Open AccessCOMBINATIVENESS OF FRAME COMPOSITION IN THE CURRENT SCREEN SPACE FORMATIONS
Author(s) -
Vladimir V. Shabalin
Publication year - 2021
Publication title -
dom burganova. prostranstvo kulʹtury
Language(s) - English
Resource type - Journals
eISSN - 2618-7965
pISSN - 2071-6818
DOI - 10.36340/2071-6818-2021-17-3-90-100
Subject(s) - composition (language) , frame (networking) , space (punctuation) , construct (python library) , computer science , frame analysis , painting , natural (archaeology) , relation (database) , visual arts , art , sociology , history , content analysis , literature , telecommunications , social science , programming language , operating system , archaeology , database
VENESS OF FRAME COMPOSITION IN THE CURRENT SCREEN SPACE FORMATIONS Summary: The article examines the variability of non-standard frame composition, the displacement and interaction of visual objects, everything that is characteristic and specific to the structure of the screen space. The author focuses attention on the location of objects within the frame, which is experiencing a new actualisation, expressed, only at first glance, in an incorrectly built on-screen construct, when the composition of the frame implies, in some cases, the construction of an image with a change in its essential components. Artist I.Repin’s artworks, on which the faces of the portrayed - R.Levitsky (1878) and P.Samoilov (1915), are depicted closer to the edge of the frame, are presented as illustrative material in this work. Attention is focused on similar features of the embodiment of characters’ images in films (Arrhythmia, directed by B.Khlebnikov, 2017, Russia; The White Crow, directed by R.Fiennes, 2019, UK, France, Serbia), and in the programs of national television. Thus, the phenomenon of non-standard screen composition and the reasons for the increased use of this approach by camera operators when shaping a frame in modern media were considered using examples of paintings, cinematographic films, television materials. As a methodological basis, both theoretical and empirical, general scientific and special methods were used, which made it possible to clarify the properties of the compositional structure of the screen space as a diverse expressive form presenting audiovisual content to the viewer. The research was based on the Photocomposition theoretical course by L.Dyko and A.Golovni, as well as the scientific positions of L.Kuleshov, a director and theorist of cinema. At the same time, the content of the work was primarily determined by the experience of professional activity and the practical participation of the author in the creation of various screen products, including the ones based on which the analysis and theoretical substantiation of the practical necessity of the methods, actively used today in the creation of various screen compositions during the filming process and post-production, were made. The publication will attract the attention of specialists and be of interest to a wide range of readers and viewers since the problem of the combinatorial composition of the frame remains a significant issue in the construction of screen space in the field of television, cinema and the Internet resources.