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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">vgik</journal-id><journal-title-group><journal-title xml:lang="ru">Вестник ВГИК</journal-title><trans-title-group xml:lang="en"><trans-title>Vestnik VGIK</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2074-0832</issn><issn pub-type="epub">2713-2471</issn><publisher><publisher-name>ВГИК</publisher-name></publisher></journal-meta><article-meta><article-id custom-type="elpub" pub-id-type="custom">vgik-1076</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>ТЕЛЕВИДЕНИЕ. ЦИФРОВАЯ СРЕДА</subject></subj-group></article-categories><title-group><article-title>Современные формы фиксации реальности в формате видеохостинга</article-title><trans-title-group xml:lang="en"><trans-title>Modern Forms of Capturing Reality in the Format of Video Hosting</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Штандке</surname><given-names>А. А.</given-names></name><name name-style="western" xml:lang="en"><surname>Shtandke</surname><given-names>Anastasia A.</given-names></name></name-alternatives></contrib></contrib-group><pub-date pub-type="collection"><year>2020</year></pub-date><pub-date pub-type="epub"><day>07</day><month>02</month><year>2025</year></pub-date><volume>12</volume><issue>3(45)</issue><fpage>134</fpage><lpage>144</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Штандке А.А., 2024</copyright-statement><copyright-year>2024</copyright-year><copyright-holder xml:lang="ru">Штандке А.А.</copyright-holder><copyright-holder xml:lang="en">Shtandke A.A.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://www.vestnik-vgik.com/jour/article/view/1076">https://www.vestnik-vgik.com/jour/article/view/1076</self-uri><abstract><p>В статье анализируется влияние платформы видеохостинга на процессы формирования общедоступных для широкой публики аудиовизуальных фрагментов из обыденной жизни персонажа. Пользователи социальных сетей проявляют неподдельный интерес к жизненным проблемам такого героя, которым, как правило, является автор видеоролика. На конкурсных площадках кинофестивалей отмечается появление номинаций для этого типа экранных произведений.</p></abstract><trans-abstract xml:lang="en"><p>This study examines the impact of video hosting on the processof creating a publicly available record of people's lives. The popular publicnetwork Tik Tok is a platform for creating and publishing short videos. Userscommunicate by creating and posting their own video material. It turns out to bea difficult task to single out meaningful video content from the whole mass of avery bizarre, and sometimes farcical spectacle that has filled the Internet space.Nevertheless, from the total mass of video messages, we can crystallize singleauthors, whose videos offer evidence of the creator’s interest in the lifestyle ofan ordinary man, his workdays, life events, videos which seem authentic andsincere, deal with significant social issues. We observe the of convergence ofthe creative and technical sides of the filming processes, when the authors ofthe video, who also appear as characters, camera operators, editors all in one,provide video content in the public network space.The means of interactive communication with the audience contributes to theemergence of a sense of empathy for the author, who presents reality through theconceptualization of his own experience. The example of the videos by a teenagegirl who found herself in an orphanage and whose means of communicationwith the outside world was a mobile phone camera, demonstrate the demand forthe Tik Tok video hosting platform by the younger generation. The author of thevideo messages, capturing the reality in the form of a confessional monologuewith the viewer, finds strong support from the audience. At festival venues,nominations in the category of videos by amateur users of video platforms arebecoming increasingly common, thus the video hosting platform is consideredas an accessible digital environment offering the possibility to present the issuesof concern for an author. The emergence of Internet platforms for the freeviewing of the accumulated cultural heritage of documentary films will makeit possible to popularize interest in the image of a real hero, whose spiritual andmoral values will contribute to the meaningful recording of reality.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>видеохостинг</kwd><kwd>документальное кино</kwd><kwd>медиафестиваль</kwd><kwd>видеоролик</kwd><kwd>социальная сеть</kwd><kwd>летопись</kwd><kwd>фиксация реальности</kwd></kwd-group><kwd-group xml:lang="en"><kwd>video hosting</kwd><kwd>documentary film</kwd><kwd>media festival</kwd><kwd>video</kwd><kwd>social network</kwd><kwd>chronicle</kwd><kwd>recording of reality UDC 004.9+778.5.01.067.2 Anastasia A. Shtandke Post-Graduate student</kwd><kwd>All-Russian State Institute of Cinematography named after S.A. 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