Audiovisual Works Research Articles

Mediatising the Lives of Internally Displaced People: Documentary and Cinematic Aspect

The purpose of the research is to prove the importance of publishing successful stories of IDP integration on the screen and in the modern information space, to outline their impact on the life of the host communities, with emphasis on the historical component, to analyse the problems of social and psychological adaptation and integration of IDPs. To establish the relationship between the portrayal of modern migration processes in literary and audiovisual works. The research methodology. The following methods were used: theoretical (analysis of films, information sources, generalisation of information material, determination of the interdependence of the components that form attitudes towards IDPs in general); comparative and analytical (study of the impact of IDPs on the life of host communities); empirical (observation of life and display of various aspects on the screen that can be used for further research). The scientific novelty. For the first time, the problems of socio-psychological adaptation and integration of IDPs are analysed in contemporary screen discourse. A literature review is carried out, and a detailed analysis is made of the interdependence of factors that shape attitudes towards IDPs as active participants in the functioning of host communities. Through the theoretical analysis of audiovisual works, the author establishes the relationship between the representation of modern migration processes in literary and audiovisual works. Conclusions. The article analyses the problems of socio-psychological adaptation and integration of IDPs in contemporary screen discourse. A literature review is carried out, and a detailed analysis is made of the interdependence of factors that shape attitudes towards IDPs as active participants in the functioning of host communities. The author summarises the factors that prove that contemporary cinema presents the issues in sufficient detail, conveying dry facts to the audience and allowing them to understand the psychological aspects of forced displacement.

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

The purpose of the research is to find out the development history of the technical component of audiovisual arts, namely the development of film and television cameras, video and sound recording devices, equipment for editing, colour correction and special effects; to study the components of the evolution of video recording technologies, the dependence of the possibilities of embodying creative ideas in audiovisual works on the current development of auxiliary camera equipment; to analyse the importance of the correct choice and use of the entire available range of shooting and auxiliary camera equipment by the operator. The research methodology is determined by the following methods: theoretical – for studying the relevant literature, scientific research and articles in professional periodicals; collecting and analysing information on the topic, generalisation and typification – for systematising technical and scientific material, selection and analysis – for studying the characteristics of filming and auxiliary equipment, generalising their impact on the implementation of the qualitative and creative components of the visual range, determining the interdependence of filming equipment and the latest technologies. The empirical method is used to describe the author’s experience of working as a cameraman using various filming and auxiliary equipment to create television content. Scientific novelty. For the first time, the influence of the development of camera equipment and auxiliary equipment on the possibility of implementing new expressive forms by the cameraman and achieving a unique pictorial character and style that will correspond to the creative director’s intention in an audiovisual work is analysed. Conclusions. In the course of the study, the components of the video recording technology development were identified; based on special technical publications and the author’s own practical experience, the author has highlighted in detail the dependence of the possibility of practical implementation of the creative idea on the availability of the necessary professional filming equipment, various specialised equipment and modern technologies.

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

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

Raster Manipulations

Abstract Nam June Paik’s artistic experiments, especially the distortion of the electronic image with magnets, from which he started, provide the author a defining example and reference point for his audiovisual work. The possible combinations of analog and digital techniques open up new doors for contemporary media artists. In this artistic statement the author describes some of his own experimental works of art in the hopes of stimulating a discourse on experimentation and innovation.

Copyright Prerogatives in Audiovisual Work: The Documentary

Copyright Prerogatives in Audiovisual Work: The Documentary

Dramatic detail as a tool for developing an audiovisual work

Dramatic detail as a tool for developing an audiovisual work

An Empirical View of the Extent of Exercising the Education Exception to Copyright in Cultural Heritage Institutions

The article presents findings from a study funded by the Estonian Ministry of Justice titled ‘Extent of Use of Educational Exceptions of Copyright in Cultural Heritage Institutions’. The impetus for this work came from the fact that rights-holders, who are not compensated for the use of copyrighted works and material covered by related rights under the educational exception, desire compensation for such use yet data pertaining to the practices of educators conducting education programmes in cultural heritage institutions are scarce. The study’s results are important for the holders of the rights but also for policymakers and for those providing professional-development courses to the educators such that their practices could be fully aligned with the education exception to copyright. A 105-respondent questionnaire – adapted from an instrument used in a similar study that focused on educators in pre-school education, basic schools, upper secondary schools, vocational-education institutions, institutions for professional higher education, universities, ‘hobby schools’, and continuing-education institutions – among educators who are not copyright experts helped answer the question ‘What is the extent of exercising the education exception to copyright in cultural heritage institutions in Estonia?’. The paper explains the quantitative results further in light of focus-group interviews with seven representatives of cultural heritage institutions, of several types. Also, the results of this study are compared with the findings from the earlier one. The results, which shed light on copyright awareness, the form and extent of copying, etc. in relation to literary and reference works, photographs, musical works, and audiovisual works, indicate that Estonian cultural heritage institutions’ reliance on the education exception is in accordance with copyright law and, therefore, significant changes in related policy are unnecessary. However, responses to the survey and interview questions revealed aspects that could be addressed in designing guidelines and professional-development activities for educators in cultural heritage institutions.

A Study of Subtitle Translation from the Perspective of Multimodal Discourse Analysis: A Case of My People, My Country

In the context of globalization, audio-visual works produced by ever-evolving information technology provide a quick and convenient channel for bridging cultural divides and communicating with people from all over the world. People harness these productions not only to satisfy their own entertainment needs but also to gain information about other cultures. As manifold cultures and races become increasingly interconnected, the need for intercultural communication is particularly urgent, and with abundant European and American films and cultural productions taking over the world, the significance of subtitle translation cannot be understated. On the surface, subtitle translation transforms one language into another and puts it on screen at the same time. However, at a deeper level, subtitling involves a wide range of cultural and social contexts in both the source and target languages. Translators need to not only use their translation skills to select words and sentences, but also have a deep understanding of the social and cultural aspects of both languages. This is the only way to smoothly accomplish the language transfer and help the audience accurately make sense of the meaning of the words in the film. At the same time, China has entered a new era and is facing unprecedented changes in a century. Only by spreading its own culture, promoting the achievements of excellent Chinese civilization, and gaining widespread international recognition will it be able to stand firm and progress against the tide of globalization. However, even though Chinese film and television products are constantly being produced and innovated every year, there are certain shortcomings in the dissemination of film and television works and the study of subtitle translation. This thesis takes Professor Zhang Delu’s theoretical framework of multimodal discourse analysis as its perspective and selects the subtitle corpus of the film My People, My Country, which was released around National Day in 2019 to celebrate the 70th anniversary of the founding of the People’s Republic of China, as the object of study. Based on the integrated framework of multimodal discourse analysis, the author carefully selects typical examples from My People, My Country to analyze the effects of multimodal discourse analysis on subtitle translation at the cultural, contextual, content, and expression levels, and investigates how different modalities work together to vividly convey the meaning of the film’s discourse. In conclusion, multimodal discourse analysis theory has injected new momentum into the study of subtitle translation applications, breaking away from the traditional monomodal and symbolic studies and contributing to the international dissemination of more domestic audio-visual cultural products.

What can proper names in the Polish TV series „Rancho” tell us about „our local West”?

The paper offers a description of the names used in four seasons (1–4) of the Polish TV series “Rancho.” The analysis aims to show the mentality of the rural society that lives in Wilkowyje, its characteristics, and its views on political and social changes after Poland’s accession to the European Union. Europe is not the only symbol of the West entering this community. It is also, above all, America, embodied by the fi lm’s protagonist, a Polish woman born in New York. For the local inhabitants, the ongoing changes are puzzling and sometimes painful, which they express vocally in their assessments of the West. Due to the specifics of the fi lm language, proper names are studied in their contexts: in the dialogues between the characters and in the situations in which they find themselves. Occasionally, the interpretation of the onymes also requires a deeper look at the source (the film) from which they originated – as an audiovisual work (film editing, music, acting, visuals, colours, etc.).

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.

Genesis of legal protection of animated audiovisual works

The article is devoted to studying of the history of legal protection of animated audiovisual works in the course of development of technologies for production of such works. The author establishes that the creation of ‘live’ images, which was carried out to conduct scientific experiments in physics and mathematics, eventually became the starting point for the development of animation and cinematography. The history of animation is divided into six main periods. These periods naturally do not coincide with the stages of development of legal protection of objects created by animation and cinematography. It is determined that the stages of animation development as a field of creative activity and a business area are distinguished by the criteria of technology and economic development. They are also associated with the development of cinematography due to the similarity of the production process. The conclusions reflect that it is difficult to divide the genesis of the legal protection of animated audiovisual works into stages due to the diversity of legal provisions in different jurisdictions. Using the example of the evolution of national legislation of certain countries of the world and the provisions of the Berne Convention, the article reveals theoretical approaches to the legal protection of animated audiovisual works. The article provides an overview of the following approaches: 1) protection of a cinematographic work (film) as a dramatic work if it is original and does not infringe the rights of the authors of dramatic works on which it was created; 2) protection of an animated work (film) as a photographic work, according to which protection is provided for a cinematographic work that does not have any features of originality; 3) protection of an animated work (film) as a moving image, which is inherent in US law; 4) protection of an animated work (film) as a cinematographic work, which provides for the protection of such a work as a separate object; 5) protection of an animated audiovisual work, which is a new approach to legal protection. It is concluded that the reason for the diversity of terminology such as cinematographic work, film, moving image, and audiovisual work in modern legislation is the result of the historical ambiguity of approaches to legal protection of this type of work.

Academic Filmmaking in the New Humanities. Video Essays.

The article provides an introduction to the second of a pair of special issues devoted to academic filmmaking, which contains ten video essays and prose guiding texts. The article describes the variety of filmmaking practice in the academy, and some of the venues where examples of the practice are published or exhibited. It gestures at the multiple origins of academic filmmaking with special reference to the tradition of the essay film, and finds a key reflexive moment in Eric S. Faden’s (prose) “Manifesto for Critical Media” (2008), which articulated the challenge of using “image, voice, pacing, text, sound, music, montage, rhythm” to create scholarly audiovisual work. The introduction goes on to set out the aims for the special issues, and to describe the contents of the video essays and some of the features, concerns or approaches shared between and across those contents. The video essays derive from fields including videographic criticism, anthropology, experimental cinema, and participatory and activist filmmaking.

Academic Filmmaking in the New Humanities

The article provides an introduction to the first of a pair of special issues devoted to academic filmmaking, which, apart from this introduction, contains eleven prose articles. The article describes the variety of filmmaking practice in the academy, and some of the venues where examples of the practice are published or exhibited. It gestures at the multiple origins of academic filmmaking with special reference to the tradition of the essay film, and finds a key reflexive moment in Eric S. Faden’s (prose) “Manifesto for Critical Media” (2008), which articulated the challenge of using “image, voice, pacing, text, sound, music, montage, rhythm” to create scholarly audiovisual work. The introduction goes on to set out the aims for the special issues, and to describe the contents of the eleven articles in the first issue and some of the features, concerns or approaches shared between and across those contents. The eleven articles deal with themes raging from academic filmmaking as activism, to vulnerability and embodiment, to the challenges of production and publishing, and of institutional legitimization.

Academic Filmmaking in the New Humanities. Articles. Introduction to the special issue.

The article provides an introduction to the first of a pair of special issues devoted to academic filmmaking, which, apart from this introduction, contains eleven prose articles. The article describes the variety of filmmaking practice in the academy, and some of the venues where examples of the practice are published or exhibited. It gestures at the multiple origins of academic filmmaking with special reference to the tradition of the essay film, and finds a key reflexive moment in Eric S. Faden’s (prose) “Manifesto for Critical Media” (2008), which articulated the challenge of using “image, voice, pacing, text, sound, music, montage, rhythm” to create scholarly audiovisual work. The introduction goes on to set out the aims for the special issues, and to describe the contents of the eleven articles in the first issue and some of the features, concerns or approaches shared between and across those contents. The eleven articles deal with themes raging from academic filmmaking as activism, to vulnerability and embodiment, to the challenges of production and publishing and of institutional legitimization.

An Audiovisual Correlation Matching Method Based on Fine-Grained Emotion and Feature Fusion.

Most existing intelligent editing tools for music and video rely on the cross-modal matching technology of the affective consistency or the similarity of feature representations. However, these methods are not fully applicable to complex audiovisual matching scenarios, resulting in low matching accuracy and suboptimal audience perceptual effects due to ambiguous matching rules and associated factors. To address these limitations, this paper focuses on both the similarity and integration of affective distribution for the artistic audiovisual works of movie and television video and music. Based on the rich emotional perception elements, we propose a hybrid matching model based on feature canonical correlation analysis (CCA) and fine-grained affective similarity. The model refines KCCA fusion features by analyzing both matched and unmatched music-video pairs. Subsequently, the model employs XGBoost to predict relevance and to compute similarity by considering fine-grained affective semantic distance as well as affective factor distance. Ultimately, the matching prediction values are obtained through weight allocation. Experimental results on a self-built dataset demonstrate that the proposed affective matching model balances feature parameters and affective semantic cognitions, yielding relatively high prediction accuracy and better subjective experience of audiovisual association. This paper is crucial for exploring the affective association mechanisms of audiovisual objects from a sensory perspective and improving related intelligent tools, thereby offering a novel technical approach to retrieval and matching in music-video editing.

Construction of a Digital Color Grading Laboratory based on DaVinci Resolve

With the widespread application of digital technology in the field of film and television production, digital color grading plays a crucial role as an essential post-production technique in enhancing the quality and visual appeal of audiovisual works. By adjusting the colors and lighting effects of the footage, digital color grading enables films to better express the director's intentions and emotions, enhancing visual impact and artistic influence. To achieve high-quality digital color grading effects, the establishment of an efficient and reliable digital color grading laboratory becomes essential. This paper focuses on exploring the construction of a digital color grading laboratory based on DaVinci Resolve, aiming to provide valuable references and guidance for filmmakers and promote the popularization and application of digital color grading technology.

Research on the Transformation and Optimization Strategies of Digital Financial Products Empowered by New Media Audiovisual Works

With the booming development of the digital economy, integrated media marketing has become an important means for enterprises to promote products and services. This study aims to explore the role and optimization strategies of integrated media marketing in the transformation of digital financial products, with a particular focus on how new media audiovisual works can empower digital financial products and promote their development towards more efficient and personalized directions.

The Educational Value of Film and Television Music in Middle Schools in the Context of Digital Empowerment

With the vigorous development of digitalization, artificial intelligence, and globalization, the creation, dissemination, and appreciation of music are undergoing profound changes. Particularly in the realm of film and television music, propelled by digital technologies, we are witnessing an unprecedented boom. Not only does it empower emotional expression and artistic elevation in audiovisual works, but it has also become a popular form of music enjoyed by the masses. As a critical arena for music education, secondary schools must keep pace with the times, fully utilize digital resources, introduce excellent film and television music into classrooms, innovate teaching content and methods, and cultivate students musical literacy and comprehensive abilities. This paper intends to explore the dissemination status and educational value of film and television music in secondary schools from the perspective of digital empowerment, analyzing the educational implications of outstanding film and television music works to provide new insights for modernizing music education.

ODNOS DJETETA U TREĆEM RAZREDU OSNOVNE ŠKOLE PREMA AUTORSKOJ TRADICIONALNOJ I AUTORSKOJ MODERNOJ BAJCI

The fairy tale has long been the subject of research during the child's upbringing. A child does not start research alone. The fairy tale was transmitted orally and by reading, and with the advancement of technology, dramatic radio and television fairy tales are available to the child, in addition to domestic audiovisual works, either through animation or film. Nevertheless, the new time brings challenges in every respect, and one will be in the observation of future times. Namely, the generations of children who come to our elementary school are significantly more advanced than the generations of twenty or thirty years ago, and their interests are also different, both in terms of interest in the genre and its form. In this work, we will analyze the interest of children aged eight, in terms of their aspiration towards the author's traditional or modern fairy tale, because as times change, so do the interests of the young, that is, the youngest. Key words: fairy tale, child, identification, character, read

A News Media Representation on Disability and Information Accessibility in China from the Perspective of Critical Discourse Analysis

Based on critical discourse analysis, this paper takes thirty news articles related to disability and information accessibility from three Chinese news media as its research object to explore themes that describe how Chinese news media reflects and constitutes its understanding of disability and information accessibility. By doing this, it intends to reveal the themes of those articles and identify potential prejudices, illusions, and stereotypes that may influence the disability. This paper aims to address the following two questions: 1) What content exists in mainstream Chinese news media concerning disability and information accessibility? 2) What themes do these discourses present regarding disability and information accessibility? The results show that 1) The content of thirty news articles includes introductions, evaluations and advice of apps related to information accessibility, activities promoting information accessibility, audiovisual works with information accessibility, and official policies regarding information accessibility; 2) Five key themes are found in these discourses, which are discourses of problem-solving, criticism, awareness as advocacy, self-congratulations or overly optimistic judgments and a tendency of elderly-oriented over disability. Through the analysis of these themes, this paper concludes with implications to advance the development of information accessibility for disability.