Pub Date : 2023-12-13DOI: 10.31516/2410-5325.082.05
І. Pravylo
The article studies the representation of war-related themes in cinematography, the selection of audiovisual forms and genres for their expression, and analyzes the influence of war on the development of art in historical and contemporary contexts. An attempt is made to systematize thematic components that filmmakers can use to create audiovisual works about contemporary war events in Ukraine. The purpose of the article is to explore the issue of choosing cinematic forms that allow for emotional proximity of the audience to the experience of traumatic wartime events. Additionally, it involves an analysis of the differences in approaches to handling war-related themes in art depending on the temporal distance between the creators and the events. The study draws upon the findings of previous research related to the concept of “postmemory” and examines how this concept can be applied to the development of contemporary cinema by Ukrainian directors. The methodology of the research is conducted through a system-oriented analysis and comparison of various forms and genres of screen arts, each of which possesses distinct means of expression for exploring central topics (narrative and documentary cinema, short and feature films, portrait films, and docudramas). The scientific novelty of the study lies in the attempt to apply international experience in analyzing the representation of traumatic wartime experiences in works of art, with the aim of projecting the application of these practices in the Ukrainian artistic context. The results. The depiction of war themes in art serves as a significant tool for preserving and transmitting traumatic emotional memories across generations. It is precisely the experience of wartime events that becomes pivotal in shaping the national identity, both at the collective and individual levels. In this context, the director’s task is to find the most suitable cinematic form to reveal specific stories. Despite the prevailing opinion in the professional Ukrainian film community and society regarding the inappropriateness of producing fictional films about the contemporary war in Ukraine, research demonstrates that the traumatic experience undergone by Ukrainians today requires documentation, representation, and artistic reinterpretation in close proximity to the ongoing events. The scientific novelty of the research lies in the analysis of the application of the concept of “postmemory” and the exploration of ways in which this concept can be used to shape the contemporary cinematic language of Ukrainian directors. Additionally, the article outlines several thematic areas within which modern cinematographers can seek specific stories and characters for their future works. The practical significance. Various formats and genres of screen media can be applied for this purpose, including short and feature films, documentaries, and fictional films, as well as works in such genres like portraiture, sketches, and docudramas.
{"title":"The selection of genres and forms in audiovisual art for the recording and artistic reinterpretation of wartime themes","authors":"І. Pravylo","doi":"10.31516/2410-5325.082.05","DOIUrl":"https://doi.org/10.31516/2410-5325.082.05","url":null,"abstract":"The article studies the representation of war-related themes in cinematography, the selection of audiovisual forms and genres for their expression, and analyzes the influence of war on the development of art in historical and contemporary contexts. An attempt is made to systematize thematic components that filmmakers can use to create audiovisual works about contemporary war events in Ukraine. \u0000The purpose of the article is to explore the issue of choosing cinematic forms that allow for emotional proximity of the audience to the experience of traumatic wartime events. Additionally, it involves an analysis of the differences in approaches to handling war-related themes in art depending on the temporal distance between the creators and the events. The study draws upon the findings of previous research related to the concept of “postmemory” and examines how this concept can be applied to the development of contemporary cinema by Ukrainian directors. \u0000The methodology of the research is conducted through a system-oriented analysis and comparison of various forms and genres of screen arts, each of which possesses distinct means of expression for exploring central topics (narrative and documentary cinema, short and feature films, portrait films, and docudramas). \u0000The scientific novelty of the study lies in the attempt to apply international experience in analyzing the representation of traumatic wartime experiences in works of art, with the aim of projecting the application of these practices in the Ukrainian artistic context. \u0000The results. The depiction of war themes in art serves as a significant tool for preserving and transmitting traumatic emotional memories across generations. It is precisely the experience of wartime events that becomes pivotal in shaping the national identity, both at the collective and individual levels. In this context, the director’s task is to find the most suitable cinematic form to reveal specific stories. Despite the prevailing opinion in the professional Ukrainian film community and society regarding the inappropriateness of producing fictional films about the contemporary war in Ukraine, research demonstrates that the traumatic experience undergone by Ukrainians today requires documentation, representation, and artistic reinterpretation in close proximity to the ongoing events. \u0000The scientific novelty of the research lies in the analysis of the application of the concept of “postmemory” and the exploration of ways in which this concept can be used to shape the contemporary cinematic language of Ukrainian directors. Additionally, the article outlines several thematic areas within which modern cinematographers can seek specific stories and characters for their future works. \u0000The practical significance. Various formats and genres of screen media can be applied for this purpose, including short and feature films, documentaries, and fictional films, as well as works in such genres like portraiture, sketches, and docudramas. ","PeriodicalId":429826,"journal":{"name":"Culture of Ukraine","volume":"78 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003456","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 : 2023-12-13DOI: 10.31516/2410-5325.082.03
E. Vodyakhin
The purpose of the article is to determine the significance of theater art in the cultural diplomacy of Ukraine. The object is the cultural diplomacy. The subject is the role of theater in cultural diplomacy. The relevance of this article lies in the need to understand the historical role of the theater in the formation of the identity of various nations It has become quite natural that countries actively use their own dramatic art in presenting themselves to the world community. The methodology of the theoretical analysis in this article is based on both the whole complex of ideas related to the object of research and a specific scientific toolkit formed by the morphological and methodological discourse. It is noted that the theater operates within cultural diplomacy in four main ways, each of which implies different expectations of interaction with the target audience. At the first and simplest level, a theatrical performance can simply be a pleasant and interesting gift to the audience; at the second level — a way of forming perception and informing; at the third level, the theatrical performance becomes a mechanism for creating interaction between the source and target groups; and at the fourth level — it can be part of the strategy for the development of art and the creative public sphere in a given country. The results. 1. The concept of people-to-people contact is extremely important in cultural diplomacy because it facilitates access to intercultural dialogue, thus allowing people to learn more about each other, other cultures and different ways of life. The advantage in this case is that existing prejudices are overcome in a casual and informal way. In addition, cultural diplomacy and its various projects contribute to openness and tolerance for the development of civil society. 2. Ukrainian cultural diplomacy has some experience of involving theatrical art in the presentation of Ukrainian culture abroad, but in general it can be characterized as sporadic, non-systematic, and ideological. 3. Ukrainian theater faced the task of not only actualizing old and finding new artistic images and symbols, in order to form the proper image of the country, but also to form a certain basis for the effective implementation of the tasks of cultural diplomacy of Ukraine, which is appropriate in relation to the challenges of the time. 4. Over the past decades, the theater festival has become an inseparable component of the artistic life of Ukraine, as well as the cultural diplomacy of our country. Theatrical festivals gained tangible audience sympathy and turned out to be not only an important event in the artistic life of our country, but also realized the understanding of the “brand”, becoming a symbol of quality for connoisseurs. The scientific novelty of the research lies in the fact that the theater can be a diplomatic mechanism for initiating two-way conversation and exchange. The means of implementing this task can vary from promoting the stag
{"title":"Ukrainian theater as an instrument of cultural diplomacy and its role in modern integration processes","authors":"E. Vodyakhin","doi":"10.31516/2410-5325.082.03","DOIUrl":"https://doi.org/10.31516/2410-5325.082.03","url":null,"abstract":"The purpose of the article is to determine the significance of theater art in the cultural diplomacy of Ukraine. The object is the cultural diplomacy. The subject is the role of theater in cultural diplomacy. \u0000The relevance of this article lies in the need to understand the historical role of the theater in the formation of the identity of various nations It has become quite natural that countries actively use their own dramatic art in presenting themselves to the world community. \u0000The methodology of the theoretical analysis in this article is based on both the whole complex of ideas related to the object of research and a specific scientific toolkit formed by the morphological and methodological discourse. It is noted that the theater operates within cultural diplomacy in four main ways, each of which implies different expectations of interaction with the target audience. At the first and simplest level, a theatrical performance can simply be a pleasant and interesting gift to the audience; at the second level — a way of forming perception and informing; at the third level, the theatrical performance becomes a mechanism for creating interaction between the source and target groups; and at the fourth level — it can be part of the strategy for the development of art and the creative public sphere in a given country. \u0000The results. 1. The concept of people-to-people contact is extremely important in cultural diplomacy because it facilitates access to intercultural dialogue, thus allowing people to learn more about each other, other cultures and different ways of life. The advantage in this case is that existing prejudices are overcome in a casual and informal way. In addition, cultural diplomacy and its various projects contribute to openness and tolerance for the development of civil society. 2. Ukrainian cultural diplomacy has some experience of involving theatrical art in the presentation of Ukrainian culture abroad, but in general it can be characterized as sporadic, non-systematic, and ideological. 3. Ukrainian theater faced the task of not only actualizing old and finding new artistic images and symbols, in order to form the proper image of the country, but also to form a certain basis for the effective implementation of the tasks of cultural diplomacy of Ukraine, which is appropriate in relation to the challenges of the time. 4. Over the past decades, the theater festival has become an inseparable component of the artistic life of Ukraine, as well as the cultural diplomacy of our country. Theatrical festivals gained tangible audience sympathy and turned out to be not only an important event in the artistic life of our country, but also realized the understanding of the “brand”, becoming a symbol of quality for connoisseurs. \u0000The scientific novelty of the research lies in the fact that the theater can be a diplomatic mechanism for initiating two-way conversation and exchange. The means of implementing this task can vary from promoting the stag","PeriodicalId":429826,"journal":{"name":"Culture of Ukraine","volume":"14 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139005333","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 : 2023-12-13DOI: 10.31516/2410-5325.082.02
M. Sharpylo
The relevance of the article. Commemoration1 of the Holocaust2 is a practice that is the quintessence of the memory of the Jewish past and a promising approach for comprehension of collective experience. Successful realization of forms of remembrance is actively implemented in the main historical centers associated with Jewish history: Poland, Hungary, Germany, and others. It is there that commemorative practices have become an integral part of the multicultural dimension. For a long time, the national focus of Holocaust remembrance was regulated by political mechanisms post-Soviet space, depriving society of the opportunity to expand the functionality of commemoration. This influenced the presentation of the perpetuation of the tragedy and the formation of self-identity among Ukrainian Jews. The purpose of the research. The article presents an examination of individual examples of modern Holocaust commemorative practices and their impact on the cultural space of Ukraine. The dynamics of urban, visual and memorial aspects of commemoration are identified and analyzed, and their specifics are outlined. The methodology is based on the use of the following methods: historical and cultural methods, which were used to characterize the peculiarities of Jewish cultural memory within the framework of the Holocaust representation; sociological method of visual analysis, which was used to study the specifics of commemoration practices using examples of commemoration; structural and semiotic methods, which were used to determine the relationship between individual and collective reflection within the memorial space, and to outline the specific symbolism of the tragedy. It is determined that the rethinking of the tragedy of the Jewish people is the result of rethinking the Holocaust in society. This became possible due to the intensification of research into the meaning of the tragedy. The results. It is proven that by reconstructing the image of the past in the sociocultural dimension, it becomes possible to deprive the Jews of local perception and focus on building intercultural communication through the prism of a positive trend in preserving and restoring memory. The scientific novelty of the research. Іs presented in the analysis of examples of Holocaust commemoration in Ukraine and the identification of the constituent elements of the cultural space of remembrance. The practical significance. The prospect of a further vector of research is the practical implementation of the theoretical material for creating projects dedicated to the tragedy and Jewry in the national territory. Conclusions. Having carried out a cultural analysis of illustrative examples of Holocaust remembrance, we can draw the following conclusions. Firstly, in the course of the study, we determined that the urban perspective of the Holocaust commemoration, together with the elaboration of the trauma of witnesses, aims to create a tendency to perceive the «other». We believe that
{"title":"Commemoration as a form of representation of the Holocaust in the cultural space of Ukraine in the XXI century","authors":"M. Sharpylo","doi":"10.31516/2410-5325.082.02","DOIUrl":"https://doi.org/10.31516/2410-5325.082.02","url":null,"abstract":"The relevance of the article. Commemoration1 of the Holocaust2 is a practice that is the quintessence of the memory of the Jewish past and a promising approach for comprehension of collective experience. Successful realization of forms of remembrance is actively implemented in the main historical centers associated with Jewish history: Poland, Hungary, Germany, and others. It is there that commemorative practices have become an integral part of the multicultural dimension. For a long time, the national focus of Holocaust remembrance was regulated by political mechanisms post-Soviet space, depriving society of the opportunity to expand the functionality of commemoration. This influenced the presentation of the perpetuation of the tragedy and the formation of self-identity among Ukrainian Jews. \u0000The purpose of the research. The article presents an examination of individual examples of modern Holocaust commemorative practices and their impact on the cultural space of Ukraine. The dynamics of urban, visual and memorial aspects of commemoration are identified and analyzed, and their specifics are outlined. \u0000The methodology is based on the use of the following methods: historical and cultural methods, which were used to characterize the peculiarities of Jewish cultural memory within the framework of the Holocaust representation; sociological method of visual analysis, which was used to study the specifics of commemoration practices using examples of commemoration; structural and semiotic methods, which were used to determine the relationship between individual and collective reflection within the memorial space, and to outline the specific symbolism of the tragedy. It is determined that the rethinking of the tragedy of the Jewish people is the result of rethinking the Holocaust in society. This became possible due to the intensification of research into the meaning of the tragedy. \u0000The results. It is proven that by reconstructing the image of the past in the sociocultural dimension, it becomes possible to deprive the Jews of local perception and focus on building intercultural communication through the prism of a positive trend in preserving and restoring memory. \u0000The scientific novelty of the research. Іs presented in the analysis of examples of Holocaust commemoration in Ukraine and the identification of the constituent elements of the cultural space of remembrance. \u0000The practical significance. The prospect of a further vector of research is the practical implementation of the theoretical material for creating projects dedicated to the tragedy and Jewry in the national territory. \u0000Conclusions. Having carried out a cultural analysis of illustrative examples of Holocaust remembrance, we can draw the following conclusions. Firstly, in the course of the study, we determined that the urban perspective of the Holocaust commemoration, together with the elaboration of the trauma of witnesses, aims to create a tendency to perceive the «other». We believe that","PeriodicalId":429826,"journal":{"name":"Culture of Ukraine","volume":"119 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003558","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 : 2023-12-13DOI: 10.31516/2410-5325.082.08
Boyu Ding
The purpose of the article is to identify and systematize a complex of historical, cultural and musical factors that caused the great popularity of the opera “Mulan Psalm” in China and the interest in this work of viewers from many countries on different continents. The methodology combines elements of the musicological complex (music-historical, music-performance methods) with historical, cultural and comparative methods, which allows us to analyze and compare the ancient text with the opera libretto, characterize the main means of expression used by the composer, define the historical and cultural background on which the opera was created, and describe the specifics of the opera’s portrayal of the main character, around whose fate the entire plot of the work is built. The results. Even the initial analysis of the opera by the prominent contemporary artist Guan Xia shows the multivariate interpretation of the image of the main character — one of the most famous characters of the ancient folk epic, as well as the possibility of finding hidden meaning in this masterpiece of modern Chinese opera, because with each new viewing or with each new production of “Mulan Psalm” and new actors performing the main roles, in particular, the three leading singers performing the role of Mulan, different facets of this heroine and the deeper meaning of the opera, which quickly crossed national borders and gained universal significance due to the involvement of its authors, directors and performers in the values that are eternally important to humanity, are revealed: patriotism, sacrifice for the sake of the homeland, and at the same time, sincere love, natural feelings, love for family, brothers in arms, and a loved one. Almost all of the characters are endowed with all of these traits, as there are virtually no negative characters in the opera, since the image of the enemy as such, as well as the enemy army, is not individualized but presented as a common evil that the characters fight and defeat. The practical significance of the article consists in understanding the significance of the opera “Mulan Psalm” in the operatic art of modern China and identifying the prospects of presenting the best achievements of Chinese artists in this genre on the world academic concert stage.
{"title":"The opera “Mulan psalm” by Guan Xia in the modern musical culture of China","authors":"Boyu Ding","doi":"10.31516/2410-5325.082.08","DOIUrl":"https://doi.org/10.31516/2410-5325.082.08","url":null,"abstract":"The purpose of the article is to identify and systematize a complex of historical, cultural and musical factors that caused the great popularity of the opera “Mulan Psalm” in China and the interest in this work of viewers from many countries on different continents. \u0000The methodology combines elements of the musicological complex (music-historical, music-performance methods) with historical, cultural and comparative methods, which allows us to analyze and compare the ancient text with the opera libretto, characterize the main means of expression used by the composer, define the historical and cultural background on which the opera was created, and describe the specifics of the opera’s portrayal of the main character, around whose fate the entire plot of the work is built. \u0000The results. Even the initial analysis of the opera by the prominent contemporary artist Guan Xia shows the multivariate interpretation of the image of the main character — one of the most famous characters of the ancient folk epic, as well as the possibility of finding hidden meaning in this masterpiece of modern Chinese opera, because with each new viewing or with each new production of “Mulan Psalm” and new actors performing the main roles, in particular, the three leading singers performing the role of Mulan, different facets of this heroine and the deeper meaning of the opera, which quickly crossed national borders and gained universal significance due to the involvement of its authors, directors and performers in the values that are eternally important to humanity, are revealed: patriotism, sacrifice for the sake of the homeland, and at the same time, sincere love, natural feelings, love for family, brothers in arms, and a loved one. Almost all of the characters are endowed with all of these traits, as there are virtually no negative characters in the opera, since the image of the enemy as such, as well as the enemy army, is not individualized but presented as a common evil that the characters fight and defeat. \u0000The practical significance of the article consists in understanding the significance of the opera “Mulan Psalm” in the operatic art of modern China and identifying the prospects of presenting the best achievements of Chinese artists in this genre on the world academic concert stage.","PeriodicalId":429826,"journal":{"name":"Culture of Ukraine","volume":"29 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003575","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 : 2023-12-13DOI: 10.31516/2410-5325.082.01
K. Kysliuk
The purpose of the article is to establish the main directions in the coverage of the Russian-Ukrainian war in the articles in the scientific journals on cultural studies and their heuristic perspectives. The methodology combined bibliometric, classical bibliographic and cultural approaches. The elements of comparativism made it possible to compare the analyzed cultural works with coverage of the topic of full-scale Russian aggression in the publications in the Ukrainian scientific journals on historical sciences. The results. The specific weight of scientific journals which placed such publications and the specific weight of articles on similar topics among 199 specifically cultural articles in 16 journals were determined. The experience of combining them into separate rubrics had been evaluated. 7 main thematic groups had been distinguished according to the keywords of the considered works: 1) Art; 2) Cultural identity; 3) Cultural policy; 4) Preservation and restoration of cultural heritage; 5) Transformations of the cultural landscape; 6) Burial and commemoration; 7) Forced migrants. It had been indicated that these articles only recorded certain socio-cultural phenomena or trends, which, however, refer either to the actualization or to the reconceptualization of more general problems — the multidimensionality of the Ukrainian identity and the cultural and artistic landscape, the peculiarities of the national memorial tradition, and ultimately, the post-colonial status of Ukraine. The scientific novelty. This article is the first historiographical review of culturological articles, that highlighted the topic of the Russian-Ukrainian war. The practical significance. The materials of this ar-ticle can be used in the scientific and public discussions, and for preparation of educational programs as well.
{"title":"Publication of materials about the RussianUkrainian war in the professional scientifical journals on cultural studies in 2023","authors":"K. Kysliuk","doi":"10.31516/2410-5325.082.01","DOIUrl":"https://doi.org/10.31516/2410-5325.082.01","url":null,"abstract":"The purpose of the article is to establish the main directions in the coverage of the Russian-Ukrainian war in the articles in the scientific journals on cultural studies and their heuristic perspectives. \u0000The methodology combined bibliometric, classical bibliographic and cultural approaches. The elements of comparativism made it possible to compare the analyzed cultural works with coverage of the topic of full-scale Russian aggression in the publications in the Ukrainian scientific journals on historical sciences. \u0000The results. The specific weight of scientific journals which placed such publications and the specific weight of articles on similar topics among 199 specifically cultural articles in 16 journals were determined. The experience of combining them into separate rubrics had been evaluated. 7 main thematic groups had been distinguished according to the keywords of the considered works: 1) Art; 2) Cultural identity; 3) Cultural policy; 4) Preservation and restoration of cultural heritage; 5) Transformations of the cultural landscape; 6) Burial and commemoration; 7) Forced migrants. It had been indicated that these articles only recorded certain socio-cultural phenomena or trends, which, however, refer either to the actualization or to the reconceptualization of more general problems — the multidimensionality of the Ukrainian identity and the cultural and artistic landscape, the peculiarities of the national memorial tradition, and ultimately, the post-colonial status of Ukraine. \u0000The scientific novelty. This article is the first historiographical review of culturological articles, that highlighted the topic of the Russian-Ukrainian war. \u0000The practical significance. The materials of this ar-ticle can be used in the scientific and public discussions, and for preparation of educational programs as well.","PeriodicalId":429826,"journal":{"name":"Culture of Ukraine","volume":"47 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003806","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 : 2023-12-13DOI: 10.31516/2410-5325.082.07
V. Myslavskyi
The scientific relevance. The formation and development of the newsreels and documentary films in Ukraine in the 1920s remains one of the least researched pages in the history and development of Ukrainian cinema. That is why the relevance of this research lies, mainly, in filling a significant gap in the history of Ukrainian cinema. A detailed study of newsreels and documentary films production will allow to reveal trends in the development of the Ukrainian film industry in the 1920s in the field of documentary films. The purpose of the article is to study the specifics of the VUFKU policy on strengthening the material and technical base of Ukrainian film production during the 1920s, to study and analyze the history of the formation and development of the production of newsreels and documentary films in the specified period. The methodology of analysis of the problem consists in using, first of all, the historical-systemic approach, which provides an opportunity to understand the dynamics of the development of newsreels and documentary films at a specific historical stage. The problem-chronological approach made it possible to distinguish by year the main directions of the VUFKU activity in the development of newsreels and documentary cinema within the defined chronological framework. The historical-systemic approach made it possible to understand the dynamics of the development of Ukrainian cinematography in the field of documentary cinema as a system at a specific historical stage. The results of the research are that the article examines the prerequisites that served as an impetus for the emergence of a special technical basis for shooting newsreels. The way of development and establishment of newsreels production is considered. Genre and thematic directions of newsreels, types of newsreels, as well as the circumstances that led to the development of the production of newsreels and documentary films are analyzed. The composition, features and functions of the elements of the Ukrainian organizational and creative model of cinematography have been established. The scientific novelty lies in the fact that the article for the first time, on the basis of a complex analysis, researches the process of transformation of structural elements of Ukrainian cinematography in order to establish the release of newsreels and documentary films. The practical significance of the article lies in the fact that the results of the study will contribute to the filling of the “white spots” in the history of Ukrainian cinematography, in particular, the establishment of newsreels and documentary cinema as a component of Ukrainian cinematography, which contributes to the creation of a holistic concept of the development of domestic cinema, further understanding of the film production process of the past and present. The materials of the article can be used in further scientific and theoretical researches, during the creation of training manuals and separate section
{"title":"The formation of Ukrainian documentary film directing in the second half of the 1920s","authors":"V. Myslavskyi","doi":"10.31516/2410-5325.082.07","DOIUrl":"https://doi.org/10.31516/2410-5325.082.07","url":null,"abstract":"The scientific relevance. The formation and development of the newsreels and documentary films in Ukraine in the 1920s remains one of the least researched pages in the history and development of Ukrainian cinema. That is why the relevance of this research lies, mainly, in filling a significant gap in the history of Ukrainian cinema. A detailed study of newsreels and documentary films production will allow to reveal trends in the development of the Ukrainian film industry in the 1920s in the field of documentary films. \u0000The purpose of the article is to study the specifics of the VUFKU policy on strengthening the material and technical base of Ukrainian film production during the 1920s, to study and analyze the history of the formation and development of the production of newsreels and documentary films in the specified period. \u0000The methodology of analysis of the problem consists in using, first of all, the historical-systemic approach, which provides an opportunity to understand the dynamics of the development of newsreels and documentary films at a specific historical stage. The problem-chronological approach made it possible to distinguish by year the main directions of the VUFKU activity in the development of newsreels and documentary cinema within the defined chronological framework. The historical-systemic approach made it possible to understand the dynamics of the development of Ukrainian cinematography in the field of documentary cinema as a system at a specific historical stage. \u0000The results of the research are that the article examines the prerequisites that served as an impetus for the emergence of a special technical basis for shooting newsreels. The way of development and establishment of newsreels production is considered. Genre and thematic directions of newsreels, types of newsreels, as well as the circumstances that led to the development of the production of newsreels and documentary films are analyzed. The composition, features and functions of the elements of the Ukrainian organizational and creative model of cinematography have been established. \u0000The scientific novelty lies in the fact that the article for the first time, on the basis of a complex analysis, researches the process of transformation of structural elements of Ukrainian cinematography in order to establish the release of newsreels and documentary films. \u0000The practical significance of the article lies in the fact that the results of the study will contribute to the filling of the “white spots” in the history of Ukrainian cinematography, in particular, the establishment of newsreels and documentary cinema as a component of Ukrainian cinematography, which contributes to the creation of a holistic concept of the development of domestic cinema, further understanding of the film production process of the past and present. The materials of the article can be used in further scientific and theoretical researches, during the creation of training manuals and separate section","PeriodicalId":429826,"journal":{"name":"Culture of Ukraine","volume":"32 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139004839","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 : 2023-12-13DOI: 10.31516/2410-5325.082.06
M. Alforov
The purpose of the article is a theoretical under-standing of the conceptual sphere of “heroic” cinema-tography as a genre formation. The subject of research in this article is the conceptual sphere of “heroic” cinematography. The research methodology is based on the morpho-logical approach in art criticism and those ideas in the theory of film studies, which are contained in the works of H. Batalina, V. Horpenko, R. Cohen and others. We use the idea of V. Horpenko that “the specified problems of terminology demonstrate the complexity of their solution, and, in the end, from many options, you need to take one general direction, which should determine the system-forming methodology” (Horpenko, 2013, p. 77), it is the morphological approach that is the system-forming methodology for the subject of our research. Methodological approaches of Ukrainian media studies researchers outlined in the study “Media studies in the European integration discourse of Ukraine” are also used (Media studies, 2022). The result of the research presented in this article. 1. Formation of the conceptual sphere of a specific scientific problem is a necessary and multifaceted pro-cess. It requires not only the definition of the “title” research concepts, but also the levels of their use as scientific tools. 2. The basic principles of the formation of the conceptual sphere of the “heroic” film research are outlined and the semantic connections of the “title” concepts “hero” and “heroism” with the subject of the study are defined. The levels and vectors of the use of these concepts as a working toolkit for the study of “heroic” cinematography are characterized. 3. The polymorphism of “heroic” cinematography as a special morphological formation of modern cinematography is indicated. The scientific novelty of the study lies in the understanding of the basic principles of the existence of the conceptual sphere of the study of “heroic” cinematography as the newest polymorphic formation of Ukrainian cinematography. The practical significance of the results of the study based on the intelligent use of the specified scientific tools in the future research of modern Ukrainian cinematography.
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Pub Date : 2023-12-13DOI: 10.31516/2410-5325.082.11
O. Ponomarenko
The purpose of the article is to investigate the dependence of the thematic impact of a screen work on the emotional sphere of the Ukrainian audience and the specifics of the behavioral manifestation of the screen hero. To determine the dependence of psychophysical reactions on the nature of fear. To determine the nature of the influence of syncretism of cultures on the formation of topics that concern the audience in Ukraine. The methodology. The study of the behavior of the Ukrainian screen hero in the process of analyzing Ukrainian screen works of the last 50 years. Determina-tion of the dependence of heroes on the theme of the movie. Study of analytical works on the nature of human fear. Participation in specialized international conferences with reports on the topic. An experimental way of studying the relationship between the nature of fear and the palette of psychophysical manifestations of the performers’ behavioral characteristics. A perfor-mance was staged with 15 actors and shown to the audience. The results. The nature of emotional transformation as a result of the syncretism of the pagan and Christian paradigms was established. The impact of this on the creation of an adaptive defense mechanism in the form of active mimicry. Replacement of the authentic value culture with the borrowed one. Development of a psychological model of secondary nature in the self-perception of the vast majority of society as the basic one. Transformation of the types and scale of the impact of fear. The field of conflict was identified, which encourages the hero to return to authentic cultural values. The scientific novelty. Using the analysis of the nature of fear to select the behavioral manifestations of on-screen heroes will create an opportunity to maximize the capture of viewer attention through recognizable themes. The practical significance. The application of the proposed mechanism in the drama of screen works will stimulate Ukrainian film production as a result of increased demand for it among the audience. This, in turn, will have a quantitative, qualitative and profitable impact on the development of this art form.
{"title":"Syncretic essence of the behavioral nature of the Ukrainian screen hero","authors":"O. Ponomarenko","doi":"10.31516/2410-5325.082.11","DOIUrl":"https://doi.org/10.31516/2410-5325.082.11","url":null,"abstract":"The purpose of the article is to investigate the dependence of the thematic impact of a screen work on the emotional sphere of the Ukrainian audience and the specifics of the behavioral manifestation of the screen hero. To determine the dependence of psychophysical reactions on the nature of fear. To determine the nature of the influence of syncretism of cultures on the formation of topics that concern the audience in Ukraine. \u0000The methodology. The study of the behavior of the Ukrainian screen hero in the process of analyzing Ukrainian screen works of the last 50 years. Determina-tion of the dependence of heroes on the theme of the movie. Study of analytical works on the nature of human fear. Participation in specialized international conferences with reports on the topic. An experimental way of studying the relationship between the nature of fear and the palette of psychophysical manifestations of the performers’ behavioral characteristics. A perfor-mance was staged with 15 actors and shown to the audience. \u0000The results. The nature of emotional transformation as a result of the syncretism of the pagan and Christian paradigms was established. The impact of this on the creation of an adaptive defense mechanism in the form of active mimicry. Replacement of the authentic value culture with the borrowed one. Development of a psychological model of secondary nature in the self-perception of the vast majority of society as the basic one. Transformation of the types and scale of the impact of fear. The field of conflict was identified, which encourages the hero to return to authentic cultural values. \u0000The scientific novelty. Using the analysis of the nature of fear to select the behavioral manifestations of on-screen heroes will create an opportunity to maximize the capture of viewer attention through recognizable themes. \u0000The practical significance. The application of the proposed mechanism in the drama of screen works will stimulate Ukrainian film production as a result of increased demand for it among the audience. This, in turn, will have a quantitative, qualitative and profitable impact on the development of this art form.","PeriodicalId":429826,"journal":{"name":"Culture of Ukraine","volume":"145 s276","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139006477","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 : 2023-12-13DOI: 10.31516/2410-5325.082.10
Lichuan Zhang
The purpose of the publication is to determine the specifics of the functioning of the student orchestra of Kharkiv University in the 1880s — 1890s in the context of amateur symphonic performance. The methodology. In the process of studying the activity of the orchestra of Kharkiv University, the approach of comparative analysis was applied, thanks to which the peculiarities of developing the repertoire and concert practice of the team were revealed. Determination of the specifics of work with the team of orchestra leaders was carried out within the framework of the application of the systematicity principle. The results. Based on the analysis of the materials of the Kharkiv press of the 1880s — early 1900s, the specifics of the functioning of the Kharkiv University student orchestra, led by prominent professional musicians S. Nemetz, A. von Glen and S. Dochevskyi, is investigated. It was determined that the performance activity of the amateur orchestra was influenced by the specifics of the educational process at the university, which caused both the annual renewal of a certain percentage of orchestra members and long breaks in the rehearsal process. During the leadership of S. Nemetz (1881–1885) and A. von Glen (1889–1900), the university music collective met the standards of the instrumental composition of a symphony orchestra; the quality of music reproduction was ensured by inviting professional orchestra performers of Kharkiv theaters and local amateur musicians. The level of performance of the orchestra of that period made it possible to successfully perform symphonic music by L. Beethoven, K. M. Weber, F. Mendelssohn, R. Wagner, etc. at leading concert venues in Kharkiv. During the leadership of the university orchestra by S. Dochevskyi (1890s — 1900s), the concert activity gradually reduced, being limited to episodic participation in university celebrations and charity events organized by students of the educational institution. The scientific novelty. It has been proven that the specificity of the functioning of the amateur symphony orchestra of Kharkiv University during the 1880s and 1890s under the leadership of musicians educated on the aesthetic principles of academic musical art is determined by the quality of their performance of the bandmaster functions. S. Nemetz and A. von Glen, who sought to make up an orchestra that meets academic standards of a musical team, provided a symphonic instrumental composition and performance quality, involving professional musicians into concert performances. The limitation of concert practice of the student orchestra during the leadership of S. Dochevskyi to university events led to a gradual decrease in the level of performance skills and orientation in the process of providing the instrumental composition purely to amateur students. The practical significance. Prospects for further research are related to the study of the specifics of the functioning of amateur orchestra groups in the cultu
本出版物旨在确定 19 世纪 80-90 年代哈尔科夫大学学生交响乐团在业余交响乐演出方面的具体运作情况。研究方法在研究哈尔科夫大学交响乐团活动的过程中，采用了比较分析的方法，从而揭示了乐团曲目发展和音乐会实践的特殊性。在应用系统性原则的框架内确定了乐团领导团队的工作特点。结果。根据对 19 世纪 80 年代至 20 世纪初哈尔科夫报刊资料的分析，研究了由著名职业音乐家 S. 涅梅茨、A. von Glen 和 S. Dochevskyi 领导的哈尔科夫大学学生交响乐团的具体运作情况。结果表明，业余交响乐团的演出活动受到了大学教育过程特殊性的影响，这既造成了一定比例乐团成员的年度更新，也造成了排练过程的长时间中断。在 S. Nemetz（1881-1885 年）和 A. von Glen（1889-1900 年）的领导下，大学音乐集体达到了交响乐团的器乐创作标准；通过邀请哈尔科夫剧院的专业乐团演员和当地业余音乐家，确保了音乐再现的质量。这一时期乐团的演奏水平使其能够在哈尔科夫的主要音乐会场成功演奏 L. 贝多芬、K. M. 韦伯、F. 门德尔松、R. 瓦格纳等人的交响乐作品。在 S. Dochevskyi 领导大学交响乐团期间（19 世纪 90 年代至 20 世纪），音乐会活动逐渐减少，仅限于偶尔参加大学庆典和教育机构学生组织的慈善活动。科学新颖性。事实证明，1880 和 1890 年代哈尔科夫大学业余交响乐团在受过学术音乐艺术美学原则教育的音乐家领导下运作的特殊性取决于他们履行乐队指挥职能的质量。S. Nemetz 和 A. von Glen 试图组成一个符合音乐团队学术标准的管弦乐队，他们提供了交响乐器乐作品和演奏质量，让专业音乐家参与音乐会演出。在 S. Dochevskyi 领导期间，学生交响乐团的音乐会实践仅限于大学活动，这导致在纯粹为业余学生提供器乐作曲的过程中，演奏技能和方向水平逐渐下降。实际意义。对十九世纪下半叶乌克兰文化中心业余交响乐团运作的具体情况进行研究，具有进一步研究的前景。
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Pub Date : 2023-12-13DOI: 10.31516/2410-5325.082.12
V. Sheiko
A review of a popular science publication: “Theater and Film Actors on the Postcards of the Ukrteakynovydav Publishing House” / compiled and edited by V. N. Myslavskyi. — Kharkiv: Tochka Publishing House, 2023. — 252 p.
科普出版物评论："Ukrteakynovydav 出版社明信片上的戏剧和电影演员》/ V. N. Myslavskyi 编译。- Kharkiv: Tochka Publishing House, 2023.- 252 p.
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