Audiovisual Art Research Articles

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

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.

Genre and stylistic features of Ukrainian fiction cinematography of the period of independence

The article is devoted the definition of genre and stylistic features of fiction films produced in Ukraine from 1991 to 2022. Using the analysis of theoretical works on film studies, genre theory, semiology and film history, it is proposed to define the concept of “genre” as a set of repetitive syntactic and semantic structures, the main connections of the genre with the socio-cultural and historical context are outlined. In particular, after analyzing 949 audiovisual projects from the «Base of National Films of Ukraine», which have been created during the period of Independence, it was found that the largest number of produced audiovisual works belongs to the fiction type of cinema. The presence of syntactic and semantic structures of 46 genres has been identified according to the genre and thematic direction of fiction cinematography. It is proved that the most popular genre in production is drama – 25 % of the total number of feature films. This percentage is a significant advantage over the presence of other genres. Analysis of data from the box office of cinema distribution in Ukraine for 2020 has revealed discrepancies between the number of produced films of a certain genre and thematic direction and the preferences of Ukrainian viewers. In this way, the assumption that the predominance of certain genres in the production of Ukrainian audiovisual art reflects the cultural needs of Ukrainians has been refuted. Such a comparison also disproved the claim that the absence of certain genres in the Ukrainian media space testifies to the foreignness of the narrative structure of such films to the cultural characteristics of Ukrainians, because the top five audience preferences include, for example, the horror genre, which is minimally present in Ukrainian production. The results of the study have theoretical and practical significance for film production in Ukraine, and also form a research field for further study of the development of each individual genre present in Ukrainian audiovisual art of the period of Independence.

Cultural orientation of the “mimicry” society. The search for national self-identification in contemporary screen art

The purpose of this article is to study the peculiarities of the behavioral manifestation of Ukrainian screen characters in order to identify qualitative features characteristic of the Ukrainian mentality. This will allow us to determine the themes of screen works that will be relevant for the contemporary Ukrainian viewer, which will improve the qualitative and quantitative characteristics of Ukrainian audiovisual art.
 The methodology. Five scientific sources were studied (one dissertation, one collective scientific work, and three scientific articles), which allowed us to analyze the relationship between the behavioral reactions of the screen character and the nature of fear that was formed in the process of adaptive transformation of society. On the example of the films “The Guide” by Oles Sanin, “The Red” by Zaza Buadze, and “The Rising Hawk” by Leonid Osyka, the main themes and conflicts that characterize Ukrainian identity were identified and formulated.
 The results of the study demonstrate certain stable psychophysical reactions displayed by the screen character in a situation of existential conflict caused by the historical development of Ukrainian society. The nature of fears, as the main instrument of the motivating impulse in the process of forming cognitive, emotional and behavioral reactions, is determined by the level of the scale of the hero’s own identity recognition.
 The scientific novelty of the study lies in the author’s attempt to consider the conflict of the Ukrainian screen hero as a value clash between the goal-setting of a free individual and a society that has undergone adaptive transformations, which is realized through the manifestation of a certain behavioral nature of screen characters.
 The practical significance of the research findings will help in the process of creating new screen works. This will increase the attention to Ukrainian cinema.

A Brief Analysis of English Film Title Translation from the Perspective of the Strategies of Domestication and Foreignization

The film is a highly influential and popular audio-visual art. The title of a movie is the epitome and essence of its content. Films are both cultural arts and commercial products. An excellent film title translation plays an important role in promoting film transmission, which includes social functions such as conveying film information, showing the beauty of language and promoting box office revenue. As the continuous deepening of globalization and the prosperity of the China's film and television industry, there is an increasing number of foreign films entered the Chinese market and some influential and acclaimed Chinese films also accessed to international market. In this process, it is inevitable to involve the linguistic, cultural and aesthetic differences between the source language and the target language. Faced with the cultural differences in translation, the core issue is how to flexibly use translation strategies to have the translation of film titles to be the best. This paper analyzes the application of domestication and foreignization strategies in the process of translating English film titles, and discusses the interrelationship between these two strategies, the effects they achieved respectively and the development trend of them.

CREATIVITY MANAGEMENT WITHIN THE AESTHETICAL SITUATION REGARDING THE IN-REAL OR DIGITAL FORM OF PARTICIPATION IN ARTS: ART RECEIVERS’ PERSPECTIVE

Because digitalisation of the aesthetical experience, a process speeded up by the not-yet-finished COVID-19 pandemic, should be considered in the context of growth or loss of artistry/creativity, this paper aims to assess the influence of the participation form in the aesthetical situation by receivers on the level of artistry/creativity potential loss. Assessment of the quality of participation by the receivers in each of five types of arts (musical arts, performing arts, literary arts, audio-visual arts, visual arts) was done using the same ten criteria for each type of art: satisfaction, pleasure, engagement, the possibility of experiencing catharsis, contact with the artwork itself, contact with the performer itself, comfort of participation, possibilities of shaping the aesthetical experience, own motivation to participate, easiness of participation. The literature review was run using NVivo Pro software. Data analysis (n = 221) was executed using IBM SPSS and Microsoft Excel. Answering the research hypotheses: H1) the digital form of participation in arts determines the level of quality of participation in the aesthetical situation by receivers; H2) the form of participation in art shapes the level of quality of participation in the aesthetical situation by receivers of each type of art differently: in musical arts, performing arts, literary arts and visual arts, in-real participation gives higher quality than digital participation; in audio-visual arts, in-real participation gives lower quality than digital participation. The research results may be helpful for: art creators wanting to choose the optimal way of distributing their artworks; art managers to better understand art receivers’ perspectives and their opinion about participation in arts in real or digitally; art receivers to compare their private opinion about the ways of participation in arts with the general opinion of art receivers.

ЗОБРАЖАЛЬНІ ЗАСОБИ ЯК СКЛАДОВА ЕФЕКТИВНОЇ КОМУНІКАЦІЇ ВІДЕОКОНТЕНТУ НА ВІЙСЬКОВУ ТЕМАТИКУ

<p><em>The article highlights various aspects of visual means of video content on the YouTube channel of one of the leading units of the Armed Forces of Ukraine. It can be argued that this popular type of broadcasting also forms a certain type of mass communication, the target audience of which is mainly military personnel and recruits who consider this or that unit as promising for military service.</em></p><p><strong><em>The purpose</em></strong><em> of the research is to analyze visual media as a component of video content, namely, directing, videographer work, sound accompaniment and editing, to find out their functions in the perception of this content, as a tool for forming a comfortable perception of information on the example of local materials distributed on the Internet.</em></p><p><strong><em>The research methodology</em></strong><em>. In the research process, such methods were used as: systematization, for the study of theoretical material; critical review; analysis (for the study of expressive means of video content); synthesis (to establish a connection between the applications of audiovisual tools and to synthesize the successful experience of their combination); comparison (to compare the same means of information transmission in different video materials), monitoring and observation (to identify specific audiovisual tools).</em></p><p><strong><em>Novelty.</em></strong><em> For the first time, a comprehensive analysis of the visual means of the video content of the military unit intended for public communication, the color solution of the video content, computer graphics techniques and filming was carried out. We considered visual media as a component of video content and clarified their functions and role in information perception.</em></p><p><strong><em>Practical significance. </em></strong><em>The obtained results can find practical application in organizing the work of PR specialists in state structures, military educational institutions, as well as for further research in the field of military communication technology in general. Also, the results can be applied for the factual addition of disciplines related to the subjects of journalism and social communications, in particular, for the specialties «Audiovisual art and production», «Journalism», «Advertising and public relations». In addition, they can be useful as a source base for further scientific, methodical and practical developments to scientific and pedagogical workers of military educational institutions for the creation of educational materials and units for effective advertising to attract volunteers, etc.</em></p><p><em>It was found that a number of visual means of the analyzed video content include (but are not limited to) the following elements: cross-editing, editing by size, aerial photography, first-person view, color correction, etc. All these tools, beyond any doubt, have a significant impact on the formation of citizens’ opinions and effective transfer of experience.</em></p><p><strong><em>Key words:</em></strong><em> visual media, montage, video content, Russian-Ukrainian war, mass media, visual image, cinematography.</em></p>

The problematic space between art, ambition, and gameplay: The Medium and the issues concerning difficult subject matter and gameplay in games

This article identifies and examines a couple of selected issues regarding speculative digital games which endeavor to deal with serious subject matter. Due to the fact that speculative games are exceptionally well suited for symbolic representation of sensitive topics, they allow their creators to conceive ambitious projects that aspire to be great works of audiovisual art. However, because game texts belong to a very specific medium, it is not always possible to realize this ambition in the context of gameplay. For reasons of space and focus this article uses one particular game, The Medium (2021), to serve as the primary example of how the problems which occur in the process of combining specific, engaging gameplay with serious, sensitive subject matter, lead to situations in which a game can fail to fulfill the player’s expectations. By analyzing the structure, gameplay, and storytelling tools employed in The Medium, the article places emphasis on the significance of the possible tensions between the intention of the designers of the game experience and the experiences, ideas, and interpretations the players themselves bring to the game text.

VISUAL CULTURE OF DIRECTING AN AUTHORʾS FILM

The purpose of the article is to define the director's toolkit of frame design in the visual culture of the author's film. A comprehensive approach was used in the development of the topic, methods of systematization, comparison, verification, comparative and textual analysis were used. The analytical method and the method of figurative and stylistic analysis in their unity were directed to the consideration of the art history aspect of the problem. The articles and monographs of scientists who studied the peculiarities of the visual culture of screen arts were analyzed. The articles and monographs of scientists who studied the peculiarities of the visual culture of screen arts were analyzed. It has been found that the researchers are inclined to the opinion that the directors of author's films carry out experiments in the field of pictorial form. The relationship and mutual influence of photographic and audiovisual art is considered. It was found that images in screen arts are the result of collective work and have collective authorship. The features of the visual culture of the author's film are traced on the example of the films of Yuriy Illenko. It has been proven that the visual culture of an author's film directly depends on the worldview of the director. The characteristic features of an author's film are identified, the dominance of the attention of the directors-authors to the artists' specific view of the world, the creation of their own subjective picture of the world, the search for their own visual language, and the presentation of the author's screen form is substantiated. The visual culture of the author's film is analyzed and it is shown that the image, frame design is the main carrier of cinematic expressiveness. It is clarified that the system of expressive means and methods of visual culture of the author's film consists of: compositional construction of the shot; dynamics of motion of the film camera; filming angles; assembly steps; sound, light, color solutions; subject-material environment of the frame; mise-en-scеne; frame design. The scientific novelty of the research lies in the fact that the director's creativity is investigated in the context of the visual culture of frame design and became the subject of a special study for the first time; the appropriateness of using the system method in studying the features of the author's plastic film language has been proven; a comprehensive analysis was carried out and the features of frame design in the author's film work were revealed.

Book remediation in audiovisual arts through the lens of video games

The article undertakes a comprehensive examination of the phenomenon of book remediation through the lens of the theoretical framework presented by American researchers J. Bolter and D. Grusin. Drawing on statistical data illustrating the role of books in the lives of Ukrainians, the author validates the assertion that books no longer occupy a central position in the leisure pursuits of contemporary individuals. However, it is intriguing to note that the majority of today's popular media actively engage in the process of remodeling books. Defined inherently as multimedia, contemporary audiovisual art is characterized by remediation, with video games chosen as the most technologically advanced exemplar within this genre. Notably, the analysis reveals a significant gap in previous research, specifically, the lack of attention to the nuanced connection between the characteristics of remediating books in the context of video games. A key revelation is that the frequency of remediating books through video games is contingent on the genre, with games prioritizing gameplay mechanics over plot exhibiting a lower propensity for book remediation. The form of remediation in such video games is conditional, primarily associated with the intricacies of the game interface. Conversely, in narrative-centric video games, remediation tends to involve a more direct interaction with the book. Expanding beyond the initial scope of inquiry, the study identifies and scrutinizes additional factors influencing remediation. The setting of the game and the player's perspective emerge as crucial variables, with book remediation more prevalent in video games set in fantasy archaic or modern environments compared to those set in fantastical realms. An equally significant factor, rivaling genre influence, is the player's perspective, notably observed in first-person games which exhibit a propensity to eschew hypermedia in their interaction with the game world — a tendency most pronounced in video games leveraging virtual reality technology.

Musical culture of screen direction

The article examines the phenomenon of music in audiovisual art. The work of Ennio Morricone in world cinema is analyzed. This approach made it possible to deeply reveal the role of music in the screen arts and to show the peculiarities of the collaboration between the director and the composer. Signs of collective authorship in the screen arts have been identified, which provoked the emergence of creative tandems, a director-composer. In addition, the director's creativity was studied in the context of the composer's practices of creating music for audiovisual art. Composer practices of Ennio Morricone in different directorial models are analyzed. The main features of the author's style of the composer are revealed, his innovative approaches in creating music for the screen and symphonic music are revealed. The experimental music of a prominent composer is characterized. The main techniques of E. Morricone's tonal music are singled out and the specifics of the use of musical instruments in the artist's scores are clarified. The artist's use of various composing technologies is analyzed. It is substantiated that the composer tried to reform film music and modern music in general. The composer's unique ability to work in a cinematographic production team has been proven. It is shown that sometimes the screen music of the maestro became more popular than the films for which it was written.
 In the development of the topic, the methods of scientific analysis, comparison, and generalization were comprehensively applied. Analytical and systematic methods in their unity were involved to consider the art-historical aspect of the problem.
 As a result, the specifics of the use of musical means in screen arts are determined through the study of creative models of the director and composer, the relevance of using the systematic method in studying the peculiarities of composers' creativity in the context of audiovisual art and production is proven.