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The purpose of the article is to determine the place of the sound director in the creation of a global information space that would ensure effective interaction of people, their access to global data resources and satisfaction of needs for information products and services using the content of television programs. The research methodology consists in the application of special methods: source analysis of the main publications on the topic (to find out the level of scientific development of the problem); historical and cultural, which led to a holistic approach to the analysis of the process of the historical development of sound engineering in Ukraine. The work also used general scientific methods: methods of analysis and description, for the general characterization and understanding of the essence of the sound director’s profession. The scientific novelty of the work lies in the fact that for the first time, the process of sound director’s work in modern TV channel programming is highlighted. The process of formation of sound engineering and the sound director’s activity in the Ukrainian cultural space is described. Based on the study of the source base, the author outlines the trends and reasons for the emergence of the sound engineering profession and clarifies the aesthetic foundations of the formation of sound engineering in Ukraine. The article deals with the interaction between technology and art in contemporary culture, emphasizes the interconnection of technical and technological and artistic components in artistic culture, and points to several artistic trends inspired by scientific and technological progress. The qualification requirements for a modern sound director are considered. The issue of rethinking the creative activity of sound directors in the media has been further developed. Conclusions. The review of the source base proved that the work of a sound director on television has many difficulties related to the technical support of studios, the conditions of filming, and the creative process. But also due to the importance of television as a way of communication and a source of information, sound design on TV has prospects for development and improvement.

Idents, the logos appearing in the continuity between programmes, are ubiquitous yet easily missed aspects of channel branding. Focusing on BBC One and BBC Two as case studies, this article traces the evolution of the images and sounds of idents over the past three decades. The approach brings to light the creative contributions of graphic designers and composers by combining data from in-depth interviews with textual analysis of idents. The article highlights relationships between creativity, brand strategy and craft skills in the making of the BBC's idents and, by extension, in communicating the corporation's public purpose and overall brand identity. [ABSTRACT FROM AUTHOR]

The article describes the results of an empirical study aimed at identifying the latest trends in broadcasting and viewing of feature films on leading Russian television channels in 2018–2019. On the basis of the Mediascope database, films broadcast on 29 leading Russian channels for the period from December 31, 2017 to March 10, 2019 were analyzed. 23548 items describing feature films were broadcast on 26 television channels, on average—14.7 a week, 2.1 a day per channel. A total of 5418 feature films were discovered, which were produced by 78 countries and released from 1921 to 2019. Each film was aired 4.3 times on average. Domestic films (USSR and Russia) and films produced by the USA dominate in the number of broadcasts and views. More often the audience prefers films released in the last decade (2010–2019). The largest audience among the sample groups as a whole was attracted by domestic films shown on holidays on the four Russian channels: “Russia-1”, “Channel One”, “NTV” and “STS”. Differences were found in the size of the male and female TV audiences, which, presumably, can be explained by the psychological mechanisms of self-identification with the characters of films. The age-related typology of adult audience (18+ years old) is revealed, including groups of 18–20 years old, 21–59 years old, and 60+ years old and reflects the specificity of lifestyles due to the behaviour characteristics of the Russian young adults, adults and senior citizens with various social backgrounds. В статье описываются результаты эмпирического исследования, цель которого — выявить новейшие тенденции в трансляциях и просмотрах художественных фильмов на ведущих российских телеканалах в 2018–2019 гг. На основе базы данных компании «Медиаскоп» были проанализированы кинотрансляции на 29 ведущих российских каналах за период с 31 декабря 2017 года по 10 марта 2019 года. Выявлены 23548 эфирных единиц, описывающих художественные фильмы, на 26 телеканалах, в среднем на канал — 14,7 в неделю, 2,1 в сутки. Всего обнаружено 5418 названий художественных фильмов 78-ми стран производителей, выпущенных с 1921 по 2019 годы. Каждый фильм транслировался в среднем 4,3 раза. В кинотрансляциях и в просмотрах доминируют отечественные ленты (СССР и РФ) и фильмы производства США. Аудитория чаще выбирает фильмы, выпущенные в последнее десятилетие (2010–2019). Самую большую аудиторию по выборке в целом собирают отечественные ленты, демонстрируемые в праздничные дни на четырех российских каналах — «России-1», «Первом канале», «НТВ» и «СТС». Обнаружены различия в величине аудитории кинотрансляций между мужчинами и женщинами, которые, предположительно, могут быть объяснены психологическими механизмами идентификации с персонажами фильмов. Выявлена возрастная типология взрослой аудитории кинотрансляций (от 18 лет), которая включает в себя группы 18–20 лет, 21–59 лет, 60 лет и старше и отражает специфику образа жизни, обусловленную особенностями поведения россиян разного социального статуса в старшем юношеском, основном работоспособном и пенсионном возрасте.