The specifics of visual electronic mass-media and their influence on public opinion formation are considered in the article. Thanks to their technical abilities visual electronic publications ensure so-called “presence effect” – recipient’s feeling of their involvement to what is happening on a TV screen, a monitor or a display and ability to empathize.
The publication states that cinema and its means of expression as art form and human activity branch which can create moving images thanks to modern gadgets. Movie plots became an important visual part of a today media product. Their demand requires not only magnification of quantity indicators in the process of production, but also new approaches to improvement of such products quality, due to the fact that quantity of financial benefits from advertisers and TV channels rating indicators depend on movie plots popularity among the audience.
The publication contains a brief review of research problems source base. The main definitions and characteristic features of movie plots as one of the most important elements of modern visual journalism are considered. Attention is paid to movie plots varieties in modern mass-media. Classification of movie plots according to different characteristics is made.
Movie plots specific features and their production basic elements are analyzed. The article states that another feature of a qualitative movie plot is ability to create its scenario correctly and competently. Views of modern TV journalism theorists and practitioners on movie plots creation according to drama and stagecraft rules are reviewed.
The summary emphasizes on professional aspects of preparation of journalists who would like to specialize in movie plots creation for modern mass-media. Using modern means of information transmission and visualization of events, phenomena and facts, it is possible to change the consciousness of the audience, propagandize political, cultural, social and moral values. But to do these qualitatively and to interest a potential audience journalists need to know the main points of drama, laws and rules of writing movie scripts and varieties and specifics of movie plots.
1. Aristotel. Poetyka / Aristotel. – Kh.: Folio, 2018. – 154 s.
2. Vaino M. Stsenarna maisternist: napysannia piesy; napysannia kinostsenariiu : navch. posib. Knyha 1/ M. Vaino. – Ivano-Frankivsk: Misto-NV. – 2015. –232 s.
3. Hryhorenko V., Bozhko A. Kinematohraf ta ZMI yak osnovni skladovi suchasnoho suspilstva / V. Hryhorenko, A. Bozhko // Tradytsiina kultura v umovakh hlobalizatsii: zberezhennia avtentychnosti ta rozvytok kreatyvnykh industrii. Materialy naukovo-praktychnoi konferentsii (22–23 chervnia 2018 roku). – Kh: «Drukarnia Madryd», 2018. – S.62-64.
4. Hrubych K. Arkhitektonika tekstu televiziinoho literaturnoho stsenariiu: vid Aristotelia do suchasnoho reportera / K. Hrubych // Mova. Suspilstvo. Zhurnalistyka: Zbirnyk materialiv i tez XXV (iuvileinoi) mizhnarodnoi naukovo-praktychnoi konferentsii z problem funktsionuvannia i rozvytku ukrainskoi movy «Mova. Suspilstvo. Zhurnalistyka» (Kyiv, 5 lystopada 2019). – K.: 2019. – S. 51-56.
5. Dmytrovskyi Z. Televiziina zhurnalistyka [navch. posib] / Zenon Dmytrovskyi. – 2-he vyd. – Lviv : PAIS, 2006. – 208 s.
6. Zhytnytskyi A. Dramaturhiia masovykh teatralizovanykh zakhodiv : navch. posib. / A. Zhytnytskyi. – Kh.: KhDAK, 2004. – 128 s.
7. Liebiediev O., Priadko O. Plastychnist kinematohrafichnoho zobrazhennia ta yii skladovi / O. Liebiediev, O. Priadko // Naukovyi visnyk Kyivskoho natsionalnoho universytetu teatru, kino i telebachennia imeni I. K. Karpenka-Karoho. – 2013. – Vyp. 13. – S. 160-168.
8. Kokotiukha A. Yak prodaty stsenarii u kraini, ne zatochenii na komertsiine kino [Elektronnyi resurs]/ A. Kokotiukha. – Rezhym dostupu : https://detector.media/community/article/95017/2014-06-23-yak-prodaty-stsenariy-u-kraini-ne-zatocheniy-na-komertsiyne-kino/
9. Kurinna H. Stsenarna maisternist na telebachenni. Teledramaturhiia : navch. posib. / H. Kurinna. – Kh.: KhDAK, 2013. – 189 s.
10. Kurinna H. Kontsept konstruktsii kinostsenariiu v konteksti amerykanskoi stsenarnoi shkoly / H. Kurinna // Visnyk Khark. derzh. akad. dyzainu i mystets. : zb. nauk. pr. / za red. V. Ya. Danylenka. – Kh.: KhDADM,2011. – Vyp. 3. – S. 180–183.
11. Maksymovych M. Bazovi elementy y osoblyvosti pidhotovky zhurnalista-operatora / M. Maksymovych //Visnyk nats. un-tu «Lvivska Politekhnika». Seriia «Zhurnalistski nauky». – 2018. – Vyp. 896. – S. 78-84.
12. Polska Ya., Cherniavska L. Rol operatora u vtilenni avtorskoho zadumu v dyskursi molodizhnoho TB (na prykladi prohramy «Univer» kanalu «Iunivers-TB») / Ya. Polska, L. Cherniavska // Derzhava ta rehiony. Seriia: Sotsialni komunikatsii. – 2010. – Ch. 1. – S. 151-156.
13. Rykova V. Yak napysaty stsenarii dlia videorolyka? [Elektronnyi resurs]/ V. Rykova. – Rezhym dostupu : https://mavr.ua/ua/kak-napisat-stsenariy-dlya-videorolika/
14. Televiziinyi siuzhet vid A do Ya: dlia pochatkivtsiv i ne tilky [Elektronnyi resurs]. – Rezhym dostupu : http://knukim.edu.ua/televiziyniy-syuzhet-vid-a-do-ya-dlya-pochatkivtsiv...
15. Ferents N. Osnovy literaturoznavstva /N. Ferents. – K.: Znannia, 2011. – 431 s.
16. Kholod O. Osnovy telezhurnalistyky : kurs lektsii / [avt. ta ukl. O. Kholod; avtory: Z. Dmytrovskyi, Yu. Shapoval. – K. : KyMU, 2012. – 121 s.
17. . Yakovets A. V. Televiziina zhurnalistyka: teoriia i praktyka : pidruchnyk /A. Yakovets. – K.: Kyievo-Mohylianska akademiia, 2007. – 240 s.