Audiovisual Works Research Articles

Multimedia Learning Model: Adapting an Image in a Screen Work

In the context of media space digitalization, issues of using multimedia in audiovisual works and in screen arts become increasingly important. Evolutionary processes in audiovisual production form a new system of expressive means, determine the scope of modern multimedia, transforming them into a new communicative space. The article notes that the gap between the intensity of the introduction of this type of creativity and lack of theoretical justification of the process is due to the rapid formation of a new artistic environment, its adaptation and relevance. The purpose of the article is to analyze the exploration of the new type of communicative space, change and adapt the art form when introducing multimedia into the movie plot. The author gives a generalized description of the interaction of the viewer with a work of art, equipped with elements of interactivity, which is represented in the creative dialogue of the artist and the consumer. But the design format involves fundamental knowledge in the field of cinema and practical skills when using technologies in screen arts. In the section on practical techniques for implementing multimedia, the author focuses on the short stories developed by the teachers of the Department of Animation and Computer Graphics for training multimedia directors at VGIK. Taking the work of VGIK students as an example, the article substantiates the integration of theoretical knowledge and practical skills in teaching students whose training is based on common and fine culture in combination with the skills of using digital technology. The article touches upon the education of a multimedia director an auteur and professional, capable of realizing their plan with audiovisual means involving the transformation of screen time and space, which is a difficult but important educational task in digital time.

Curating access, shaping cultural memory: the Czech National Film archive in the era of digitisation

Audiovisual archiving has two main objectives: preservation of heritage and ensuring its accessibility. In this article, I would like to direct the focus especially on the latter. In the framework of cultural memory, I would like to explore the current policies and practices of the Czech National Film Archive (NFA) that govern access to its digitized collections. The adoption of digital technologies has caused profound changes not only in storing of audiovisual works, but also in their exhibition, distribution and sharing. The goal of this article is to review the curatorial processes of the NFA by which the works are selected for priority digitization and digital restoration and to map at least the most important platforms at which digitized content is exhibited or shared. From the point of view of memory, it is meaningful to ask what parts of Czech cinematography are highlighted and why, and also to look at how is the archival footage presented to contemporary public, for example through cataloging, descriptive or interpretive texts and other information that create the framework for its reception.

Villa-Lobos na teledramaturgia

Este artigo analisa os usos de composições do brasileiro Heitor Villa-Lobos nas telenovelas brasileiras. Partimos das minisséries A Muralha e Hoje é dia de Maria; e das novelas Amor, eterno amor e A lei do amor, e das composições usadas nessas obras audiovisuais. Assim como o uso do repertório sinfônico é comum em produções audiovisuais, a obra de Villa-Lobos aparece nessas produções e se mostra eficiente como trilha musical. As características do discurso musical do compositor foram aqui analisadas em relação às novelas e minisséries televisivas selecionadas, apoiadas na teoria das tópicas e da musemática, de Philip Tagg. Conclui-se que, devido às suas características intrínsecas, obra Villa-Lobos se amolda adequadamente à poética audiovisual, razão pela qual se faz presente para além das salas de concerto – para aonde foi inicialmente concebida.

La experiencia encarnada como nuevo horizonte epistemológico y metodológico en la investigación en comunicación audiovisual. Hacia una concepción de la obra audiovisual como dispositivo encarnado

Avanzamos una propuesta epistemológica y metodológica alternativa para la investigación en comunicación que explora dimensiones materiales, procesuales, relacionales, maquínicas, sensoriales y performativas de la obra audiovisual. A través de un ejercicio cartográfico de mapeo de teorías y aproximaciones al fenómeno audiovisual históricamente disidentes, nos alejamos de la concepción textual de la obra adoptando un enfoque procesual que se interesa por la experiencia audiovisual como vivencia existencialmente encarnada y por la obra como dispositivo capaz de generar formas de sentido más allá de los entramados narrativos y los procesos significantes.

Linn da Quebrada: o corpo trans na experiência urbana

Este artigo apresenta uma análise da canção “Mulher”, da artista Linn da Quebrada, veiculada na obra audiovisual blasFêmea, a partir da perspectiva teórico-metodológica da Análise do Discurso de linha francesa. O tema que atravessa a produção é a questão do “ser” mulher a partir da vivência do corpo transexual e periférico, em relação ao espaço urbano, portanto, social, habitado por essa persona. Diante desse emblema contemporâneo, trazemos para o debate a relação entre gênero, sexualidade e espaço urbano, a partir da prática discursiva intersemiótica de Linn da Quebrada, a fim de repensar as formas de construção de identidades de gênero, partindo da desconstrução das cisheteronormatividades, essas dadas como naturais. Faremos a exposição do tema chave, gênero e espaço urbano, aqui, já que nos interessa discutir sobre o papel social que a arquitetura desempenha em nossa cultura, e logo depois faremos uma breve reflexão a respeito dos conceitos utilizados para, então, expormos nossa análise.

Interview-confrontation in the structure of modern audiovisual works

The article is devoted to the analysis of the actual online television and online media form of interactive transmission - interview-confrontation. On the basis of the analysis of the most popular programs based on this type of interview, we determine its genre identity, functional and compositional features, analyze the specifics of the questions. Relied on the content analysis method, the comparative-typological and historical-functional methods, conclusions are drawn about the widespread representation of interview confrontations both on traditional TV and in the sphere of network video blogging. It is emphasized that the peculiarity of the announcement of the topic in the interview is in focusing the negative attitude of the host to the position of the respondent, which is also reflected in the main part in confrontational, concretizing, programming, provocative and other forms of questions.

FEATURES OF "PRODUCT PLACEMENT" (IN AUDIOVISUAL WORKS) LEGISLATIVE REGULATION IN UKRAINE. COMPARATIVE ANALYSIS WITH THE LW OF FRANCE

With appearance of audiovisual works and development of cinema production, we have got a new kind of commercial messages.«Product placement» is among them. Its amount of inclusion to audiovisual works and its budgets, spent for such kinds of messages, increase yearly all over the world.The author investigates the issues that arise with inclusion of «product placement» to audiovisual works, studies the legislative base and main legal acts which regulate the usage of such kinds of messages on the territory of Ukraine.This term is not defined by the legislation of Ukraine, comparatively with the European Union's legislation.Legal practice has shaped different approaches to incorporating «product placement» into audiovisual works from those existing in the theory of intellectual property rights. Therefore, there is a need, for the solid analysis of Ukrainian legislation and the law of practice, as well as the legislation of EU countries, in particular France, to investigate topical issues regarding the implementation of the relevantlegislative norms to the legislation of Ukraine based on comparative analysis of lthe legislation of France.The author highlights the necessity to improve Ukrainian legislation and make it corresponding to the legislative system of European Union. Such comparison is important for definition of «product placement», its borders of usage, necessity to inform the viewers about the presence of «product placement» in audiovisual works with help of pictograms, were included to the legal acts of European Union and started to be included to the national legislation of states-members since 2007.The author emphasizes on the necessity to improve Ukrainian legislation by performing a comparative analysis of Ukrainian and French legislation. Practical importance of given results is connected with opportunity to use them in legislative activity of Ukraine corresponding to current need for new legal acts dedicated to researched problems and further improvement of Ukrainian legislative system connected with inclusion of the term «product placement» to audiovisual works.

The Use of Sound in Contemporary Television and Multimedia: Selected Features

The use of sound in contemporary audiovisual culture is explored, as the issue is topical for Ukraine, especially after the introduction of digital television broadcasting. Emergence of high definition television and the general development of multimedia technologies quickly became popular and outshadowed the traditional television. Therefore, the research is aimed to study creative experiments in the audio field that are faced by professionals in the industry while working on the audiovisual projects. The main objective of the study was to reveal and unfold the specific features of the use of sound in contemporary television and multimedia platforms. The specifics and contemporary state of digital television, its features and characteristics were considered as a basis for the application of sound in audiovisual works; a brief historical review of the establishment of digital television in Ukraine and in the world was made. The possibilities of using sound in modern television are analyzed in detail, their parameters presented in the official documentation of the digital television standard and the spectrum of variants of the use of sound on television and in multimedia are studied, based on examples from the world practice of broadcasting audiovisual projects and work on them. The theoretical basis for the creation of sound canvas in contemporary television and multimedia projects is demonstrated; the importance of development of methods for the use of sound on television, which enhances the overall expressiveness of the work, is outlined. The most vivid examples of the functioning of audio on foreign digital television that can be adapted for Ukrainian realities and used as a visual guide for the implementation of new opportunities for sound engineers while working with audiovisual projects, are presented; the main ways of interaction of the viewer with sound in contemporary audiovisual culture are discovered.

LITERASI VISUAL SEBAGAI DASAR PEMAKNAAN KARYA AUDIO VISUAL

<p>Tujuan umum yang ingin dicapai dalam penelitian ini untuk memahami kemampuan <em>creator</em> dalam mengurai makna (menafsirkan) serta menyandikan (membuat) visual dari karya audio visual berupa film yang berjudul “Mauliate” yang mengangkat budaya lokal Toba. Metode yang digunakan dalam penelitian ini adalah metode kualitatif dengan teknik analisis isi (<em>content analysis</em>). Hasil dari penelitian ini menyebutkan bahwa; kemampuan <em>creator </em>dalam mengurai makna (menafsirkan) serta menyandikan (membuat) visual dari karya audio visual berupa film yang berjudul “Mauliate” masih sangat rendah, karena hampir secara keseluruhan budaya Batak Toba yang hendak digambarkan tidak sesuai dengan budaya asli baik dari segi struktur bahasa, artistik yang mewakili budaya Batak Toba, dan lain sebagainya.</p>

The Format of the Result of Intellectual Activity as an Emerging Object of Intellectual Rights

The article investigates the tendency of “formatization” of the results of intellectual activity that is also taking place in cross-border private law relations. On the basis of the analysis of foreign and Russian legal doctrines, jurisprudence and case law, the author comes to the conclusion about the independence of the format as a result of intellectual activity and about the possibility of using formats not only for audiovisual works, but also for some other categories of intellectual property regardless of protectability of the latter as objects of intellectual property rights. Taking into account the above, the author proposes a definition of the concept “format of the result of intellectual activity” that is generic in relation to the concept of “format of an audiovisual work”. The author substantiates the system of concepts included in the scope of the generic concept “format of the result of intellectual activity.” The conclusion is made that the concept of the format of the result of intellectual activity has a significant potential for development as an independent object of intellectual property.

EU Contractual Protection of Creators: Blind Spots and Shortcomings

EU Contractual Protection of Creators: Blind Spots and Shortcomings

Alicia en el laberinto intertextual: del hipertexto a la pantalla

Este artículo pretende analizar el carácter intertextual de una obra clásica de la literatura infantil y juvenil como es la novela de Lewis Carroll, Alicia en el país de las maravillas. El trabajo presentado consiste en un primer apartado de introducción sobre las nociones teóricas de hipertextualidad e intertextualidad. Posteriormente, nos adentraremos en el análisis de la novela victoriana como ejemplo de texto hipertextual desde dos vertientes: por un lado el concepto de literatura dentro de la literatura que se da en la novela y por otro lado analizaremos las relaciones intertextuales que se producen entre el texto de Carroll y otras obras literarias y audiovisuales tales como la versión cinematográfica de Tim Burton o la novela de Diego Arboleda, Prohibido leer a Lewis Carroll. Finalmente, valoraremos las relaciones de Alicia con textos hipermodales, que permiten comprender mejor la novela decimonónica y ampliar el horizonte de expectativas del lector.

MONETISASI DALAM STRATEGI KOMUNIKASI LINTAS BUDAYA BAYU SKAK MELALUI VIDEO BLOG YOUTUBE

This study aims to understand the convergence of digital media into the reality of peak phenomenon of modern society needs in the present. The popular culture of exploiting new media as a means of monetization obscures the movitation and the purpose of new media itself is created.In the discussion, it will show how the owner of YouTube account Bayu Skak, doing self presentation as a representation of Java community in audio visual works, as well as how monetization runs on the video blogs he created in the media platform YouTube.The researchers concluded that the YouTube Media as one of the popular new media forms clearly offers space for modern society to make money and contribute to capitalism by providing an opportunity for account owners to present himself and work through audio-visual media.

O vídeo independente brasileiro

Trata-se de um estudo historiográfico sobre a videoarte no Brasil a partir de aspectos estéticos e conceituais do vídeo independente. O estudo buscou promover um diálogo com obras audiovisuais, integrantes de ações políticas, que marcaram a postura crítica e de engajamento na década de 1980 e sua inserção na televisão comercial visando à produção do conhecimento histórico a respeito do audiovisual em suas interfaces com outros campos das artes do vídeo. A produtora Olhar Eletrônico é objeto de estudo deste artigo. O corpus analisado é composto de um dos seus quadros experimentais: Ernesto Varela, produzido em 1984 e cujas ironia e empatia são traços de sua reflexão e crítica política.

Sobre la experiencia y el arte de narrar

En el presente trabajo se propone analizar la obra audiovisual Bienvenido, visitante (2008) del artista tailandés Navin Rawanchaikul (1971), a la luz de algunas formulaciones teóricas del filósofo alemán Walter Benjamin (1892-1940). Particularmente, se propone hacer un análisis del texto El Narrador (1936), en el cual Benjamin conceptualiza los términos de narración oral y experiencia. Se entiende que tales conceptos pueden ser interesantes claves analíticas, por cuanto la obra de Rawanchaikul aborda cuestiones como la experiencia del exilio y la identidad en el mundo global, reponiendo los relatos de distintas personas migrantes. De tal manera, el presente trabajo se asienta en una perspectiva interpretativa, en orden a la cual se intentará formular un diálogo en clave benjaminiana entre el arte de narrar y la obra de uno de los artistas asiáticos contemporáneos más resonantes de la actualidad.

The Branding of Jember Tape Chips Products Through Audio Visual Ads

Jember is a district with the geographical conditions of mountains, agriculture, and plantations. The connection between these three characteristics gave birth to a diversity of arts, languages, tourism, and culinary. Utilization of the agricultural sector, especially in the Ajung sub-district, there are people in this area who rely heavily on natural resources, especially in agricultural and plantation resources. This beneficial natural potential makes the people in Ajung Subdistrict, especially in Pancakarya Village, much to build a home industry for processing agricultural products in the form of tape industry. The problem faced by partners is the lack of familiarity of products that are widely owned, thus causing the partner's economy to not be optimal. This problem is the basis of the service program proposed by the proponent to strive to increase the marketing of tape chips. Based on the specific targets to be achieved, the main purpose of the community service activities proposed is to strengthen the brand image of the chips product through audio-visual advertising. The method of implementing this service program is adjusted to the standard operating procedure for making audiovisual works consisting of stages: 1) pre-production consisting of idea-finding, planning, and preparation; 2) production; and 3) post-production. The results of audio-visual advertising of tape chips are expected to be a promotional media for products owned by Koplak Food Homemade Industry so that they can be widely known to the public and build brand image products for tape chips.

What can a process do? A passage from ritual to rituality

In this exposition I try to build new relationships between different creative processes arising from nature, life, and art. This is done by setting up visual, textual, and affective analogies through superimpositions of layers of images, sound, and text based on the book Un Atletismo Afectivo (An Affective Athleticism) (publication on paper, 116 pp, 2016) and the audiovisual work Trenza (Braid) (HD video, 55', 2017). These two works were developed around a particular space, the fields of Aixerrota in Algorta (Bizkaia, Basque Country). The book is an attempt to translate my habitual experience of running through this space into art, while the film mainly focuses on observing and experiencing how the landscape was turned into a space for a festive event. Three separate narrative strands, each referring to a particular process, intertwine. The first of these is filmings of young people's actions as they prepare the space for the International Paella competition. A second strand consists of fragments of a voice-over by David Attenborough from the documentary Bowerbirds: The art of seduction (2000), which shows male bowerbirds building the bowers where they will court the female bird. The third strand includes sequences from my own work, which outline emerging processes of artistic creation and research. The aim of this exposition is to share the singularity of processes in which the need to bond or to attach (Juan Luis Moraza, 2009) instigates a conscientious preparation of space that will allow an event to succeed. It also highlights the way in which some of these processes may interrupt the normal course of things and the self-absorption born from habit by opening up from the individual towards the collective, by confronting the tension resulting from an indeterminate end result, and by re-enacting aesthetic experience through the production of an audiovisual and sculptural landscape. The underlying question of the work relates to the potential of new arrangements of materials to open up new creative processes.

To the Question of M. Chekhov’s Methodology in the Creation of Contemporary Drama Film Work

The purpose of the study. The main theoretical and practical aspects relating to the actor’s skill, as well as identifying the features of the actor’s work on the role in the process of creating the character’s image according to M. Chekhov’s methodology in forming modern dramatic art have been determined. Research methodology consists in applying a systematic and analytical approach for defining the goals and strategies of scientific research, namely using special methods and techniques, which describe the essence and features of individual methodology of creative activities of famous masters of cinema and theatre Anton Chekhov. The scientific novelty consists in creating an image of the character in the modern dramatic cinematography based on M. Chekhov’s professional technology within the given concept. Conclusions. According to the goal of the research, it has been found out that despite the opposite opinions regarding the education of an actor; almost all researchers of actor’s art agree that any professional actor should have a technological base. It includes the use of a speech apparatus, a voice in a dramatic vocal, a body in flexible etudes and dances and other skills, namely analysis and study of the play, roles, creating an image, building an effective character line, determining the hero’s overarching goal, finding the internal monologues, etc. In a scientific study, the actor’s place in an audiovisual work has been found, and it has been determined that the actor is both the creator and tool of his art, the actions he performs, and the material for creating the character’s image. Also in the course of the study, the creation of the hero’s stage image in the play has been analyzed and characterized, and the actor’s work on the role has been revealed.

Promotion of Can Macanan Kaduk Traditional Arts Through Audio Visual Technology

Jember Regency is one of the regencies in East Java Province. Here, the growth and development of the culture are extremely rapid and cultural diversity has spread through the southern and northern regions with its respective uniqueness. The southern region is famous for its Javanese culture and the northern region with its Madurese culture. This has led to a combination of the two cultures, resulting in a performing art that is the combination of Javanese and Madurese culture, known as Can Macanan Kaduk. This traditional performing art is an art in Jember that is still maintained by some people. It is needed to support the creation of this performing art and promote it through audio-visual marketing technology so that it will ultimately become widespread and will be better known by the other people outside of Jember. To realize the program objectives, coaching and mentoring has been carried out, regarding the performing arts management with the artists of Can Macanan Kaduk. We create audio-visual work for them to help promote Can Macanan Kaduk. The promotion materials are based on audio-visual technology, consisting of the documentary film, profile videos, and audio-visual advertisement. Through audio-visual promotion and online marketing in websites and offline marketing in DVDs, it is hoped that this traditional performing art, Can Macanan Kaduk, will be widely recognized and gain stronger attention from foreigners, becoming a traditional performing art that characterizes the cultural identity of the Jember Regency.
 Key Words: Audio Visual Technology, Can Macan Kaduk, Promotion.

ПОНЯТТЯ ТА ОЗНАКИ АУДІОВІЗУАЛЬНОГО ТВОРУ ЯК ОБ’ЄКТА ПРАВА ІНТЕЛЕКТУАЛЬНОЇ ВЛАСНОСТІ

The article is devoted to the study of the legal nature of an audiovisual work as an independent object of copyright. The current legislation, international treaties and foreign experience in the field of audiovisual work protection are analyzed. The basic scientific approaches concerning determination of the legal framework of an audiovisual work are described and the basic characteristics of the latter are formulated. It is revealed that audiovisual work is the result of multi-stage collective creative work. The necessity of assigning an audiovisual work to the category of complex objects of intellectual property law is substantiated. Despite the fact that it covers a number of heterogeneous objects, the latter are united around the sole purpose – the creation of an independent work. Based on the analysis of the features of the collective form of creativity, the appropriateness of assigning an audiovisual work to the category of works that arise as a result of collective creation is concluded. As relations between the persons involved in its creation are regulated by the relevant laws and provisions of contracts concluded between them. In addition, their activities are subject to the sole purpose - the creation of an independent object of copyright. The unity of the leadership, in turn, is ensured by concentrating management activities in the hands of the director. It is noted that for determining the features of audiovisual works, it is necessary to take into account the complexity of its creation, conditioned by a wide range of subjects participating in such a process and the heterogeneous nature of its components. The expediency of separating two groups of features of an audiovisual work is substantiated – characteristics justified by its belonging to works as objects of copyright, as well as features relating to audiovisual work exclusively, and, thus, making it possible to distinguish the latter among other objects of intellectual property rights. It is emphasized that creative character and objective form of expression should be classified as the characteristics of the first type. By contrast, a second group includes the following features: 1) the presence of a series of fixed and interconnected frames (images), analog or discrete signals; 2) the presence of a visual effect of motion; 3) the use of appropriate technical means; 4) intended for visual and auditory perception; 5) the complex and collective character of the creation.