Audiovisual Project Research Articles

Economic models of the formation of audiovisual projects in the creative industries of Ukraine in conditions of increased turbulence

The purpose of the article is to understand the main economic models of the formation of audiovisual projects in the creative industries of Ukraine in conditions of increased turbulence. The object of the research is audiovisual projects in the creative industries of Ukraine in conditions of increased turbulence. The subject of the study is the main economic models of the formation of audiovisual projects in the creative industries of Ukraine in conditions of increased turbulence. The methodology. The research is based on the functional approach proposed by K. Gendron. The study is based on the considerations of the authors (A. Alforov and Z. Alforova) regarding the complex morphology of the modern audiovisual sphere, in which audiovisual projects are part of the actual audiovisual creative industry. The ideas of S. Cunningham, R. Florida and his colleagues, J. Hawkins, S. Galloway and S. Dunlop and others were also used. The results. 1. The following economic models of the formation of audiovisual projects in the creative industries of Ukraine can be distinguished: the model of state financing and formation of projects; model of independent financing; studio financing model; model of partnership agreements and joint ventures; subscription and digital distribution model; model of marketing and sponsorship agreements; 2. In Ukraine, it is currently extremely difficult to use only one economic model for the formation of an audiovisual project; 3. Each stage, from concept to post-delivery and promotion of the project to the market, requires the selection of one or more of these models. Ukraine managed to preserve and develop the achievements of digitalization for production in creative industries at a distance, strengthening of international assistance for the development of creative industries and promotion of creative products to the world market; 4. The current extraordinary turbulence in our country requires creative industries to diversify economic models in the formation of audiovisual projects. The scientific novelty of the research lies in the fact that that several dominant economic models of the modern formation of audiovisual projects in Ukraine are understood not only in the economic, but also in the art history context, since today the creative industries of our country are being reformatted in conditions of increased turbulence and are looking for appropriate ways of preserving the national audiovisual industry. The practical significance lies in the fact that the economic aspect of the development of the Ukrainian audiovisual sphere is still ignored in the domestic specialized art history literature. The material of the article may be of interest to producers, industry managers, scientists and everyone involved in the development of audiovisual projects in our country.

Audiovisual project «Zvukoizolyatsia»: specifics of conceptual and spatial implementation of the compositional and technical principles

The relevance of the study is determined by the insufficient development of the stated problems, the lack of a systematic analysis of projects of electroacoustic and audiovisual synthesis in academic music. The introduction of technical materials from the private archives of the project authors into scientific circulation also seems important. Usually, such «internal» documents do not come to the attention of researchers due to their utilitarian nature in the organizational process of the implementation of a work/project, but sometimes they can open perspectives for the further study of similar artistic phenomena. Most often, large-scale projects, in particular audiovisual ones (requiring the involvement of significant resources to ensure technical organization), are performed «one time only»; mentions of them gradually disappear from the information space. The analysis of the peculiarities of the implementation of audiovisual projects contributes to the systematization and differentiation of existing and new perspectives of the study of this synthetic phenomenon in the modern art history discourse. The main objectives of the study are to reveal the specifics of the implementation of spatial compositional and technical principles and the peculiarities of the implementation of one of the landmark experiments in the field of electroacoustic and audiovisual synthesis, «ZvukoIzolyatsia» project (2011/2012), to understand its significance in the modern artistic space, to outline the particular features of reception of musical-spatial performance. The research methodology: historical and functional method to define and forecast the place and role of the project in the modern art space; analytical method to reveal the specifics of the embodiment of spatial compositional and technical principles; intent analysis to find the author's intentions; the method of theoretical generalization to summarize the results of the research. Results and conclusions. The first and second «ZvukoIzolyatsia» became one of the most daring and vivid experiments in the field of electroacoustic and visual synthesis. In the aesthetic search for musical expressiveness, in the logical regularity of the development of the art of the 21st century, the project covered the most important innovations of the compositional technique of the last century (in particular, the achievements of the electroacoustic avant-garde, the use of real-time sound processing technologies, the application of sonoristic principles that become a category of musical thinking, manipulation of objects which can make sounds, etc.). The expansion of the boundaries of the academic environment or a complete departure from it (in the 2012 project), as a desire to overcome the space of the concert hall, and the involvement of industrial spaces — conventionally marginal — forms a new type of aesthetic disposition (P. Bourdieu). The dialogue with the space is carried out as an action (artistic gesture) aimed at expanding the perception models of artistic expression, thanks to which the horizon of listening expectations is expanded. This leads to the formation of a new aesthetic experience in the recipient, which will potentially influence the reception of other works of modern academic practice. The involvement of VJ technologies creates a new communication situation, creating a fundamentally new conceptual field, which in some cases can act as a mechanism for destroying stereotypes of artistic thinking. Audiovisual synthesis in relation to musical art creates new perspectives for multifaceted work with audio and visual material. Researching the experience of using audio and video technologies, their interaction with the spatial factor contributes to the development of electroacoustic music. The proposed investigation can to some extent serve as a methodological aid in further art studies of audiovisual compositional projects.

Nostophiliac AI: Artificial Collective Memories, Large Datasets and AI Hallucinations

Abstract This article explores the concept of Artificial Collective Memories as an interplay between collective memory and large datasets employed by ai algorithms. A collective memory represents “the recollection of events shared by a group” (Roediger, 2015). It includes lived experiences and human interactions. Contrarily, large datasets used by ai algorithms, such as Large Language Models (llm s) or text-to-image models, are amassed by scraping internet data representing human communication. Those large datasets and the vast number of digitised representations of memories they encapsulate are references to the collective memories they represent, which we refer to as “Artificial Collective Memories”. Using our audio-visual project Nostophiliac ai as the starting point of this discourse and with references to our projects The ai Oracle and ai Reconstructing Realities, we are exploring areas of convergence between artificial intelligence and collective memories. With this article, we aim to enhance our understanding of ai by examining it through the lens of collective memory and, inversely, to obtain fresh insights on human collective memory through observations of generative ai’s applications.

Uninhabited territories: eye-machine, operative images and geopolitical conflicts in the works of Agencia de Borde and Femke Herregraven

This article aims to analyze how the drone - in its prosthetic, machine and automated dimension - and the operative images that emerge from the recording of certain sites intervened with war and extractivist motives generate ecomedial and techno-imaginary ecologies of seemingly uninhabited territories. The above is developed from the analysis of two audiovisual projects: The Landmine Project (2016-2020) by the Chilean collective Agencia de Borde and Prelude To: When The Dust Unsettles by Dutch artist and designer Femke Herregraven (2022). The former explores minefields laid between 1973 and 1983 in the Atacama Desert in Chile, while the latter shows the modus operandi of a digital twin for mining in the Congo. These are seemingly untouchable territories, out of circulation, where, given their imagined future - either as explosive or exploited territory - a drone and its digital eye appear to be the only way to visually access these places, which are presented as inadmissible and uninhabited. Both cases expose geopolitical conflicts that are primarily articulated and mediated through the production and manipulation of images and technical intervention. In this way, the development of the text proposes to think about forms of contemporary violence that take shape through specific visual devices and rhetorics.

The increase of International Audiovisual Productions in Greece - Impact on Tourism and the Greek Economy

In this paper is being examined the growth of international audiovisual productions being partially or entirely developed in Greece and the central role of the Greek public authorities in assisting this tourism-generating industry grow even more. This study tries to pinpoint the most common impediments that the audiovisual media industry confronts when deciding to select Greece as the location for an audiovisual project. Sustainable practices that are proposed aim to further attract and develop analogous initiatives in the Greek territory. Some of the most important benefits of the realization of such projects for the local communities are pointed out such as the increase in income, the creation of new jobs and the general boost of the local economy. The impact of audiovisual productions on tourism is also related to the "film effect" and the contributory role of audiovisual productions to promote a location’s attractions. This paper focuses on the international audiovisual productions industry’s expansion with an emphasis on the positive effects that the cultural-economic audiovisual productions have in strengthening both local economies and the Greek audiovisual sector.

Garibaldi Film Commission: capturing audiovisual projects and audiovisual tourism in the municipality of Garibaldi, RS, Brazil

O artigo tem objetivo de analisar a atuação da Garibaldi Film Commissison e sua relação com o desenvolvimento do turismo cinematográfico no município. Com abordagem qualitativa, a metodologia envolveu um estudo bibliográfico, entrevista e mapeamento das produções audiovisuais. Em relação aos resultados é possível apontar que a criação da Garibaldi Film Commission contribuiu para ampliar o número de projetos audiovisuais, movimentar a economia local e incentivar o desenvolvimento do turismo audiovisual. A variedade das locações, a infraestrutura, a receptividade da comunidade e as parcerias estabelecidas representam aspectos significativos na consolidação da região como um destino film friendly.

Editing as a Creative Director's Method in Modern Audiovisual Culture

The purpose of the article is to analyse the theory of editing in contemporary film and television production. To define the role of the director in the process of editing audiovisual projects. To explore the mechanisms of editing theory. To argue the relevance of the editing principles of contemporary film and television production for today's directorial practice. Research methodology. The methodology of the study is based on the following methods: theoretical – for analysing available information sources and studies, empirical – for systematising own experience. The article uses a systematic and analytical approach to define the goals and strategies of scientific research: using special methods, the author analyses editing as a creative method of the director in creating audiovisual works and outlines the features of editing in contemporary film and television production. The scientific novelty of the study lies in the testing of a scientific problem, in particular, in determining the features of editing, taking into account its research and analysis in contemporary film and television production. For the first time, the author analyses the components of editing in the course of a director’s work on screen production in contemporary cinema. The influence of the director's work on the viewer's worldview and further actions is studied, and a detailed analysis of the use of editing tools in audiovisual works is carried out. The work of the director on the screen work is studied from the point of view of the main creative means of forming and building the dramatic framework of the audiovisual work. Conclusions. Following the goal, the article has analysed the theory of editing in contemporary film and television production. The role of the director in the editing of audiovisual projects has been defined. The mechanisms of the editing theory have been investigated, and the relevance of the editing principles of contemporary film and television production for today's directorial practice has been argued.

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.

THE SCRIPT AS A STRUCTURAL COMPONENT OF THE DIRECTOR’S CREATIVE WORK IN MODERN CINEMATOGRAPHY

This scientific work aims to deeply and comprehensively study the scenarios and the role of the director in the modern cinematographic process with the purpose of revealing the system of their interaction and influence on the creation of cinematic works of art. It is necessary to investigate the screenplay as a structural component of the director’s creative work. In exploring the issues, it is necessary to analyze the importance of history as a fundamental aspect of the film and a key structural element in the creative work of the film director. In this context, carefully consider how the screenplay contributes to the evolution of characters, determines the plotline, and influences the emotional spectrum of viewers. Attention should also be paid to the role of screenplays and the interaction between the screenwriter and the director in the process of creating a film. Research methodology is based on the utilization of the following methods to achieve its objectives. Firstly, the theoretical method is employed for the analysis of scientific publications related to screenplays and genres in cinematography. The method of generalization is used to formulate conclusions based on the analysis of literary sources and processing of acquired information. Additionally, the method of systematization is employed to gather and structure the information used in the research. Overall, the research methodology includes analysis, generalization, and systematization of information, which aids in exploring the issues of screenplays and genres in cinematography from a scientific perspective and formulating well-founded conclusions. This research makes a significant contribution to the understanding of the film creation process and unveils new perspectives for further development in this field. It inspires further research and discussions aimed at optimizing collaboration between screenwriters and directors to achieve even greater innovative and creative potential in cinematography. The article provides a deep analysis of the crucial role that screenplays play in contemporary cinematography. Not only their structure but also the elements directors use in interaction with the storyline during film creation are explored. This in-depth analysis reveals significant aspects that are crucial for working with the storyline in the process of creating an audiovisual project.

Co-creation and learning: an assessment of the pedagogical proposals in collaborative interactive non-fiction

Audiovisual co-creation has always had a pedagogical nature, which has been maintained in its adaptation to digital communication, although it is applied in different ways. This study analyses the pedagogical proposals in collaborative interactive non-fiction in the digital environment, and compares them with previous projects of participatory practices. As case studies we selected five interactive audiovisual projects that stand out for their educational intent and their preparation of teaching resources, and analyzed their pedagogical proposals. First, we looked at pedagogy in pre-digital or analogical collaborative creation, which was used to develop an original analytical table. We used this table to study the five collaborative projects through three identified categories. The results show that these categories continue in initiatives today, although the findings show a shift in the pedagogy about audiovisuals, particularly concerning the technical aspects, as well as a weakening of the connection between learning and participation in the collective production. Finally, we can highlight that combining educational practices with collaborative production on the Internet is important to increase citizen participation and give a social perspective to this audiovisual modality.

Experiences of Guerrilla Cinema in the Quilombo of America

The production and use of audiovisual in and out of the classroom, the social cinema in the communities, and the routes of a black and quilombola cinema in the state of Pará, Amazon, constitute the dialogic perspective of this article, which presents and discusses artistic and pedagogic audiovisual methodologies in the process of involvement of the youth of a black rural community, which led to the creation of the movies “O Quilombo É Meu Lugar, A Minha Casa”, and “A Visita do Padroeiro”, resulting of the partnership between the FICCA – International Movie Festival of the Caeté Region, and the ARQUIA -  Quilombola Remnants Association of the America, located in the municipality of Bragança, in the second largest state of Brazil, between the months of April and December of 2021. The movies were produced in the context of the VI and VII edition of the festival, period which coincided with the COVID-19 pandemic, who intensely affected the quilombola populations, but never broke their spirit of resistence. The participants indicated that the Guerrilla Cinema through the production and propagation of audiovisual projects has been important to the quilombola empowerment and the fight against structural racism. The audiovisual production through the perspective of the Black Cinema can be construed as an innovative means of action research and social transformation.

Women in the documentary industry: Continuing inequality in the streaming age

Assessing women’s role in the audiovisual industry provides us with negative data regarding the number of women in the industry, which are also confirmed when factors such as their prominence or leadership in these audiovisual projects are considered. A quantitative and qualitative analysis was thus undertaken based on the need to examine this problem in depth to determine what is happening in the documentary or nonfiction genre, which has exhibited significant growth thanks to the demand for content from subscription video-on-demand (SVoD) streaming platforms. This research analyzes data on the number, prominence, and leadership of women through a review of the 35 Spanish productions in this genre that were produced and/or distributed exclusively on the three leading platforms in Spain between 2016 and 2021. Accordingly, the 2,099 jobs created by these productions have been evaluated, providing data on the occupations and level of responsibility that women had. The research findings confirm the overall data. In addition, they allow us to determine why, although the documentary genre has been associated with greater opportunities for women, this has not held true within the streaming market, where this genre has achieved a greater impact. This underrepresentation of women is especially prominent in the area of leadership.

Audiovisual gesture and spectromorphology: the Invalid Data W.E.S.T. project

ABSTRACT In this article, we detail a project that seeks to expand the ways in which the concepts of gesture and spectromorphology can be understood and applied in audiovisual projects. We argue that understanding spectromorphology in visual domains requires consideration of the wavelengths of light that give us an image. In this project, the complex interaction between clouds and solar radiation becomes the medium for understanding this concept of visual spectra. Invalid Data W.E.S.T. is a collaboration between media artist Grayson Cooke, audio engineer Ian Stevenson, and the experimental improvising group Wilcox, Encarnacao, Swanton Trio (W.E.S.T.), comprising three Australian composer-performers: Felicity Wilcox (piano), John Encarnacao (guitar), and Lloyd Swanton (bass). In this project, a multi-camera recording of W.E.S.T. in studio performance is combined with Cooke’s exploration of creative uses of satellite data. Satellite images of clouds rendered using infrared light are intercut with in-depth, multi-camera footage of W.E.S.T. captured during improvisation. The resulting audiovisual meditation draws parallels between spontaneous artistic processes, collaborative creation, and environmental phenomena. In this article, we explore how concepts of gesture and spectromorphology shaped the conception, production and post-production phases of the project, and how these concepts can be used to enhance the production of audiovisual work.

Instagram como herramienta motivacional docente: Estudio de caso

La actividad docente conlleva la formación y adecuación constantes en nuevas tecnologías y herramientas para el aprendizaje. El uso de redes sociales en los procesos de enseñanza-aprendizaje es una práctica cada vez más extendida, aunque su aplicación en términos de motivación y comunicación, como instrumento para promover mayor compromiso con el alumnado, todavía está pendiente. La presente propuesta contextualiza el empleo de Instagram como un útil que permite establecer vínculos de confianza entre los integrantes del proceso formativo, posibilitando la adquisición de conocimientos, así como de las competencias transversales asociadas al título de Ciclos Formativos de Grado Superior de Realización de proyectos audiovisuales y espectáculos, impartido en la Universidad Europea de Madrid. Para ello se analizan las publicaciones realizadas en una cuenta educativa gestionada por el docente desde 2017 hasta 2021, de cara a validar su uso y repercusión. Dicho análisis demuestra que los estudiantes demandan este tipo de iniciativas, siendo especialmente útiles en el contexto de trabajos prácticos, en lo relacionado con la información y comunicación de actividades a desarrollar, así como en lo concerniente a la visibilidad de sus proyectos y al fortalecimiento de la motivación hacia los contenidos de la titulación cursada.

Exploring the contemporary Moon Under Water through illustration: nostalgia and the power of the image

This article uses images from the visual essays produced for Plume of Feathers, an audio-visual project, to examine the notion of ‘reflective nostalgia’ as an attitude towards meaning-making within image creation, in particular illustration that can counter certain political uses of images that present a restorative–nostalgic world view. The project at the core of the article is concerned with the decline of public houses and their social function in the UK. However, the image of the pub is embroiled within the visual rhetoric related to the UK’s (2016) Brexit referendum. This article explores the ways in which the illustrated image can provide a different view of the pub that reveals the conceptual construction of the notion of ‘pub’ and offers a critical alternative. The constructed nature of the illustrated image is then explored for its potential to visualize the past differently, following Svetlana Boym’s proposal of reflective nostalgia in The Future of Nostalgia (2001) in order to address problems in the present. The article proposes that reflective nostalgia’s utility as a critical tool lies in its consideration of the key role played by the surface of the image, through the material signifiers of age. As illustrators, embracing these nostalgic triggers when making images allows the viewer to reconnect to the past with critical distance, thereby returning politics to the surface of the image, something that Fredric Jameson saw in Postmodernism, Or the Cultural Logic of Late Capitalism (1991) as recuperated and rendered politically neutral. Illustration is therefore cast as a meaning-making practice that shapes the world it operates within, with the article suggesting that by making nostalgic images, illustrators can exercise their agency as agitators.

Видеопроект по иностранному языку как технология организации самостоятельной работы обучающихся в неязыковом вузе

The aim of the study is to substantiate the effectiveness of such a technology for organising students’ independent work as a video project in terms of foreign language teaching for professional communication purposes at a non-linguistic university. The paper analyses the stages of working with a video project and provides a methodological review of the competencies acquired as a result of students’ audiovisual project activities. Scientific novelty lies in developing a methodology for working on a video project as a part of foreign language teaching at a non-linguistic university. As a result, it has been proved that professionally oriented foreign language teaching at a non-linguistic university through the video project technology increases students’ motivation to work independently.

Audiovisual Assignments as Service-learning for Social Justice in Latinx Communities

Although digital media projects are not new to Spanish heritage language education, the increased digitization of communication during the Covid-19 pandemic has afforded new digital educational opportunities (Guillén, Sawin, & Avineri, 2020). In Fall 2020, in lieu of a service-learning assignment in which students had to be physically present in a classroom context, I created a new final assignment for my SHL course: in small groups, students collaborated (virtually and/or in-person) to create a Spanish-language audiovisual project, such as a short video, to address an issue of social equity that affects Latinxs in Kansas, and they disseminated their work to a local Spanish-speaking public. The students engaged in the project in different phases throughout the semester: planning and investigation, script writing and revising, production, dissemination, and reflection. The assignment allowed them to develop both written and oral communication skills, gain experience working in teams, and connect their Spanish language development with their career goals and with social justice (Avineri et al., 2018). In Kansas, where many of our Latinx students describe having been instructed not to speak Spanish in school or targeted for their use of Spanish in public, students had the opportunity to challenge previously held perceptions and circulating societal and institutional discourses about what they, as children of immigrants, could do with the Spanish language.

Review: Contesting Modernity: Informalism in Venezuela, 1955–1975, edited by Mari Carmen Ramírez and Tahía Rivero, and El Techo de la Ballena: Retro-Modernity in Venezuela, by María C. Gaztambide

Review: <i>Contesting Modernity: Informalism in Venezuela, 1955–1975</i>, edited by Mari Carmen Ramírez and Tahía Rivero, and <i>El Techo de la Ballena: Retro-Modernity in Venezuela</i>, by María C. Gaztambide

Virtudes (e Misterios) and The Inner Memory: Emigration and Return as Identity Fragmentation and an Exercise of Post-Memory in Galician Diaspora

In this paper, we will analyse how Xesús Fraga’s novel Virtudes (e misterios) (2020) and María Ruido’s audiovisual project The inner memory (2002), by creating memory and post-memory of Galician emigration in the 1960s and 1970s, reconfigure the symbolic image of the Galician nation, which has always been defined on the basis of the discourse of mobility and emigration. Both authors, from the fragmentation of intimate memories and through an ambiguous pact with the reader, between the documentary and the fictional, bring us the stories of emigrant women—narratives in which identities are inevitably hybrid, fragmentary and far removed from homesickness as a defining factor of the Galician identity. Emigrant women do not fit into the hieratical traditional identity, which marginalises them because they do not fit the archetype of ‘widows of the living’.

The main methods of introducing design elements and graphics in video

The subject of the study is the process of many aspects of audiovisual creativity that must be taken into account when creating a video. The object of the work is to create a movie trailer through the use of design elements and graphics in the video sequence. The study examines the trailer of a post-apocalyptic fantasy genre called "Genesis", in which the two main characters are depicted as opposites. The work examines and describes in detail all the stages of creating a video trailer for the film, including visual representation (rendering the texture of the central objects, choosing a font to display the title of the film, controlling the movement of actors and moving frames), audio accompaniment of the video sequence (music, voiceover, sound effects). The paper notes that the main goal of all the stages of trailer development considered in the article is to create an audiovisual project of professional quality. The main methods used in the study are visual effects modeling and 3D modeling in Houdini, creating realistic matte paintings in Photoshop and video compositing in Nuke. The main conclusions of the study are those specialized programs that allow you to create a high-quality author's product. This software will become the core of the project, since it is in it that all the elements will be combined into one final clip due to the high-quality integration of various objects of the scene. The novelty of the research lies in the fact that within the framework of the work, the characteristics of the possibilities of working with various video editors and graphic programs were carried out, which together help the creators of movie trailers and other similar products to realize the tasks of entertainment and quality of the projects produced.