, etc.). The Croatian-Chinese cultural and economic tradition is built on multi-year cooperation globally remembered by the contribution of Marco Polo, and the creative industry is an opportunity to design creative products promoting the Silk Road and the role of Marco Polo, which aims to connect the People’s Republic of China and the Republic of Croatia. This paper analyzes the contributions of the Vilijun project and its products within the creative industry and its twelve sectors. Such approach has demonstrated and analyzed the strategies of connecting the People’s Republic of China and the Republic of Croatia as the preconditions for achieving mutual economic effects and is on the trail of the 2012 “China’s Twelve Measures for Promoting Friendly Cooperation with Central and Eastern European Countries”.

ELEMENTS OF VISUAL IDENTIFICATION IN BRAND PRESENTATION

The analysis of modern literary sources demonstrates that studying of visual identification elements is considered by authors of scientific researches in the aspect of their use for business-structures. Specific sectors of human activity and the art sphere are either ignored or not taken into account. But some art spheres have their own specific peculiarities that can add design theory by the new view on a series of classic definitions and paradigms. The article considers visual identification elements in the classic design theory and additional visual identification elements on the example of a genre sphere of human activity in music art. The problem arose at describing visual identification elements of music groups that influence the formation of their brand. There are determined several visual identification elements, inherent to creative groups, working in the sphere of audiovisual art. The tasks, set at the research: – analysis of literary sources in the research problem; – analysis of visual materials for revealing certain signs; – determination of additional visual identification elements, inherent to creative groups, working in the sphere of audiovisual art; – brief description of obtained results. Research methods: review of literary data in the topic; collection of a sampling of designs objects; observation and comparison of design objects from the collected material. Results: there are offered additional visual identification elements of the thematic activity spheres in music art. Scientific novelty: an ordered list of visual identification elements, both common and additional, used for brand creation. Practical importance: the offered list of graphic identification elements may be used in scientific studies; in the learning process at studying the research topic at preparing learning and methodical manuals in graphic design.

ЕТАПИ РОЗВИТКУ ХУДОЖНЬО-ВИРАЗНИХ СКЛАДОВИХ КОМП'ЮТЕРНИХ ІГОР

The aim of the article is to determine the main aspects of the development of a computer game in the system of audiovisual arts, to describe the chronological stages of the development of the artistic component of the work and the organization forms of the plot sequence of games. In this work, we used the method of artistic and stylistic analysis to identify the main trends in the use of artistic expressiveness, a comparatively descriptive method for analyzing the artistic and expressive solution to computer games. The technical evolution of the gaming environment for determining the stages of development of the components of a computer game is considered, which allows you to clearly define the chronological restrictions for creating works of a certain area of audiovisual art. The analysis of the means of expressiveness of computer games is carried out and it is revealed that the techniques and methods of traditional arts become an important part of the assimilation period, namely: expressiveness of first-person action, directing and musical component of games. These funds together define the unique atmosphere of the work. The directions of the artistic component of computer games are considered: a linear diagram of the sequence of actions, non-linear action and the component of "spontaneity" that form a single artistic environment. The influence of artistic-figurative means on the design of computer games is traced and the general patterns of the development of computer games in an interactive virtual environment are revealed. The results can be used for the development of artistic and expressive components of computer games, which make it possible to create a high-quality product of technological art.

Virtual reality – from technology to the art

Purpose of Article. The study is related to the consideration of virtual reality as a new trendin the development of audiovisual arts. Methodology of investigation consists in analyzing thedevelopment of virtualization technologies in their historical, technological and aesthetic aspects.Scientific Novelty of the work is that analyzes the technologies of virtual reality in theirrelationship with the development of screen audiovisual arts. Conclusions. The growing power ofcomputers and the development of software allow today to create ever more realistic virtual worldsthat blur the line between real and virtual. Virtual reality itself is becoming a new aesthetic andartistic instrument, a new reality for audiovisual arts, which requires artists to adopt newapproaches and professional mastering of this powerfu ltool to influence the audience.Key words: virtual reality, augmented reality, mixed reality, computer special effects

Latin American Film Industries by Tamara L. Falicov

Reviewed by: Latin American Film Industries by Tamara L. Falicov Paul A. Schroeder Rodríguez (bio) Latin American Film Industries by Tamara L. Falicov British Film Institute. 2019. 208 pages. $94.00 hardcover; $31.95 paper; also available in e-book. In terms of sheer output, Latin American cinema in the twenty-first century has surpassed the previous record set in the 1940s and 1950s, during the so-called Golden Age of cinema in Mexico and Argentina. In terms of reception, contemporary Latin American cinema is at least on par with the kind of critical acclaim enjoyed by the New Latin American Cinema of the 1960s and 1970s. How has this unprecedented convergence of sustained high output and critical acclaim been possible? In this long-awaited volume, Tamara L. Falicov argues that a key factor has been the emergence and growth of various public-private partnerships with enough flexibility to adjust rapidly to ever-changing conditions. The book's central thesis is that in the twenty-first century, state and private initiatives are so intertwined that to separate the two would be a "false dichotomy, as it is often state legislation that promotes and incentivizes the private sector into participating in film production."1 This has been studied before at the national level, and to a lesser extent at the transnational level, but Falicov's book is the first to provide ample and detailed evidence that state and private partnerships play a major role in not just film production but also exhibition and distribution. Latin American Film Industries is the first book of its kind to be published since 1984, when Jorge Schnitman published Film Industries in Latin America: Dependency and Development.2 Just as Shnitman's book summarized much of what we knew about Latin American film industries during the so-called Golden Age of the 1940s and 1950s, as well as during the New Latin American Cinema of the 1960s and 1970s, [End Page 179] Falicov's book summarizes much of what we know about Latin American film industries in the twenty-first century. Yet unlike Schnitman, who clearly privileges strong state intervention as the best way to break with what he saw as Latin American cinema's dependency on capitalist models of production and representation, Falicov avoids privileging any one mode of production, distribution, exhibition, or legislation over others. Instead, she describes a wide range of real-world interactions between private and public sectors in a number of national industries over the past two decades, leaving it up to the readers to make their own judgments based on the vast amount of information provided in five areas: state funding; private funding; distribution networks; the role of exhibitors; and the impact of legislation, screen quotas, and piracy on all of the above. She dedicates one chapter to each of these areas, framing them with an introduction plus a first chapter on the history of film studios on one end and with a conclusion that summarizes the book's main arguments on the other. In chapter 2, "State Film Funding," Falicov notes that "in the case of most Latin American film industries (with the exception of Mexico), the state remains the main purveyor of essential funding and support for filmmakers in their respective countries to produce cinema and circulate it nationally and globally"3 Much of the chapter is devoted to what she calls "film institutes," state agencies whose role varies widely by country but nevertheless share an overarching goal to develop, protect, and promote national cinema at home and abroad; one example is through the highly successful Program Ibermedia.4 In the case of Brazil, Falicov traces the country's long experience with said institutes, including the National Institute for Educational Cinema (INCE), the National Film Institute (INC), the Brazilian Film Enterprise (EMRAFILME), and the National Film Agency (ANCINE). In the case of Mexico, she briefly discusses the Department of Radio, Television and Cinema (RTC) and the Mexican Film Institute (IMCINE) as well as a number of tax incentives. Finally, for Argentina, Falicov discusses the National Film Institute (INC, later the National Institute for Cinema and Audiovisual Arts, or INCAA) and the city-supported Buenos Aires International Independent...

Towards the Visual

This paper examines the new forms and genres of storytelling in India with an emphasis on the visual aspect of the literary narration. It begins with a remark on the literary and performing tradition of India, where stories were told with an accompaniment of visuals: single or sequential images, scroll paintings, acting etc. With time, storytellers and poets started including modern-day, contemporary themes and problems into their narratives, which not only brought changes in the repertoire of stories, but also, quite naturally, caused development in terms of genres and ways of expression. The present study is based on graphic novels by Sarnath Banerjee and Vishwajyoti Ghosh, with reference to contemporary Hindi literature and some examples from visual art. The author seeks to answer the following questions: 1) what is the “new language” of a literary work in relation to the visual, 2) how – and by which means – does the literature reflect the reality of the new generations, 3) how is a story narrated through images. In conclusion, some observations are made on mutual influences between literature and audio-visual arts.

ROLAND BARTHES AND YURII LOTMAN: SEARCH FOR MEANING IN FILM NARRATIVE

The purpose of the research is to carry out a comparative analysis of the concepts of semiotics of cinema by Roland Barthes and Yurii Lotman in the context of their understanding of the nature of film language, since understanding and methods of studying of contemporary digital audiovisual art are the topic of current interest in contemporary art history. The research methodology. The contemporary study of digital audiovisual art, as a rule, takes place within the context of interdisciplinary work, therefore, one of the methodological principles of such work is structural and semiotic approach. Today, this methodological approach to study the audiovisual art is the most developed in the semiotics of cinema, therefore the visual semiotics is viewed through the semiotics of cinema. The scientific novelty of the research. For the first time a comparative analysis of Yurii Lotman’s and Roland Barthes’s semiotics of cinema within the framework of the structural and semiotic approach was carried out. The potential of this methodological approach in the study of audiovisual art has been revealed. Conclusions. The article highlights the special aspects of understanding and application of semiotic concepts by the mentioned authors based on the cinematographic material. Thus, Roland Barthes thought that problems in a semiotic study of the cinema occur when a linguistic approach is applied, and Yurii Lotman believed such study to be completely acceptable. This resulted in a different understanding by these scientists of the nature of film language, its minimal meaningful unit, the role of syntagmatics and paradigmatics in the film narration. Different perceptions of the nature of film language and its components are an important basis for the study of contemporary digital audiovisual arts. The main difficulty of semiotics of cinema is the issue of non discrete iconic (analogue) sign in the study of cinema within the framework of the structural and semiotic approach. This problem can be solved based on the legacy of semiotics of cinema of R. Barthes and Yu. Lotman. Another important characteristic of the structural and semiotic approach is its ability to be combined with other methodological approaches in the interdisciplinary study of digital audiovisual art

The Origins of Higher LIS Education and Higher Education in Culturology and Arts of Ukraine (on the Occasion of the 90th Anniversary of Kharkiv State Academy of Culture)

Relevance. There is a need for a systems analysis of the history and current state of the Kharkiv State Academy of Culture (KhSAC), which is considered to be the founder and leader of higher LIS (Library and Information Science) education and higher education in culturology and arts of Ukraine within 90 years of its existence (1929-2019). The aim of this study is to analyze the origins of higher LIS education and higher education in culturology and arts as well as the history and current state of KhSAC on the occasion of its 90 th anniversary. Research methodology. The historical milestones and present-day diverse activities of Kharkiv State Academy of Culture are studied by the means of systems, comparative and historical approaches and a problem analysis. Results. The study deals with the ninety year history and current state of KhSAC, which is considered to be the founder and leader of higher LIS education and higher education in culturology and arts in Ukraine. Particular attention is paid to the significant achievements in educational, scientific, administrative and creative activities. The paper presents information on the organizational transformations of KhSAC, its academic staff. It includes over 75% of Doctors of Science, Candidates of science, people’s artists, honored artists, honored workers of culture of Ukraine. During the years of its existence the Academy has educated about 50,000 specialists, among them over 500 international students from more than 40 countries of Europe, Asia, Africa and Latin America. The Academy offers degree programmes at Bachelor and Master levels in 16 fields of training and specialties of 7 fields of study, namely Cultural Studies, Museum Studies and Historic Preservation, Management of Socio-Cultural Activities, Audiovisual Arts and Production, Choreography, Music Art, Performing Art, Information, Library and Archive Science, Information Systems and Technologies, Psychology, Social Work, Journalism, Tourism, Management. Postgraduate Studies (PhD Course) and Doctoral Studies offer programmes in 4 specialities. They are as follows: Culturology, Music Art, Information, Library and Archive Science and Social Work. The paper describes the features of KhSAC’s research activities. The structure of the Academy includes Postgraduate Studies and Doctoral Studies; two specialized academic boards authorized to accept for consideration and to conduct the defence of theses competing for an academic degree of Doctor (Candidate) of Science. Two academic journals are published, namely “Kultura Ukrainy (Culture of Ukraine)” covering the current issues of culturology and art criticism, and “Visnyk Kharkivskoi Derzhavnoi Akademii Kulury (Bulletin of Kharkiv State Academy of Culture)” covering the current issues of social communications. About 10 international, all-Ukrainian and regional scientific conferences are held every year. Available to students are a library, an e-material reading room, several computer laboratories, an Internet-centre, an editorial board. The place of the Academy in the European and world professional environment is identified. Novelty. An attempt is made to study the ninety year history and current state of Kharkiv State Academy of Culture, which is considered to be the founder and leader of higher LIS education and higher education in culturology and arts of Ukraine. Particular attention is paid to the significant achievements in educational, scientific, administrative and creative activities. The practical significance. The main results of this study can be used by institutions of higher education in culture and arts of Ukraine for further improving academic, scientific, administrative and creative activities.

To the Question of Horror as a Genre of Modern Screen Space

The purpose of the study is to reveal the genre’s peculiarities and ascertain its significance for solving artistic tasks as a separate branch of audiovisual art. Research methodology. In our study, the following methods were applied: analytical is to isolate certain parts of the general problem and study for a full understanding of the subject of research; comprehensive approach is for holistic and versatile coverage of the theme, in particular during the examination of the theoretical section along with research problems; art is applied during the analysis of film works in the Art discourse; comparative is in the research process of genres and subgenres of different years; descriptive is during the study features of genre categories and individual films; dialectical is during the analysis of views, opinions of various film critics and scholars regarding the genre and subgenres. Scientific novelty of the obtained results is that due to analysis and synthesis and the nature of the influence of the horror genre on the perceived person’s worldview, as well as the nature of constructing such a film, the principles of applying authors to the internal The different levels of development of the Worldview Director and spectator. Conclusions. Horror paper as a genre of modern screen space has been investigated. It has been proved that today horror film is one of the most famous and stable genres of Hollywood cinema. His tricks are actively used by other creators, and some films cause a serious cultural resonance. A specific art category plays a decisive role in shaping the new cinematic future. Also there are examples of traditional boundaries of the genre and its crisis situation in work.

Market fundamentals of organization of work in the field of stage and audio-visual arts and production

Market fundamentals of organization of work in the field of stage and audio-visual arts and production

Dissipativity as a Principle of Morphological Transformations of Audiovisual Art

The aim of the paper is to identify major presenting features of dissipativity among cinema, television, and Internet morphologies as morphologies of audiovisual origin.Research methodology. The author uses the ideas of dissipativity researchers such as Hermann Haken, Benoît B. Mandelbrot with his theory of deterministic chaos, P. Buck and others. However, the fundamental work is by I. Prigozhin and G. Nikolis, who introduced the concept of “dissipativity” and combined the process of “dissipating” with the fact of the existence of the unbalanced natural systems.Results. Based on the analysis of the art criticism it is revealed that the effect of the principle of dissipativity on the latest morphologies of audiovisual and multisensory origin is total. Dissipativity is visualized variously in modern, postmodern and post-postmodern morphologies, “increasing” its fluctuation potential and capacity for self-organization. The ontological “openness” of the newest morphological audiovisual systems enhances the “coincidence” of the creation of new artistic forms and genres.If, in cinema art, the processes of morphological “dissipating” were visualized only at the stage of artistic avant-gardism, then postmodern television art showed the ability to complex morphological formation from the first years of its existence. Unlike the previous two morphologies, Internet morphology was definitely a complex self-organizing, “open” system with unstable morphological features.Novelty. An attempt is made at identifying major presenting features of dissipativity among cinema, television, and Internet morphologies. Based on the analysis of the structural elements of audiovisual morphologies, the author reveals the realization of the principle of dissipativity as a sign of transformation of audiovisual art at the present stage.The practical significance. The material in this article can be used in training cinematography and television professionals specializing in 021 “Audiovisual Arts and Production”.

The definition of concept “video hosting on the Internet” in the contemporary audiovisual culture

Relevance of research topic. Video hosting is effective cultural platform and a channel for promoting values, views and ideas and one of the most influential new media now. Further study of its features can predict a person’s cultural views in the future.The aim of the article is to create a modern definition of “video hosting on the Internet”, which will include the cultural significance, achievements and the artistic and aesthetic component of this platform in audiovisual culture.Research methodology uses cultural and art-based approaches to the subject of analysis. The article also uses methods of systematic, comparative and art-study analysis. The author highlights the main features of Internet video hosting in audiovisual culture.The results of terminological exploration of the definition of “video hosting on the Internet” prove that there are several concepts of this term. The author’s concept allows adding to the existing information, sociological and cultural concepts as well as the art-study aspect, which essentially complements the characteristic features of this latest platform / genre form. The article summarizes the previous concepts of definition of video hosting and analyzes the differences and similarities of the above definitions. The author forms her own definition applicable to the field of audiovisual art. The study is based on the analysis of the existing structures and characteristics of video hosting narratives.Novelty. The author proposes a new concept for the definition of “video hosting on the Internet” in the contemporary audiovisual culture.The practical significance. The prospects for further research are related to the study of the art of video hosting on the Internet. The author believes that further research and confirmation of the hypotheses presented can be considered as an overview of the analysis of the general definition of Internet video hosting service and a significant step towards critical thinking of the appearance of new media.

INNOVATIONS IN ARTS AND CULTURAL EDUCATION: EXPERIENCE OF THE KYIV NATIONAL UNIVERSITY OF CULTURE AND ARTS

The features of arts and cultural education in the context of general trends in social development are studied. The issues of professional training of arts and culture-related experts are relevant not only for Ukraine but also for other European countries, which experience attracts the attention of researchers and experts who are trying to apply it in higher school. The purpose of the article is to reveal the experience of MA in education in arts and culture setting, combining traditional and up-to-date programs of study. There is research in the methodology of historical and theoretical analysis and modeling approaches. With all the progressiveness of educational technologies offered by modern pedagogical science, one should not abandon the historical experience in this field. With all the progressiveness and relevance of training technologies offered by modern educational science, one should not refuse from historical experience in this area. The Kyiv National University of Culture and Arts successfully test various educational models, in particular, retro-archaic and creative. The retro-archaic model combines the fringe locality of teaching (teacher) and modern information technologies, thanks to which the recipient does not just receive information, but also “school” oneself. This model is elite, exclusive and exotic, despite its retro-archaic backgrounds. The creative model prevents from providing knowledge as impersonal information. It is especially relevant in the arts and cultural teaching of students that based on the direct share of experience (skill) and the value of interpersonal communication. The university uses both models in the preparation of creative projects by students as one of the forms of graduate qualification work for the degree of master. The scientific novelty of the article consists in revealing the experience of master's art design that meets the key features of modern cultural and creative activity - cultural potential, social-cultural demand, theoretical and framework rationale, aesthetic-art and ethical-educational focus, commercial and recreational-entertaining “performance”. Conclusions. We call such a setting for the formation of project competencies a “crossover point” (in English - “intersection point”, “intersection”) as the principle of preparation and presentation of a creative project. There are test laboratories that work as workshops for teaching arts and culture-related students (audio-visual arts and production, design, choreography, musical art, and stage art). It is developed and tested an “ideal” model for the training of masters in the process of creative and design activity. MA`s creative project contains both research and experimental backgrounds combining design modeling and scientific activity. Conclusions. We believe that it is necessary to develop a creative education research program, a non-aggressive and non-constructive approach based on cultural and historical re-enactment, design-model analysis and creative thinking. It will allow us to form not only a creative personality, but also a creative community, and creative society.

When sounds, colors, and shapes meet: Investigating children’s audiovisual art in response to classical music

This study was designed to investigate children’s audiovisual art, following intuitive listening to complete classical works from different historical periods. The study aimed to examine the effect of different musical stimuli on children’s audiovisual output. Two related questions were asked: (1) How do children visually and verbally represent music from different historical periods? (2) What musical and extra-musical elements are represented? Participants were 181 second graders (age 7.0–8.5). Three compositions were presented: a 12th-century anonymous choral from the liturgical drama “ Danielis Ludus,” Chopin’s prelude op. 28 no. 10, and Bartók’s “ Melody in the Mist” Vol. 4 no. 107, from “ Mikrokosmos.” Each composition is based on distinct musical parameters: vocal timbre, melodic contour, and texture alternations, respectively. Data consisted of 495 audio-graphic productions and related accounts. Analysis progressed in three stages abbreviated MSC: Morphological dimensions, focusing on type of symbols employed; Structural dimensions, focusing on the overall graphical design; and Conceptual dimensions focusing on the generic meanings of the productions. Results indicated significant differences in children’s reactions to each of the three compositions, showing that MSC dimensions are influenced by the type of music presented and that differences in MSC dimensions are statistically significant. Experiencing “audiovisuology” in school is one way of promoting art integration.

Aesthetics of Tho­mas Newman’s Music to “Six Feet Under” TV Series

This article analyzes the aesthetics of modern Western audiovisual art by the example of the opening titles of “Six Feet Under” TV series (2001—2005). This titles sequence, as well as the series itself, were proclaimed as “cult art” and became widely influential in the US television culture. The visuals of the sequence had been created by a team of Digital Kitchen designers on the basis of music by Thomas Newman, who was a trend setter of the soundtrack genre in the 1990s—2010s. This work is of interest, being one of the most significant in modern mass culture, which allows to analyze the aesthetic trends within the postmodern audiovisual art in general. The research is based on R. Barthes’ method of analyzing objects of mass culture, in which the literal meaning of artistic ima­ges and the symbolic one (connotations, metaphors, allegories) are considered separately. T. Newman’s music is ana­lysed by using M. Chion’s view upon soundtrack as both musical work and acoustical image. The article analyzes the coherence between the music, the frame (literal) content of the video, and the connotative (symbolic) meaning of the visual images. The concept of “affect”, taken by the historians-poststructuralists G. Deleuze and F. Guattari from the aesthetic theory of Baroque art, is used to describe similar phenomena in postmodern art. Interviews, additional materials and other sour­ces that tell about the idea of the series’ creators and about its workflow expanded the source base of the study. The audiovisual composition’s analysis revealed the aesthetic techniques of artistic images’ affective (feelings-emotional) transmission, “counterpoint” of allegorical and realistic (naturalistic) images in the visuals and the music, central role of the pairs of images-antithesis (warmth/coldness, movement/static, life/death, and some others). The author concludes that the studied aesthetic model is similar, both in its content and in the form of expression, to the Baroque aesthetics in a modified postmodern form (Neo-Baroque).