The article describes the production and distribution of Ukrainian films and establishes scientific guidelines that will contribute to a comprehensive analysis of Ukrainian cinema in the intercultural space. An analytical method was used to develop this topic, which is necessary for studying the art history and cultural aspect of the problem. In addition, the author used the methods of systematization and generalization to argue for the originality of Ukrainian cinematography and its place in modern culture-creating processes. The scientific novelty of the study is that it describes the work of film directors whose films were created as international projects.
{"title":"Ukrainian cinematography in the context of intercultural cooperation","authors":"Halyna Pohrebniak","doi":"10.14746/i.2023.34.43.6","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.6","url":null,"abstract":"
 
 
 The article describes the production and distribution of Ukrainian films and establishes scientific guidelines that will contribute to a comprehensive analysis of Ukrainian cinema in the intercultural space. An analytical method was used to develop this topic, which is necessary for studying the art history and cultural aspect of the problem. In addition, the author used the methods of systematization and generalization to argue for the originality of Ukrainian cinematography and its place in modern culture-creating processes. The scientific novelty of the study is that it describes the work of film directors whose films were created as international projects.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Russia’s war against Ukraine has brought a humanitarian catastrophe to Europe and disrupted previously established cultural practices and rituals. One such practice has been the making and watching of films, constituting a further blow to the Ukrainian film industry, which has already experienced modifications caused by the VoD (video-on-demand) business mode and the coronavirus crisis. This study intends to highlight how the culture of cinema changed in the cities of Ukraine in 2022 that suffered and are still suffering from shelling and fighting. Its findings are based on ethnographic observations, oral history, and secondary research of public data.
{"title":"Cinematic Culture During the War in Ukraine: Surviving the Year of Brutalities","authors":"Bohdan Shumylovych","doi":"10.14746/i.2023.34.43.7","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.7","url":null,"abstract":"Russia’s war against Ukraine has brought a humanitarian catastrophe to Europe and disrupted previously established cultural practices and rituals. One such practice has been the making and watching of films, constituting a further blow to the Ukrainian film industry, which has already experienced modifications caused by the VoD (video-on-demand) business mode and the coronavirus crisis. This study intends to highlight how the culture of cinema changed in the cities of Ukraine in 2022 that suffered and are still suffering from shelling and fighting. Its findings are based on ethnographic observations, oral history, and secondary research of public data.","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article covers the thematic and genre diversity of non-fiction cinema in Ukraine, which following the country’s regaining its independence in 1991, launched a reflection on previously hushed-up topics that were prohibited or covered in a tendentious manner in the Soviet period. The number of films and TV series grew, and the ideological gap between film artists and political elites (partly pro-Russian) resulted in their mass distribution being prevented. This was especially evident in the several-year delay and limits placed on showing the long-awaited series “Unknown Ukraine. Essays of Our History” (1993, NKU-Kyivnaukfilm, 144 films). Quantitative and qualitative changes in this type of cinema over the last three decades are analyzed in this article, presenting periods of its ups and downs, which are synchronized with changes in political processes in Ukraine. It shows how after the mass protests of the Euromaidan Revolution in 2014 and the beginning of the Russian-Ukrainian war, the number of such films increased significantly, providing a considerable informative and educational impact.
{"title":"Non-fiction cinema of independent Ukraine","authors":"Serhiy Marchenko","doi":"10.14746/i.2023.34.43.4","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.4","url":null,"abstract":"
 
 
 The article covers the thematic and genre diversity of non-fiction cinema in Ukraine, which following the country’s regaining its independence in 1991, launched a reflection on previously hushed-up topics that were prohibited or covered in a tendentious manner in the Soviet period. The number of films and TV series grew, and the ideological gap between film artists and political elites (partly pro-Russian) resulted in their mass distribution being prevented. This was especially evident in the several-year delay and limits placed on showing the long-awaited series “Unknown Ukraine. Essays of Our History” (1993, NKU-Kyivnaukfilm, 144 films). Quantitative and qualitative changes in this type of cinema over the last three decades are analyzed in this article, presenting periods of its ups and downs, which are synchronized with changes in political processes in Ukraine. It shows how after the mass protests of the Euromaidan Revolution in 2014 and the beginning of the Russian-Ukrainian war, the number of such films increased significantly, providing a considerable informative and educational impact.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article presents the films Sergei Parajanov made at the Kiev studio between 1955–1962: Andriesh, The First Lad, Ukrainian Rhapsody, Flower on the Stone and documentaries: Dumka, Golden Hands, Natalya Ushvij. The author focuses on the context of making films and their incorporation into the traditional conventions of Soviet cinema, as well as presenting the sources of the director’s interest in Ukrainian culture.
{"title":"Siergiej Paradżanow – reżyser kina ukraińskiego","authors":"Joanna Wojnicka","doi":"10.14746/i.2023.34.43.9","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.9","url":null,"abstract":"
 
 
 The article presents the films Sergei Parajanov made at the Kiev studio between 1955–1962: Andriesh, The First Lad, Ukrainian Rhapsody, Flower on the Stone and documentaries: Dumka, Golden Hands, Natalya Ushvij. The author focuses on the context of making films and their incorporation into the traditional conventions of Soviet cinema, as well as presenting the sources of the director’s interest in Ukrainian culture.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since 2014, the Russian aggression in Ukraine has prompted filmmakers to master a new genre of war drama to tell the stories of those who serve in the Ukrainian army or the territorial defense, as well as those who contribute to the war effort as volunteers. The article discusses Ukrainian war drama films: Cyborgs. Heroes Don’t Die, Call Sign Banderas, Mother of Apostles, Ilovaysk 2014. Donbas Battalion, Sniper. The White Raven. These films integrate war drama with other genres such as detective stories, adventure films, and psychological drama. They also refer to some archetypal themes and conflicts in order to frame the current experience of the war. However, it will be argued that these films do not simply reuse the existing genre models, but complicate them. They refresh war drama by prioritizing the concrete experience of the ongoing war against Russian aggression over the genre conventions. Ukrainian war drama shows not a game of war but the truth of war. It tells the real stories of the bravery of ordinary people who fight against Russian aggression.
{"title":"War drama as a living reality","authors":"Larysa Briukhovetska","doi":"10.14746/i.2023.34.43.1","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.1","url":null,"abstract":"
 
 
 Since 2014, the Russian aggression in Ukraine has prompted filmmakers to master a new genre of war drama to tell the stories of those who serve in the Ukrainian army or the territorial defense, as well as those who contribute to the war effort as volunteers. The article discusses Ukrainian war drama films: Cyborgs. Heroes Don’t Die, Call Sign Banderas, Mother of Apostles, Ilovaysk 2014. Donbas Battalion, Sniper. The White Raven. These films integrate war drama with other genres such as detective stories, adventure films, and psychological drama. They also refer to some archetypal themes and conflicts in order to frame the current experience of the war. However, it will be argued that these films do not simply reuse the existing genre models, but complicate them. They refresh war drama by prioritizing the concrete experience of the ongoing war against Russian aggression over the genre conventions. Ukrainian war drama shows not a game of war but the truth of war. It tells the real stories of the bravery of ordinary people who fight against Russian aggression.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.21
Grażyna Gajewska
The author analyzes the images of disability in science fiction literary and film. She begins by identifying areas common to science fiction–disability studies–posthumanism. She goes on to argue that in science fiction we can find stereotypical images of people with disabilities, which are based on a culturally established dichotomy: healthy, functional (as normal) versus disabled (as abnormal), and such performances that escape this dichotomy and normalization. The author distinguishes several approaches to presenting disability in science fiction: hypervisibility combined with the unusual prosthetic abilities of the bodies, the healing of disabilities, elimination, and biodiversity. Particular attention is paid to the latter approach (biodiversity/biocooperation), exemplified by the film Avatar.
{"title":"Ciała protetyczne w anglosaskich utworach fantastycznonaukowych. Ujęcie posthumanistyczne","authors":"Grażyna Gajewska","doi":"10.14746/i.2023.34.43.21","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.21","url":null,"abstract":"
 
 
 The author analyzes the images of disability in science fiction literary and film. She begins by identifying areas common to science fiction–disability studies–posthumanism. She goes on to argue that in science fiction we can find stereotypical images of people with disabilities, which are based on a culturally established dichotomy: healthy, functional (as normal) versus disabled (as abnormal), and such performances that escape this dichotomy and normalization. The author distinguishes several approaches to presenting disability in science fiction: hypervisibility combined with the unusual prosthetic abilities of the bodies, the healing of disabilities, elimination, and biodiversity. Particular attention is paid to the latter approach (biodiversity/biocooperation), exemplified by the film Avatar.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.13
Liubov Krupnyk
The article reviews the role of feature films that recreate the conflictual relations of the shared history which Poland and Ukraine look at from significantly different vantage points. It analyzes these films’ influence on Polish-Ukrainian relations, as well as the results of the Polish-Ukrainian dialogue. Using examples of Polish films that were commercially successful – With Fire and Sword by Jerzy Hoffman (1999) and Volyn by Wojciech Smarzowski (2016) – the article traces how cinema can articulate the problems of shared history that exist in the collective memory, and what kind of results it brings.
{"title":"Cinema and Polish-Ukrainian Relations Between the 1990s and 2010s","authors":"Liubov Krupnyk","doi":"10.14746/i.2023.34.43.13","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.13","url":null,"abstract":"
 
 
 The article reviews the role of feature films that recreate the conflictual relations of the shared history which Poland and Ukraine look at from significantly different vantage points. It analyzes these films’ influence on Polish-Ukrainian relations, as well as the results of the Polish-Ukrainian dialogue. Using examples of Polish films that were commercially successful – With Fire and Sword by Jerzy Hoffman (1999) and Volyn by Wojciech Smarzowski (2016) – the article traces how cinema can articulate the problems of shared history that exist in the collective memory, and what kind of results it brings.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570288","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is dedicated to analysing the compositional integrity of Oleksandr Avsharov and Svitlana Rudyuk’s documentary Yours, Vasyl (2019) through the prism of key aquatic images, including the city flood from the archival materials of Kyiv from 1970, dirty water from the poet’s sister’s dreams and the flood, stream and sea from Stus’s poetry (Ще до жнив не дожив..., Із циклу «Забуттям», Костомаров у Саратові). On the basis of these aquatic images, represented by key textual messages, the plot of the film is schematically arranged in a triad, which in turn plays the role of a graphic image of a mountain – a symbol of the poet’s steadfastness and victory. Attention is also drawn to the rich symbolism of the images, the skillful intertwining of the visual and auditory, the past and the present, thanks to which the image of the Stus seems alive and modern, which is what the filmmakers wanted to achieve.
& # x0D;& # x0D;& # x0D;本文致力于通过关键的水生图像棱镜，分析Oleksandr Avsharov和Svitlana Rudyuk的纪录片《你的，Vasyl》(2019)的构图完整性，包括1970年基辅档案材料中的城市洪水，诗人妹妹梦想中的脏水以及Stus诗歌中的洪水，溪流和海洋(Ще до жнив не дожив…， Із циклу«Забуттям»，Костомаров * Саратові)。在这些水的形象的基础上，以关键的文本信息为代表，电影的情节被图式地安排在一个三和弦中，这反过来又起到了一个象征诗人坚定和胜利的山的图形形象的作用。人们还注意到这些图像的丰富象征意义，将视觉与听觉、过去与现在巧妙地交织在一起，这使得斯图斯的形象显得鲜活而现代，这正是电影制作人想要达到的目标。& # x0D;& # x0D;
{"title":"Triada obrazów akwatycznych jako podstawa integralności kompozycji filmu dokumentalnego Ołeksandra Awszarowa i Switłany Rudiuk Wasz Wasyl","authors":"Tetiana Mychajłowa","doi":"10.14746/i.2023.34.43.3","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.3","url":null,"abstract":"
 
 
 The article is dedicated to analysing the compositional integrity of Oleksandr Avsharov and Svitlana Rudyuk’s documentary Yours, Vasyl (2019) through the prism of key aquatic images, including the city flood from the archival materials of Kyiv from 1970, dirty water from the poet’s sister’s dreams and the flood, stream and sea from Stus’s poetry (Ще до жнив не дожив..., Із циклу «Забуттям», Костомаров у Саратові). On the basis of these aquatic images, represented by key textual messages, the plot of the film is schematically arranged in a triad, which in turn plays the role of a graphic image of a mountain – a symbol of the poet’s steadfastness and victory. Attention is also drawn to the rich symbolism of the images, the skillful intertwining of the visual and auditory, the past and the present, thanks to which the image of the Stus seems alive and modern, which is what the filmmakers wanted to achieve.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135569265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.22
Barbora Vinczeová
The paper strives to investigate the relationship of female sexuality, magic and religion in film based on the comparison of two selected films. The three themes have been often seen as intertwined especially by religion, which has built an image of a female witch in alliance with the devil, or evil forces. The research aims to answer the question whether postmodern cinema embraces the combination of the aforementioned themes often associated, historically, with the notion of witchcraft practised especially by female witches. The scope of the research is limited to two films; however, the possibility to expand the research in the future and include newer films exists. Comparative methods and analysis are used throughout the paper. The paper is structured according to the analysed themes found in both films – Carrie (dir. Kimberly Peirce, 2013) and Thelma (dir. Joachim Trier, 2017). The author claims that these themes are similar and rooted in the same perception of the female monstrosity in both films, with different outcomes of this combination. The authors suggest that this is due to feminist tendencies becoming more prominent in every artform. However, this claim needs investigating from the feminist studies’ point of view.
{"title":"Religion, Female Sexuality and Magic in (Post)Modern Film","authors":"Barbora Vinczeová","doi":"10.14746/i.2023.34.43.22","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.22","url":null,"abstract":"The paper strives to investigate the relationship of female sexuality, magic and religion in film based on the comparison of two selected films. The three themes have been often seen as intertwined especially by religion, which has built an image of a female witch in alliance with the devil, or evil forces. The research aims to answer the question whether postmodern cinema embraces the combination of the aforementioned themes often associated, historically, with the notion of witchcraft practised especially by female witches. The scope of the research is limited to two films; however, the possibility to expand the research in the future and include newer films exists. Comparative methods and analysis are used throughout the paper. The paper is structured according to the analysed themes found in both films – Carrie (dir. Kimberly Peirce, 2013) and Thelma (dir. Joachim Trier, 2017). The author claims that these themes are similar and rooted in the same perception of the female monstrosity in both films, with different outcomes of this combination. The authors suggest that this is due to feminist tendencies becoming more prominent in every artform. However, this claim needs investigating from the feminist studies’ point of view.","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.20
Andrzej Szpulak
The text refers to the part of the performances of TVP’s Fact Stage (2006–2010), devoted to the Stalinist period, as well as to its journalistic and scholarly reception. In no small part, it is a polemic with the position and reasoning expressed in Mariusz Mazur’s article TV Theater: Fact Stage – a specific vision of history. On such historical politics polemically. The author points to the need to interpret the phenomenon of Fact Stage as it really was, to understand its genesis, social conditions and cultural context. However, he rejects the method of contrasting the works in question with the abstract and normative postulates formulated by Mazur. Finally, the article points to the religious (morality play and passion play) sources of the conception of Fact Stage performances.
{"title":"Obrazy stalinizmu w twardym jądrze i na peryferiach. Kłopoty ze Sceną Faktu TVP (2006–2010)","authors":"Andrzej Szpulak","doi":"10.14746/i.2023.34.43.20","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.20","url":null,"abstract":"
 
 
 The text refers to the part of the performances of TVP’s Fact Stage (2006–2010), devoted to the Stalinist period, as well as to its journalistic and scholarly reception. In no small part, it is a polemic with the position and reasoning expressed in Mariusz Mazur’s article TV Theater: Fact Stage – a specific vision of history. On such historical politics polemically. The author points to the need to interpret the phenomenon of Fact Stage as it really was, to understand its genesis, social conditions and cultural context. However, he rejects the method of contrasting the works in question with the abstract and normative postulates formulated by Mazur. Finally, the article points to the religious (morality play and passion play) sources of the conception of Fact Stage performances.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570270","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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