Suchergebnisse

In both general humanitarian studies, as well as political studies, the concept of language has a large importance. However, considering any language could be stripped down to a (seemingly more basic) notion of code, actual studies of code as an important aspect of international political communication are scarce, despite it is rather obvious that they have much potential in terms of both practical use and theoretical dwelling. In specific case of this article (and, in wider sense, preceding research by authors) the problem to dwell upon is how such codes could be translated.Translations developed to a quite high level over thousands of years and now appear quickly and conveniently, of certain texts and in needed languages. Level of knowledge of the foreign languages among world's population is also progressing, as well. And yet, even in such conditions language barrier, whether it gets thicker or thinner at some places, diverse in its shapes and forms, remains. But there is an idea of a language which is understandable anywhere in the world: analogue of a text, in which at least some key elements would be understood by anyone, won't be lost in translation, no matter which language was it written in. As we mentioned, operating at a level of sub-text, it could be really more adequately referred to as a universal code, but within the practice of audiovisual media it is indeed often called a language.Audiovisual media, fixation of images on film or videotape and digital images as well is what we mostly talk about in this scientific work, because with civilization evolving we become more and more dependent on what was said in that language, spend more time not only searching for new ways, but developing old, as well. Audiovisual media, in that regard, is produced in almost every possible language, including fictional ones. Internet Movie Database (IMDb) divides languages which are specified as used in different listed audio-visual works into common languages and less-common languages, effectively avoiding the notion of non-common and emphasizing that regardless of how common language is, importance of it in the audiovisual media is entirely a decision of creators.Political studies are, to some point, is a glue, that bonds together different aspects of developing and classifies them accordingly to some wide-spread political doctrines. Knowing how such doctrines inspire certain concepts in the everyday life of the state, how they transform in society's conscience and eventually inspire nation-wide processes is what political studies should concentrate upon and that also might include inspiring the needed and very welcome change in what is known as technology-enhanced language learning (TELL). Studying universal code of audio-visual media in the contexts of International political communication should be taken into consideration in TELL and research thereof, as nowadays people tend to be much more politically involved with the use of Internet and social networks as instruments of political influence, discussion and education – wider then ever and yet also much more restricted then before. Correlation between audio-visual media and new media social platforms, such as Reddit seem to be overlooked and under-researched. Present-day learners are represented mostly by the members of the Facebook/YouTube generation which is more visually developed than whichever of the previous generations. For this generation, online communication via exchanging static and moving images is just as important as face-to-face interaction, often offering knowledge-exchange opportunities. Their expectations strongly influence the modern teaching style by demanding more and more visual aids (first of all films) especially in teaching foreign languages.For political studies in the international relations, audiovisual media, while not exactly being terra incognita, is a place of only a certain level familiarity, which could and should be enriched by further research, as security of the situation pretty much depends on intricate processes of international communication witnessed in a conglomerate of social media and audiovisual media. Already, a situation of hybrid war forming within our own country dictates the need of closer filtration of information provided to us through the social networks, which nowadays, primarily, tend to use audiovisual format to stay fast and relevant. Relevancy of audiovisual media, its whole survival through the years and even decades (centuries are certainly out of question as audiovisual media is much younger then printed one) depended on being fluid, adaptive and developing a very transformative and unique system of approaching the unsuspecting audience from every corner. That resulted in supposed simple entertainment becoming not just one, but several multibillion industries, which intervene in unexpected way when it comes to presenting actual events and then distorting the accounts in latter, fictionalized attempts. ; У статті розглянуто окремий випадок аудіовізуального медіа у зростаючому сегменті політичної науки, який вивчає міжнародну політичну комунікацію. Спеціальна увага приділяється такому інструменту комунікації, як коди та їх універсальність, включно з вивченням інтерпретацій аудіовізуального медіа в контексті політичної комунікації.

In both general humanitarian studies, as well as political studies, the concept of language has a large importance. However, considering any language could be stripped down to a (seemingly more basic) notion of code, actual studies of code as an important aspect of international political communication are scarce, despite it is rather obvious that they have much potential in terms of both practical use and theoretical dwelling. In specific case of this article (and, in wider sense, preceding research by authors) the problem to dwell upon is how such codes could be translated.Translations developed to a quite high level over thousands of years and now appear quickly and conveniently, of certain texts and in needed languages. Level of knowledge of the foreign languages among world's population is also progressing, as well. And yet, even in such conditions language barrier, whether it gets thicker or thinner at some places, diverse in its shapes and forms, remains. But there is an idea of a language which is understandable anywhere in the world: analogue of a text, in which at least some key elements would be understood by anyone, won't be lost in translation, no matter which language was it written in. As we mentioned, operating at a level of sub-text, it could be really more adequately referred to as a universal code, but within the practice of audiovisual media it is indeed often called a language.Audiovisual media, fixation of images on film or videotape and digital images as well is what we mostly talk about in this scientific work, because with civilization evolving we become more and more dependent on what was said in that language, spend more time not only searching for new ways, but developing old, as well. Audiovisual media, in that regard, is produced in almost every possible language, including fictional ones. Internet Movie Database (IMDb) divides languages which are specified as used in different listed audio-visual works into common languages and less-common languages, effectively avoiding the notion of non-common and emphasizing that regardless of how common language is, importance of it in the audiovisual media is entirely a decision of creators.Political studies are, to some point, is a glue, that bonds together different aspects of developing and classifies them accordingly to some wide-spread political doctrines. Knowing how such doctrines inspire certain concepts in the everyday life of the state, how they transform in society's conscience and eventually inspire nation-wide processes is what political studies should concentrate upon and that also might include inspiring the needed and very welcome change in what is known as technology-enhanced language learning (TELL). Studying universal code of audio-visual media in the contexts of International political communication should be taken into consideration in TELL and research thereof, as nowadays people tend to be much more politically involved with the use of Internet and social networks as instruments of political influence, discussion and education – wider then ever and yet also much more restricted then before. Correlation between audio-visual media and new media social platforms, such as Reddit seem to be overlooked and under-researched. Present-day learners are represented mostly by the members of the Facebook/YouTube generation which is more visually developed than whichever of the previous generations. For this generation, online communication via exchanging static and moving images is just as important as face-to-face interaction, often offering knowledge-exchange opportunities. Their expectations strongly influence the modern teaching style by demanding more and more visual aids (first of all films) especially in teaching foreign languages.For political studies in the international relations, audiovisual media, while not exactly being terra incognita, is a place of only a certain level familiarity, which could and should be enriched by further research, as security of the situation pretty much depends on intricate processes of international communication witnessed in a conglomerate of social media and audiovisual media. Already, a situation of hybrid war forming within our own country dictates the need of closer filtration of information provided to us through the social networks, which nowadays, primarily, tend to use audiovisual format to stay fast and relevant. Relevancy of audiovisual media, its whole survival through the years and even decades (centuries are certainly out of question as audiovisual media is much younger then printed one) depended on being fluid, adaptive and developing a very transformative and unique system of approaching the unsuspecting audience from every corner. That resulted in supposed simple entertainment becoming not just one, but several multibillion industries, which intervene in unexpected way when it comes to presenting actual events and then distorting the accounts in latter, fictionalized attempts. ; У статті розглянуто окремий випадок аудіовізуального медіа у зростаючому сегменті політичної науки, який вивчає міжнародну політичну комунікацію. Спеціальна увага приділяється такому інструменту комунікації, як коди та їх універсальність, включно з вивченням інтерпретацій аудіовізуального медіа в контексті політичної комунікації.

Article dwells on the need of studying of universality of certain components of audiovisual media, first of all movies, as a cause and possible instrument of international political communication. Emphasized is the insufficient level of research of that very problem in the context of political studies, which ensures certain difficulties in formulating political components of the international political communication evident in the case of movies. Examples of such an influence are presented in the article both through historical discourse and modern times. Proposed is the string of concept terms among which a universal code of movies – a certain informational component of audiovisual productions, which is understandable independently of its textual basis. ; В статье идет речь о необходимости изучения универсальности определенных компонентов аудиовизуального медиа, в первую очередь – кинематографа, как фактора и возможного инструмента в международной политической коммуникации. Отмечается недостаточная изученность этой проблемы в контексте политических наук, из-за которой имеется определенная сложность в формулировке именно политических составляющих международной коммуникации, существующей в случае с кинематографом. Приводятся примеры такого влияния, присутствующие как в историческом дискурсе, так и в современности. Предлагается ряд терминов-концепций, среди которых – универсальный код кинематографа как определенная универсальная информационная составляющая аудиовизуальной продукции, которая понятна безотносительно текстового наполнения. ; У статті йдеться про необхідність вивчення універсальності певних компонентів аудіовізуальних медіа, і у першу чергу – кінематографу, як чинника та можливого інструменту у міжнародній політичній комунікації. Наголошується на недостатній вивченості цієї проблеми у контексті політичних наук, через що існують певні складнощі у формулюванні саме політичних складових міжнародної комунікації, наявної у випадку з кінематографом. Наводяться приклади такого впливу, присутні як в історичному дискурсі, так і у сучасності. Пропонується низка термінів-концепцій, серед яких – універсальний код кінематографу як певна універсальна інформаційна складова аудіовізуальної продукції, яка зрозуміла без залежності від текстового наповнення.

Article dwells on the need of studying of universality of certain components of audiovisual media, first of all movies, as a cause and possible instrument of international political communication. Emphasized is the insufficient level of research of that very problem in the context of political studies, which ensures certain difficulties in formulating political components of the international political communication evident in the case of movies. Examples of such an influence are presented in the article both through historical discourse and modern times. Proposed is the string of concept terms among which a universal code of movies – a certain informational component of audiovisual productions, which is understandable independently of its textual basis. ; В статье идет речь о необходимости изучения универсальности определенных компонентов аудиовизуального медиа, в первую очередь – кинематографа, как фактора и возможного инструмента в международной политической коммуникации. Отмечается недостаточная изученность этой проблемы в контексте политических наук, из-за которой имеется определенная сложность в формулировке именно политических составляющих международной коммуникации, существующей в случае с кинематографом. Приводятся примеры такого влияния, присутствующие как в историческом дискурсе, так и в современности. Предлагается ряд терминов-концепций, среди которых – универсальный код кинематографа как определенная универсальная информационная составляющая аудиовизуальной продукции, которая понятна безотносительно текстового наполнения. ; У статті йдеться про необхідність вивчення універсальності певних компонентів аудіовізуальних медіа, і у першу чергу – кінематографу, як чинника та можливого інструменту у міжнародній політичній комунікації. Наголошується на недостатній вивченості цієї проблеми у контексті політичних наук, через що існують певні складнощі у формулюванні саме політичних складових міжнародної комунікації, наявної у випадку з кінематографом. Наводяться приклади такого впливу, присутні як в історичному дискурсі, так і у сучасності. Пропонується низка термінів-концепцій, серед яких – універсальний код кінематографу як певна універсальна інформаційна складова аудіовізуальної продукції, яка зрозуміла без залежності від текстового наповнення.