Abstract
February 16, 2018 Leonid Parfenov, after a long and prolonged resistance, created his channel on Youtube. At the time of writing this study, the number of subscribers is approaching half a million, the number of viewers of each new issue ranges from 300 to 400 thousand. The journalist explains his appearance on Youtube by the fact that he has decided to show current events of a week and analyze them. Thus, Parfenov has occupied a niche focused not only on his core audience that no longer watches TV, but also on those who grew up on Youtube and wants to develop. The format of the video blog is typical for Youtube, however, illustrations, quotes, photos, subtitles, custom videos, classic reporter stand-ups have become the advantage of the blog. Definitely new for Parfenov as an online journalist is the use of a selfie stick, which gives the author some kind of mobility and allows demonstrating the narrated objects nearby in a signature style. A subtitled video is a new and very relevant to the eventful context of Parfenov narration. Each reference to any cultural or socially significant events reflected, is accompanied with an inscription, caption on the screen with photo illustrations that give additional information about the subject of the conversation. In the present article we analyze each of these techniques in detail.
Keywords: Vlogaudiovisualisationtechnological methodsauthor's contentmultimedia
Introduction
Before becoming a true online media person on a regular basis and creating his own Youtube video blog, Parfenov (2018a) has been examining it for a few years. Since 2004, Leonid Parfenov has not appeared in the regular TV broadcasting schedule, however, he has got a blog on LiveJournal as well as invitations from online channels and radio stations. Infrequent appearances with documentary projects on Channel One ceased in 2013. At his best the ratings of the journalist and TV presenter, working on NTV (1999–2004), were much higher, but today the name of Parfyonov is no less recognizable than Pozner or Urgant. The weekly Namedni – Nasha Era gave the journalist a better occupational level (from March 1, 1997 to September 9, 2001), as well as the informational analytical show Namedni (from September 9, 2001 to May 30, 2004). The “promotion” of the name is certainly influenced by the five-time TEFI awards (1995, 1999, 2000, 2002 and 2004), the scandalous dismissal from NTV in 2004, several successful documentary television projects for the First Channel, an unexpected speech at the presentation of the award named in honor to Listyev in 2010. But, if Parfenov was not really a good journalist, he would have been forgotten as soon as he stopped appearing on the screens. The TV presenter also assisted himself to personalize by regularly appearing in the Internet space, with various messages, performed with the same talent and variety of genres and ways of information presenting. The recognizable Parfenov’s signature style is reflected in all his speeches from quotations to video messages. The TV presenter’s Vkontakte account is updated daily. All the meetings of Parfenov, his videos, achievements are reflected there as well as tickets for the presentations are distributed, all the information on his activities is also collected via Vkontakte since March 2011. There are also regular online discussions of Leonid's previous works and public statements. The number of registered users and comments is impressive. Vkontakte community is closed, today it includes more than 13 thousand active members (Parfenov, 2019). The official site of the journalist is densely filled, still not updated since 2015 (Parfenov, 2018a). However, from the journalist professional activity in the past, it can be concluded that the rating of Parfenov’s personal accounts are as high as possible. Each new post appears weekly, the number of comments reaches about 200.
In October 2017, Parfenov took part in the show VDud’, where he told Yuri Dudyu why he did not appear on television, as well he promised to think about creating online channel (Dud, 2018). In February 2018, the first issue of the
Problem Statement
The journalist himself explains his appearance on Youtube by the fact that he decided to show current events of a week and analyze them. This is what the channel description says. “
At the beginning of the first issue, the journalist clarified the concept of the show: he does not prepare texts, he will talk about the main events of the passing days from his own point of view, film himself and drink wine from his own collection. The author makes a blog in his usual television style, familiar from his
Thus, Parfenov occupied a niche focused not only on his core audience, which no longer wants to watch TV, but also on those who grew up on Youtube, and wants to develop. And in this case, the professional background of the journalist concedes a penalty since his outlook is wider than the homebrew blogger, Parfenov also understands the agenda that is relevant for his audience (Kashin, 2019).
Stanislav Apetyan, a media manager, predicts that in the coming years, TV journalists, following Parfenov’s example, will go online, for example, Nevzorov, Druzhko and Dudham. The success of professional journalists in Youtube is also explained by the fact that their audience (25+) is more actively using Youtube, because the content offered by traditional platforms does not fully satisfy them. Not to get digital now means not to prepare for the near future: it is clear that in 5 years, and even more than 10 years, all communications will get only online (Lyudogovskaya, 2019). So, according to forecasts, this year online media gets the vast majority of the audience. So, the opening ceremony of the Olympic Games in Korea was watched by 3.5 million unique users only in Odnoklassniki.
Thus, the study highlights several problems: we look at the trends of the journalists drain to the Internet and the format (content) ways of retaining users’ attention (Kibirov, n.d.). I would like to dwell in detail on the ways of visualization, application and adaptation of traditional television techniques in a kind of interactive Youtube format.
Research Questions
The main question is whether it is possible to leave the television screen and not fall into oblivion, resolved positively. It is important to formulate the details: how to do this? with the help of what means and methods? what is necessary for this? and is it possible to everyone? The last question also has an answer: not everyone is possible, it requires talent and flexibility of thinking, the ability to feel the challenges of time and fall into the expectations of the audience. As we see, the 58-year-old Parfenov has enough talent and progressive mind (Parfenov, 2018c). Let's talk about the means.
Currently, the third season of Parfenon 3 has started. Each season has about 15 weekly editions lasting about 35 minutes. Plus live broadcasts, announcements of new releases and the promotion of the films with the prefaces of the author. For the time being, there are three films: The Voice of God, The Color of the Nation and Russian Jews (Tsoulaya, 2018). Another project in the framework of
The structural component of each release is already clear. Each video is formed in a peculiar way, however, a certain general format, a common thematic and genre paradigm can be traced. The sections are floating, but there are some constant sections. Firstly, the section, devoted to the wine of the video (which is negotiated separately and consulted with the audience). Secondly, there are always answers to questions (comments). Thirdly, there is a creative advertisement created by Parfenov himself. What regular in the video are: events, people, phenomena, just like before in Namedni releases. And as the journalist himself made a good call in hois announcement at the New Year's live broadcast: There will be me, as always, wine, cinema and domenoes (Parfenov, 2019).
The themes are also traced from the very first issue. There are approximate ranges of topics that concern the author, allow him to make certain judgments, explain them visually and give additional information using various techniques: titles, walks with a selfie stick, reportage techniques (here and now), interviews with various people who turn out to be around. Moreover, these interlocutors can be quite simple people, unknown to the general public: restaurateurs, sommeliers, travelers, just people doing something interesting, etc.
The main source of information is Leonid Parfenov himself, who extrapolates our reality both in the world philosophically and practically, making generalizations. Turning to historical events, giving reviews of the films watched, visited places, art galleries and political events that occurred and found a response with the public and with himself.
The video begins and ends with a story about wine. Parfenov acts as a sommelier, he thoughtfully and thoroughly talks about grape varieties, about the history of a particular brand and how to grow grapes, and the proper storage of wine. The habit of drinking with Parfenov has already started with many people who are not indifferent to his work. After 15–20 videos, even those who have never been well versed in wine begin to distinguish wine from the single-component one, cabernet sauvignon from merlot, pinot noir, shiraz, nebiolo, etc., to understand what orange wine is and why Georgian wines are coming back to the wine list of the world (ibid.).
Each video episode, as a rule, contains a statement on a general political, socially significant topic. If something happened in the political sphere during a week, and this is probably true, if someone from the politicians said something or did something extraordinary, this is always reflected in Parfenov’s blog in his inherent sarcastic manner.
Art and cultural studies are also touched upon in each issue, either it is a movie released or watched by Pafenov this week, or a museum that he visited in a particular country, art galleries, exhibitions or just some memorable places or interesting events. Often there is a local history moment, especially Parfenov loves to return to his native city, which is Cherepovets.
Gastronomic themes are performed in almost every issue. Parfenov is a great gourmet! His wife Elena Chekalova used to be a TV presenter of a cookery programs and generally cooks very well. In 2015, her restaurant Poehali took the bronze prize among the restaurants, and the main restaurant prize of the magazine
Interviews are also present in the blog, the conversation is conducted naturally and without journalistic pathos. Acquaintance with the Parfenov’s journalistic works is an almost obligatory section, as well as a section about wine. Parfenov gives a lot of information about the future film
Purpose of the Study
The main thing I would like to talk about are those multimedia tools (formats), that define trendy visual works of Russian journalists, and about the peculiarities of multimedia content visualization in the works of Leonid Parfenov. Thus, the main goal of the research is to identify specific multimedia tools necessary for creating high-quality visual works in modern domestic journalism. We cannot do without identifying the features of the multimedia implementation in the visual works of Parfenov, as well as without a comparative analysis of the multimedia appliance in the Parthenon slogan of programs for TV and film distribution.
The author proposes the following hypothesis of the research: at present, the placement of multimedia content in various media (the classical or new ones) does not matter much. Over time, the difference between television / cinema and Internet visualization will be even more leveled due to the diffusion, the interpenetration of methods and techniques of multimedia formats. Online placement will be unimportant, but this does not mean that the multimedia product will not need to be adapted, taking into account the characteristics of the media. The ability of a modern journalist to apply creative skills and adequately combine all possible multimedia formats will remain the same value.
Research Methods
The basis of the research is a systematic approach and a structural principle that contribute to the formation of an objective assessment of the state of the modern visual space, based on the complex fundamental research in the field of screen art. The approach reveals the principles of historicism and social cultural conditionality, contributing to the formation of an objective assessment of the state of multimedia journalism in different environments and information spaces on the example of the work of Parfenov.
The main research methods are description, comparative analysis, synthesis, observation, generalization, classification method, content analysis.
Findings
There is a feature in Parthenon that came from
Another feature is the constant self-identification in this or that situation: the “yes, exactly!” effect of the video episodes. Moreover, the author travels a lot, each video has inclusions from different cities, domestic and foreign. Still the inclusions turn to the journalist favorite table with a bottle of wine. Here is a reference to dissident gatherings in the Brezhnev times with telling jokes, only in a modern format.
One more multimedia feature is the information flow density, both visual and mental. Information penetrates with several channels of perception: through listening (even if it is just Parfenov's speech, it is saturated with intonation dramaturgy), through watching (gestures, facial expressions, clothing of the presenter), through meaning (many metaphors, street-clichés of films and Soviet past with corresponding imitative intonations , quotes from books, reciting). All these altogether are performed in one video in a vigorous pace, as if the fact is well-known. Such information density distinguishes Parfenov’s video blog from other similar Youtube phenomena, as well as the presence literacy pieces that enrich the viewer with new knowledge in culture, painting, music, cinematography, history and literature.
The maximum effect of information density is achieved using subtitling. Titles, accompanied by the characteristic intershum of computer keys, explain all the incomprehensible terms, surnames, names, places. Additionally, poems, statements are cited, photographic images or drawings are shown, in the author’s signature style, very superficially and fluently, but wildly fascinating and causing the desire to learn more. This is where such hidden hypertextuality is born - i.e. there is no transition through a hyperlink to more detailed information (technically it’s not yet invented for the online videos), that is why there is a wish to hit the pause button and google it. Most important multimedia part of the project are the users’ comments. For example, for the 25th video, Ernan Rey writes in a crony manner: “Leo, you will laugh, of course, but I think that your Parthenon releases, all your films, you need to canonize, include in the mandatory school program. Why? So it cultivates good taste, just a taste for life, cultivate love of art and of culture, as well as understanding of how you can spend your leisure time, and most importantly, after watching even your short program, the false and pompous TV pathos is inappropriate”. Here, Marina Viynskovsky’s commentary: “Thank you for the opportunity to listen to fluent, well-bred Russian speech" (as cited in Parfenov, 2019). Finally, I want to give here a comment that feels it all. Someone nicknamed Yuri Rupasov comments after watching the 26th video episode (the last December issue of 2018): “I was watching at 9:30 p.m., it is 41 degree below zero outside, it is darkness. I have splashed the dump water, and stared into the parallel world of the Parthenon ... ” (ibid.).
Conclusion
Thus, modern technologies allow to work with the use of new multimedia storytelling techniques. We tried to show that Leonid Parfenov, as a representative of the traditional television school, perfectly fits into the new digital conditions, successfully applying his vlog multimedia formats that can be classified into two large sections. They can be divided into technical and creative technological. According to Silantyeva (2018), the media manager and producer, there are 92 multimedia formats. There is a focus on 15 in the present research (pp. 22 - 62).
Technical multimedia formats include: infographics (interactive Storymap, maps + photos + videos + text, Google Maps, Yandex.Maps); feeds (Timeline (service Timeline JS); interactive; mind maps; subtitling (cards); audio podcast; photo, pixelated, and many others.
Creative multimedia formats consist of: photos, slideshows, photo reports; interactive photo, face-tracking; photo slider (the ability to compare "before and after"); insert user content into multimedia materials; online conferences and user comments (can be attributed to the first group); rotoscoping; interaction formats: voting, quizzes, tests; multimedia video: video clips, interactive video; audio (audio fragments inside the text, audio slideshow); multiformat text: structure of informational text for video; storyline extension chain (story planning on multiple platforms).
Thus, it can be said that of all the listed mini-formats and sub-formats are traced in the creative work of Leonid Parfenov at different online content placement. Almost every format, except frankly technical and unacceptable for on-screen creativity, is identified in the blog of Parfenov, which includes television works, works for film distribution, as well as editions of the famous
The present study has made an attempt to impose like with a tracing paper multimedia tools on Parfenov’s journalistic work to show in detail where and how he implement them. We believe that the “set of tools” of the master of domestic journalism should be applied in modern storytelling, professional information message “packing” in texts, photos, home videos, chronicles, numbers, statistics, video, audio, music and more source materials from which the visual journalistic work is created, especially if to speak about such a sophisticated and demanding viewer, as an online users.
Acknowledgments
Thanks to Leonid Gennadievich Parfenov for being the flagship in the profession, regardless of the work location, external pressures and generally unfavorable conditions for the development of Russian journalism.
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Publication Date
07 August 2019
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eBook ISBN
978-1-80296-065-5
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Future Academy
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66
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1st Edition
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Communication studies, press, journalism, science, technology, society
Cite this article as:
Futerman*, E. (2019). The Use Of Multimedia Visualization Techniques In The Blogosphere (The Parthenon Vlog). In Z. Marina Viktorovna (Ed.), Journalistic Text in a New Technological Environment: Achievements and Problems, vol 66. European Proceedings of Social and Behavioural Sciences (pp. 636-643). Future Academy. https://doi.org/10.15405/epsbs.2019.08.02.75