Screen Arts Research Articles

Советский спор(т): попытки гальванизации эйдосов в нововременных кинокартинах о выдающихся советских спортсменах

The author believes that the so-called cinematic speaking on the Soviet, that is, an array of texts, formulated within the contours of fi lm, television, and other screen arts, is one of the representative sources shaping the domestic discourse of the reception of the Soviet. Within the framework of this work, research attention is focused on the consideration of modern Russian films about the legends of Soviet sports, which, in the area of the abovementioned cinematic speaking, appeal to a number of phrase themes, such as sports, personality, heroism, asceticism, service, and moral values. According to the author, the repetitive nature of references to Soviet sports mythology is associated with the dire need of having some kind of incredible task fulfilled; but, unlike, for example, S. Toymentsev, the author considers this task to be cultural, educational and didactic rather than politically predetermined. The author sees Soviet sports biopics as a good opportunity for a large-scale conversation at the level of everyday consciousness, designed to ensure the galvanization of eidos, re-launch of values and remastering of meanings. However, despite the self-evidently noble nature of such intentions, modern sports dramas are unable to fully realize their mission for a number of reasons. The first reason why biographical films about Soviet athletes do not turn into a guide to action, and their protagonists do not become sought-after role models, is the dramatic discrepancy between the glorified personal qualities of the heroes and the main plots of current popular psychology, which consistently inculcates the cult of hedonism and the so-called ‘positive mindset’. The second reason that determines the emergence of the viewer’s “cognitive lag” is associated with the unanimous silencing in such films of the ideological component of Soviet social relations as a factor that necessarily shapes personality (or the reduction of this factor to requisite and decorative markers): a complex of behavioral patterns, choices and motives thus turn out to be impenetrable to the viewer in the absence of interpretative model. As the third reason, the author names the formal, ‘dotted’ manner of depicting Soviet temporality in “champion fi lm sagas” and comes to the conclusion that unpacking and appropriating the didactic, instructive potential of legendary sports stories is impossible without a thoughtful depiction of Soviet social time.

МЕТОДОЛОГИЯ ИССЛЕДОВАНИЙ ВИДЕОАРТА В РОССИЙСКОМ ИСКУССТВОВЕДЕНИИ

The article is devoted to the review of methodological tools used by Russian specialists in videoart studies. The paper identifies key problems of conducting cognitive activity regarding videoart within conceptual and subject-conceptual discourses, as well as classifies various approaches used by Russian art historians in the study of video artworks. The results obtained allow us to record the current amplitude of variability of researchers’ reflection in relation to video art within Russian art history. The conclusions reached can be used to simplify the entry of novice scholars who are focused on videoart into the existing research tradition, but at the same time, to further problematize it and search for more optimal cognitive strategies for understanding this specific form of screen art.

The stateoftheart in secondary pharmacology and its impact on the safety of new medicines.

Secondary pharmacology screening of investigational small-molecule drugs for potentially adverse off-target activities has become standard practice in pharmaceutical research and development, and regulatory agencies are increasingly requesting data on activity against targets with recognized adverse effect relationships. However, the screening strategies and target panels used by pharmaceutical companies may vary substantially. To help identify commonalities and differences, as well as to highlight opportunities for further optimization of secondary pharmacology assessment, we conducted a broad-ranging survey across 18 companies under the auspices of the DruSafe leadership group of the International Consortium for Innovation and Quality in Pharmaceutical Development. Based on our analysis of this survey and discussions and additional research within the group, we present here an overview of the current state of the art in secondary pharmacology screening. We discuss best practices, including additional safety-associated targets not covered by most current screening panels, and present approaches for interpreting and reporting off-target activities. We also provide an assessment of the safety impact of secondary pharmacology screening, and a perspective on opportunities and challenges in this rapidly developing field.

Characteristics of film music functions in the works of Ukrainian composers of the second half of the 20th century

This article investigates the characteristics of music functions in films from the perspective of their impacts on the development of the cultural and social spaces of the modern world. It highlights the main tasks of film music in the second half of the 20th century, as well as the directions and trends that shaped its evolution. It is argued that these processes were particularly noticeable during this period and stimulated the attention of not only practitioners but also theorists — researchers of screen arts, to explore the functions of film music, its stylistic and genre-specific features, and principles of application in films. The latest trends are examined based on individual examples — works of Ukrainian composers, whose activities were associated with the development of cinema in Ukraine in the second half of the 20th century, which, in our view, has been insufficiently studied. As a result of the research, it has been established that the dominant function of both off-screen and on-screen music in the cinema of Ukraine during the second half of the 20th century is to complement the video sequence and sound, as well as to enhance the emotional component of the visual image. Among the important principles of using music in this context are consistency in unveiling the main idea of the screen work, the thoughtfulness in intensifying conflict, and harmonizing the overall plot line. The fundamental principles of composer’s creativity, aimed at the appropriate implementation of the music function in the cinema of Ukraine in the second half of the 20th century, have been substantiated. The main functions of music in Ukrainian cinema of the second half of the 20th century, revealed in the activities of composers from this period, have been summarized, allowing us to trace the practical implementation of models for the interaction of music and imagery in films.

The Science and Art of Structure-Based Virtual Screening.

Structure-based virtual screening has gained momentum again as the high attrition rate at every stage of drug discovery drives the need to explore a greater chemical space. From the Bayesian perspective, its shortcomings as a viable strategy for sustainable hit discovery are discussed, with regard to the prior hit rates of screening libraries and the performance of computational methods. Lessons are shared in selecting virtual hits for experimental validation learned from a series of eight successful campaigns, one of which impacted the discovery of a drug candidate currently in clinical trials.

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.

ON THE ISSUE OF SOME THEORETICAL ASPECTS OF WORLD AND KAZAKHSTAN FILM MUSIC: GENRE AND FUNCTIONAL FEATURES

The world experience of composing music for films spans over a century, encompassing the creation of scores for films of various genres. Over the course of its existence, film music has solidified its position as an integral part of this form of art. Similar to any specific genre, film music has developed its own set of laws: the power of impact, stylistics, form development, musical language, dramaturgy, instrumentation, principles of functioning, methods of integration with other components of the film, etc.The comprehensive focus on the research subject necessitates the application of a systematic approach, employing multi-disciplinary methods. Historical-art, culturological and analytical methods, which are fundamental in the article, allow to achieve the intended aim. Due to an interdisciplinary approach, the theoretical foundation of the article is based on the works of philosophers, culturologists, art historians, film experts and musicologists, aiming for the most comprehensive exploration of the issue.Film music, serving as a colossal in volume and still insufficiently explored artistic domain, holds particular interest for musicology. It is characterized by a significant array of questions, encompassing both scientific-theoretical and practical issues. The scope of this article includes issues of theoretical principles of film music, including genre and artistic-stylistic features, methods of interaction with visual elements, questions of authorship, instrumentation, the relationship between sound and visual components, problems of form, functioning, etc. Having considered the theoretical aspects of the research subject, it becomes evident that music and sound have become one of the most crucial components of synthetic screen art. The musical structure of a cinematic work presents its multifaceted characteristics, contributing to the fullest realization of the creators’ intentions. The work defines the main terminological categories of the «film music» phenomenon, analyzes the existing systems of foreign researchers regarding the classification of functions, gives a genre description of music in the main types of films and also presents a generalized and expanded classification of the functions according to the criterion of dramatic role.

Социальная проблематика очерков М. Горького о кинематографе в историческом контексте

The research aims to determine the peculiarities of the notion of cinema at the initial stage of its existence. The essays and short stories by M. Gorky published in the newspapers ‘Nizhegorodskii listok’ and ‘Odesskie novosti’ during the All-Russia Industrial and Art Exhibition 1896 and articles of this period published in the Nizhny Novgorod press served as the research material. Classical and new works on Gorky studies and film studies are involved. The research is novel in that it is the first to address the short story ‘Revenge’ and to restore the journalistic context associated with it. Through a comprehensive analysis of Gorky’s essays on cinema and the short story ‘Revenge’, the mechanism of transformation of journalistic texts into a literary one through the problem-thematic and figurative-motivic complexes is traced. The involvement of a wide range of articles in the synchronous press makes it possible to detect the deep involvement of the writer’s works in the contemporary social and everyday context. As a result of the research, the range of Gorky’s texts related to cinema expands, the social origins of Gorky’s attitude to cinema and his notion of screen art as an illusory ideal world opposed to the harsh reality of life are revealed.

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.

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.

The selection of genres and forms in audiovisual art for the recording and artistic reinterpretation of wartime themes

The article studies the representation of war-related themes in cinematography, the selection of audiovisual forms and genres for their expression, and analyzes the influence of war on the development of art in historical and contemporary contexts. An attempt is made to systematize thematic components that filmmakers can use to create audiovisual works about contemporary war events in Ukraine.
 The purpose of the article is to explore the issue of choosing cinematic forms that allow for emotional proximity of the audience to the experience of traumatic wartime events. Additionally, it involves an analysis of the differences in approaches to handling war-related themes in art depending on the temporal distance between the creators and the events. The study draws upon the findings of previous research related to the concept of “postmemory” and examines how this concept can be applied to the development of contemporary cinema by Ukrainian directors.
 The methodology of the research is conducted through a system-oriented analysis and comparison of various forms and genres of screen arts, each of which possesses distinct means of expression for exploring central topics (narrative and documentary cinema, short and feature films, portrait films, and docudramas).
 The scientific novelty of the study lies in the attempt to apply international experience in analyzing the representation of traumatic wartime experiences in works of art, with the aim of projecting the application of these practices in the Ukrainian artistic context.
 The results. The depiction of war themes in art serves as a significant tool for preserving and transmitting traumatic emotional memories across generations. It is precisely the experience of wartime events that becomes pivotal in shaping the national identity, both at the collective and individual levels. In this context, the director’s task is to find the most suitable cinematic form to reveal specific stories. Despite the prevailing opinion in the professional Ukrainian film community and society regarding the inappropriateness of producing fictional films about the contemporary war in Ukraine, research demonstrates that the traumatic experience undergone by Ukrainians today requires documentation, representation, and artistic reinterpretation in close proximity to the ongoing events.
 The scientific novelty of the research lies in the analysis of the application of the concept of “postmemory” and the exploration of ways in which this concept can be used to shape the contemporary cinematic language of Ukrainian directors. Additionally, the article outlines several thematic areas within which modern cinematographers can seek specific stories and characters for their future works.
 The practical significance. Various formats and genres of screen media can be applied for this purpose, including short and feature films, documentaries, and fictional films, as well as works in such genres like portraiture, sketches, and docudramas. The research emphasizes the appropriateness of creating and comparatively analyzing diverse artistic forms dedicated to the theme of war in literature, cinematography, visual arts, music, and more. Regardless of the chosen thematic dimensions in which an author works, it is crucial to remember the power of personal stories and experiences that can provide an understanding of the enormous scale of wartime tragedy.

Features of Preparation of Students of the Secondary Vocational Education System in the Direction of Screen Arts

Features of Preparation of Students of the Secondary Vocational Education System in the Direction of Screen Arts

THEATRICAL ACTIVITY AS A MEANS OF FORMING MUSICAL CULTURE OF FUTURE PRESCHOOL AND PRIMARY EDUCATION SPECIALISTS

The article analyzes the problem of using theatrical activities in the process of forming musical culture of future specialists in preschool and primary education. The purpose of the publication is a comprehensive scientific analysis of the problem of using theatrical activities in the process of forming musical culture of future specialists in preschool and primary education. In particular, the importance of professional training of future specialists in preschool and primary education by means of theatrical activity has been determined. During the research, the following methods were used: theoretical ‒ analysis of regulatory documents and philosophical, psychological-pedagogical, cultural, methodological literature, as well as abstraction, systematization and generalization of data in order to determine the state and theoretically justify the investigated problem; empirical ‒ a role-projective method for studying and analyzing the results of theatrical activity. The significance and influence of theatrical activity on the development of a child’s personality, as well as the importance of preparing students to ensure the appropriate development of children of preschool and primary school age, are emphasized. Attention is focused on the importance of such a characteristic of theater art as the syntheticity (regarding different types of arts and the stage performance of an actor). The issue of forming musical culture of future preschool and primary education specialists by means of various forms and types of theatrical activity is highlighted. The main forms of organizing this process are lecture, practical and laboratory classes (in the disciplines “General pedagogy”, “Fundamentals of culture and speech techniques”, “Fundamentals of stage and screen art with teaching methods”, “Organization of theatrical activities in preschool education institutions”, “Methodology of music education”, “Theory and methods of conducting events and entertainment in PEI”, etc.) and extracurricular forms of students’ the atrical activities (theatre studio, theater circle, etc.). Mini-creative projects, which can be a component of control classes of any discipline or be used as an independent type of theatrical activity of extracurricular forms of work, are defined as important types of theatrical activity for the formation of future specialists’ musical culture.
 Keywords: formation of musical culture; future specialists of preschool and primary education; theatrical activity; children of preschool and primary school age; forms of work organization; professional training of specialists; types of musical activities; creative mini-projects.

Music as an Element of the Screen Language of the Director. Part 2. Ennio Morricone's compositional practices in screen directing models

The purpose of the article is to determine the peculiarities of the use of music in the screen plane through the study of artistic director-composer tandems. Research methodology. In the development of the topic, the methods of scientific analysis, comparison, and generalisation were comprehensively applied. Analytical and systematic methods in their unity were involved to consider the art-historical aspect of the problem. The scientific novelty of the research lies in the fact that the director's creativity is investigated in the context of composer practices of creating music for audiovisual art; the appropriateness of using the systematic method in studying the features of composers' creativity in the context of audiovisual art and production has been proven. Conclusions. The materials presented in the article expand the arsenal of knowledge regarding the specifics of the co-creation of the director and composer in the screen arts and enable their application in educational courses, the creation of educational and methodological literature on the theory and history of music, film and television, directing, composition.
 Keywords: musical art, composer's practices, screen arts, directing creativity, musical image, symphonic music, composer's technologies.

Film and Series Production as a Result of Collaboration Between Director and Producer

The purpose of the article is to analyze the functions of a director and a producer in contemporary film and series production; to determine their interaction and complementarity during the period of collaboration on a work; to establish the role of professionals in these specialties in preserving the main idea and concept of the film; to identify the best options for combining efforts for the successful implementation of the project. Research methods. The following methods were used: theoretical (analysis of the creative activity of directors who were also producers of their films, comparison of director and producer specialties in contemporary film and series production, observation of the transformation of the studied professions over the past twenty years); empirical (systematization and organization of personal knowledge and skills gained during the preparation, production, post-production and promotion of Ukrainian films and series); practical (the article presents and analyzes the author’s own experience of collaboration). Scientific novelty. For the first time, the topic of the interconnection of the specialties of director and producer in film production is explored, in determining the features of each of the above qualifications, taking into account the facts’ analysis of Ukrainian and world cinema and the experience of prominent personalities who create the screen art of today. For the first time, the author analyses the interpenetration of the professions of director and producer based on his practice and studies the integration of these professions in the period of globalization and the unification of world cinema markets. Conclusions. In accordance with the aim, the article analyses the peculiarities of the specialties of a director and a producer in contemporary film and series production. Their complementarity and interaction during the period of cooperation on a work is determined. The role of the above-mentioned professionals in preserving the main idea and concept of the project has been revealed. The importance of the ability to accept changes, join forces, and bring the project to completion under any circumstances has been proved.

Interpretation of Ballet Art Through Screen Directing Means

The purpose of the article is to carry out a holistic analysis and determine the specifics of directorial means of interpreting ballet art in showing the formation of an artistic personality and delineating scientific guidelines that will contribute to studying the phenomenon of ballet directing in the screen and stage space. Research methodology. The research used an interdisciplinary approach based on the following general scientific methods: induction, deduction, complex art analysis, and synthesis, which contributed to the elaboration of a broad factual basis of the screen interpretation of ballet creativity in the context of the formation of the ballet personality of the performer. Argumentation of the uniqueness of ballet directing in the context of screen art was provided by using methods of systematization and generalization. The typological method helped to consider common artistic principles in the creative pursuits of masters of screen and stage art. Analytical and systematic methods contributed to the study of the art history aspect of the problem. Scientific novelty. The article systematizes and expands scientific ideas about the place and role of screen and stage directing in the system of humanitarian knowledge. The art of directing is defined as a universal type of artistic and aesthetic activity; the mutual influence is clarified and the mutual enrichment of theatrical and audiovisual arts in the development of directing tools is shown. Conclusions. It has been found that the directors' screen creativity expands and deepens knowledge of ballet art, and gives impetus to the active development of the ballet masters’ creativity, ballet performers in the stage space, in particular, in the production of musicals.

Music as an Element of Director’s Screen Language. Part 1. Sergio Leone and Ennio Morricone: Creating a Musical Image as Basis for Creative Tandem

The purpose of the article is to determine the peculiarities of using music in the screen plane through the study of artistic tandems of director-composer. Research methodology. The methods of scientific analysis, comparison, and generalisation were comprehensively applied in the development of the topic. Analytical and systematic methods in their unity were used to consider the art historical aspect of the problem. The scientific novelty of the research is that the director's creativity is studied in the context of composers’ practices of creating music for audio-visual art; the appropriateness of using a systematic method in studying the peculiarities of composers' creativity in the context of audio-visual art and production has been proven. Conclusions. The materials presented in the article expand the arsenal of knowledge regarding the specifics of co-creation of a director and a composer in the screen arts and enable their application in educational courses, creation of educational and methodological literature on the theory and history of music, film and television, directing, and composition.
 Key words: musical art, composer, screen art, directing creativity, musical image, creative tandem, musical instruments.

Frame Design in Visual Culture of Contemporary Filmmaking.

The purpose of the article is to define the artistic and aesthetic toolkit of frame design in the visual culture of auteur film directing. Research methodology. In developing the topic, an integrated approach was applied, in particular, the methods of systematisation, comparison, verification, comparative and textual analysis were used. The analytical method and the method of figurative and stylistic analysis in their unity were aimed to consider the art historical aspect of the problem. The scientific novelty of the research is that the director's creativity is studied in the context of the visual culture of frame design and for the first time became the subject of a special study. The appropriateness of using the systematic method in studying the features of the author's plastic film language has been proven. A comprehensive analysis has been conducted and the features of frame design in the author's film work have been revealed. Conclusions. The materials presented in the study expand the arsenal of knowledge about the specifics of the visual culture of the author's film language in various worldview models and enable their application in educational courses, the creation of educational and methodological literature on the theory and history of cinema and television, directing. Key words: visual culture, author's cinematography, director, frame, design, screen art, composition, colour.

Director’s Techniques of Recreating Circus Culture on the Screen and in the Arena

The purpose of the research is to expand scientific ideas about the significance of the culture of circus and film directing in the system of humanitarian knowledge. Research methodology. The researcher applied an interdisciplinary approach based on the use of the following general scientific methods: induction, deduction, identification, complex art analysis, and synthesis to define the culture of directing as a universal variety of artistic-aesthetic and creative-production activity. These methods made it possible to work out the factual basis of the reproduction of circus productions on the screen and in the arena. The methods of systematization and generalization were used to argue for the originality of circus directing in the context of audiovisual art. The typological approach was applied to examine common artistic principles in the creative search for circus and cinema art directors. The scientific novelty of the research lies in defining the culture of the directing profession as a universal type of artistic activity; identifying and an in-depth analysis of the factors influencing the artistic and aesthetic potential of adapting a circus performance on the screen; revealing specific canons for building film and television films based on circus creativity; clarifying the mutual influence of circus and screen arts in the development of directing culture; expanding scientific knowledge about the place and role of screen and circus directing in the system of humanitarian expertise at the present stage of social development; defining directing as a universal multi-vector type of artistic and aesthetic, creative and production, moral and ethical, educational activity. Conclusions. The researcher substantiates that the creativity of film and television directors develops and expands knowledge about circus art, and gives impetus to the development of creativity of directors and circus performers in the screen space. The materials of the scientific article enrich the arsenal of knowledge regarding the specifics of the production and distribution of circus performances by means of screen arts in society and can be applied in educational courses, the creation of educational and methodological literature on the history and practice of the circus, the theory and history of cinema and television, directing, producing.

Transmedia discourse in the digital age: exploring radical intertextuality, audiovisual hybridization, and the "aporia" of homo medialis

This article explores the evolution of transmedia discourse, a trend that emerges from the interplay between technological advancements and the modern individual's worldview, and its impact on contemporary media practices. The study focuses on the principles of radical intertextuality in convergent and television journalism, demonstrating how these principles contribute to the development of performativity, extraction, media symbiosis, and hybridization processes in screen arts. Additionally, the article delves into multimodal storytelling techniques, shedding light on the increasing demand for non-linear narratives and aesthetic models. The analysis concludes with an examination of the "aporia" of homo medialis within the context of digital anthropology, emphasizing the need for a better understanding of the human experience and identity in an increasingly interconnected digital landscape. The results of this investigation provide valuable insights for media scholars, industry professionals, and educators, with a focus on adapting to and leveraging the ever-shifting media landscape.