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THE EVOLUTION OF AUDIENCE'S PERCEPTION OF THE ARTISTIC IMAGE IN THE SCREEN ARTS
Yusupova Natalya, UzSIAC, third year of doctoral studies Uzbekistan State Institute of Arts and Culture E-mail: natalee82@list.ru
THE EVOLUTION OF AUDIENCES PERCEPTION OF THE ARTISTIC IMAGE IN THE SCREEN ARTS
Abstract. In this article, historical data of the audience's perception of the artistic image of the screen types of creativity are subjected to reflection and analysis. They are considered in terms of changing conditions, that shape the viewer's consciousness. Internalizing the evolution of audio visualization are exposed to a generalizing characteristic.
Keywords: audio visualization, audio visual image, screen creativity, perception, artistic image, audience, visual evolution.
The entry of mankind into the XXI century was associated with the process of active technical progress, the development of various means of communication, the formation of all spheres of human life. The integration of classical arts with new technologies has led to the fact that audiovisual forms have taken the lead in presenting information. The past decades have changed the surrounding artistic reality beyond recognition, to which mankind has become accustomed for centuries. Various media technologies with wide range of functions and purposes invaded the daily, business and personal spheres of human life, transformed many aspects of human activity. The essence of the concept of entertainment, ways of organizing free time has changed. The life of a modern person is already inconceivable without laptops, mobile communication devices and reproduction of media products of various formats. Without smart phones, tablets and other types of gadgets, the perception of information for a person has become problematic, both in everyday life, in work and in art. In the view of the current situation and in the conditions of the 'information explosion' of the XXI century, the human appreciated and gave its preference to the audio visual mode of data. Due to the simplicity, accessibility and easy understanding of the visual component of information, audio visual culture has a dominant position in the modern society. Audio visual culture means everything that includes audio and visual elements in its structure. First of all, these are types of screen versions: cinematograph, television, the Internet. The reasons of such a vast spread expansion of audio visual culture are in the globalization of arts, high production speed and consumer media products, the primacy ofvisual media in all areas of life.
There are questions: what is audio visual culture? Why is it so popular in the modern world? Why the public refers visual and audio visual means getting information? What are the methods of "visual culture" and visual education of the modern viewer based on? -is the main goal and subject of many modern scientists. The term "audio visual culture" ap-
peared at the joint of such disciplines, as history and theory of arts, theory of cinema, and others. The visual culture is a set of social, individual material and intellectual visual values, stored and functioning as symbols in a certain society and transmitted through visual media. Later the sound joined the visual form of creativity, as we know it happened in the cinema. And since then, audio visualization has begun to exist as a separate art department. And if should be noted that not only exist but shape the consciousness of the viewer. Why the arts with clearly expressed visual component, so quickly won people's mind and found a quick access to the souls and hearts of the audience? While studying the works of art a human's perception is built mostly to inner emotional reaction. Through the vision, the work is introduced into the system of existing values; in the process of reviewing it is multiplied by association communications.
As a result, it turns out that "the image itself is much less strong than the impression received from them". So, the aim of the visual culture is to enrich the inner world of man with visual images, to unleash the ability to create their own visible objects [1, 10-11]. When the image "spoke", the consciousness of the viewer (and to the time of the talking image recorded on the film, the audio visual art already had its audience), was very articulated and ready for the perception of a new art form. The person looking at the screen had tastes and morals. What was at the dawn of cinema, in terms of demonstration, became obsolete after a few years. And the viewer demanded all the new improvements of the beloved art. It should be pointed out, that for the person, living in the XXI century, the phenomenon twinkling from the screen and movements were already a tremendous shock. "Although the films of the Lumieres have been preserved and often shown, we are hardly able to assess the strength of their impact on the audience of the XXI century. We and they have different notions about the image and the degree of its vitality" [2, 45]. From the first violent and unrestrained reactions of the viewer to the fine
Section 3. Study of art
taste formed over the years, many decades passed. The driving force that changed the on-screen audio visual art was not only the technical progress, which was taking leaps and bounds, but also the very changing understanding of art. No one was able to counter the screen. Cinema, and then television - this is the real life itself. Even if speaking with "his" tongue, and looking with "his" sight. Nevertheless, a living, moving image that possesses the gift of speech is the most close to a person, rather than elite classical art. It doesn't mean, that the screen art is worse than the classical one. It only means that there is a separation that could not have been foreseen by filmmakers, who viewed "moving pictures" as a joke and fairground fun.
From cinema the audience's perception passed in its perception into a new television reality. And then the viewer saw and heard a new, rapid, quickly changing art that had taken possession of him for many years and does not let go so far. "There is no doubt that television transformed the prevailing nature of the functioning of audio visual "texts", breaking the monopoly of full-length feature films and returning the screen to the diversity of the early film repertoire. In the program schedule, different screen structures are found: from the "pure" information (messages, read by announcers) to a game epic, structures that intersect and complement each other in the proportion set by the communicator. The dramatic expansion of the field of non-artistic and semi-functional sound messages at the beginning led to the idea of cinema and television on the basis of "art-art", to the idea that television is (only) a means of communication, and cinema is (only) art" [3,249]. Nowadays, with unprecedented speed, various technical innovations are emerging in the field of audio visualization. The viewer's consciousness is formed thanks to the Internet,
television and cinema. It is difficult to say what exactly has more and less influence, since in depends on the age, preferences and level of perception of different groups of viewers. One thing is for sure, the situation in the whole world, where the audio visual information offered by the screen reaches the attention of the audience quickly and easily, has become irreversible. The ability to work with material so that the artistic image is born interesting, fascinating is a whole science. Since artists used to work with clay, stone, colors, and the polyphony of sounds, medievalist artists are now working in the modern screen art. And the results of their creation are provided to the wide circle of the viewers immediately.
Between the viewer and the creator in the on-screen types of creativity there is always an important mediator- screen. This sharply changes the nature of habitual art. And the most importantly, the audience perception has changed. For centuries it was customary that in the classical forms of art, matter that was subject to the listener and the viewer had plasticity in certain limits created by the theatre stage, painter's canvas, and others. However, the peculiarity of the on-screen types of creativity is that the optical and sound equipment now acts as brushes and paints, which create artistic images. Lifeless, at first glance, the technique actually plays the important role of artistic tools. In spite of the fact that the concept of equipment will exclude any objectivity, it is safe to say that everyone knows the names of great cinematographs and sound producers, in whose work one can see the handwriting and the subject view. And this subj ective view of artists, excites the minds of the audience, forcing to delve into the essence of screen art, look for meaning in what they see, believe in the authenticity of images and admire the artistry.
References:
1. Dubovaya N. V. Visual culture in the aspect of modernity // "Development trends of pedagogical science": materials of international scientific practical absentee conference. 2010: SibAC, 2010.- 267 p.
2. Lotman Yu., Tsivyan Yu. Dialogue with screen.- Tallinn: Alexandra, 1994.- 144 p.
3. Razlogov K. E. New audio visual technologies. SPb.: Dmitriy Bulanin, 2011.- 612 p.
