Темпоральний компонент в українському аудіовізуальному мистецтві періоду Незалежності: наративний темп і ритм

The purpose of the article is to determine the main types of narrative tempo in Ukrainian audiovisual art of the period of Independence and to identify the most commonly used methods among Ukrainian artists for achieving various forms of narrative tempo. The research aims to expand the analytical framework for understanding how temporal structures — particularly tempo and rhythm — shape the narrative, stylistic, and genre characteristics of screen works. The methodology. The methodology is based on narratological analysis, in which an audiovisual work is treated as a narrative text with an internal temporal structure. This is supplemented by systematic analysis that considers the work as a coherent system, as well as methods of systematization, generalization, and art studies. The study introduces and defines core concepts such as temporality (the interrelation between events in the story and the unfolding of the narrative), tempo (the speed of narrative progression), and rhythm (the frequency and nature of narrative technique changes — editing, sound, visuals, verbal and non-verbal strategies). The results. The article introduces and conceptualizes temporality as a key structural component of audiovisual narrative, emphasizing its role in the organization of story events and the unfolding of narrative time. A clear distinction is established between tempo — the speed at which narrative events unfold — and rhythm — the frequency and pattern of changes in narrative techniques such as editing, visual and auditory cues, and expressive devices. The research identifies five major types of narrative tempo: realistic pace, extension, compression, omission, and pause (including diegetic pause as a specific technique in fictional storytelling). It is observed that documentary cinema primarily employs realistic pace and omission, reflecting its affinity for observational and selective storytelling. In contrast, fictional audiovisual works in Ukraine make use of a broader spectrum of tempo types, allowing for more nuanced narrative manipulation. The study highlights the significance of tempo in generating connotative meanings that shape the emotional and semantic depth of a scene. Ultimately, the research proposes a comprehensive analytical model for studying tempo and rhythm in Ukrainian audiovisual works, thus contributing to the expansion of narratological approaches within contemporary media theory. The scientific novelty of the research lies in the fact that it is the first systematic study in Ukrainian academic discourse focused specifically on the temporal dimension of audiovisual narrative. It introduces a functional typology of narrative tempos, refines the terminology of narrative temporality, and applies narratological theory in a context-specific manner — addressing Ukrainian cinema of the post-independence era. The practical significance of the article is that it provides an analytical framework and terminology that can be applied by scholars, critics, and audiovisual creators. By offering concrete categories and tools for analyzing narrative tempo and rhythm, the research enhances the understanding of temporal dynamics in screen storytelling and informs the practice of audiovisual production, editing, and genre development in Ukrainian cinema and beyond. The practical significance of the article lies in its applicability for both academic and creative fields. By offering a clear typology and definitions of narrative tempo and rhythm, the study provides researchers with a structured framework for analyzing the temporal organization of audiovisual texts. At the same time, it equips practitioners — directors, screenwriters, editors, and producers — with tools for conscious shaping the temporal dynamics of their works to achieve desired narrative effects. This analytical approach enhances the capacity for intentional storytelling, stylistic experimentation, and genre development in Ukrainian cinema and can serve as a methodological basis for further research and pedagogical practices in audiovisual art.