独立乌克兰的非虚构电影

Pub Date : 2023-10-20 DOI:10.14746/i.2023.34.43.4
Serhiy Marchenko
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 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.
 
 
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引用次数: 0

摘要

& # x0D;& # x0D;& # x0D;这篇文章涵盖了乌克兰非虚构电影的主题和类型多样性,乌克兰在1991年恢复独立后,开始反思在苏联时期被禁止或以有偏见的方式报道的以前被掩盖的话题。电影和电视剧的数量不断增加,而电影艺术家和政治精英(部分亲俄派)之间的意识形态鸿沟导致它们的大规模发行受到阻碍。这一点在人们期待已久的《未知的乌克兰》系列节目推迟数年放映和受到限制方面尤为明显。《我们的历史随笔》(1993年,NKU-Kyivnaukfilm, 144部电影)。本文分析了这类电影在过去三十年中的定量和质变,呈现了其起起落落的时期,这与乌克兰政治进程的变化是同步的。它展示了在2014年欧盟独立革命的大规模抗议活动和俄罗斯-乌克兰战争开始之后,这类电影的数量如何显著增加,提供了相当大的信息和教育影响。& # x0D;& # x0D;
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Non-fiction cinema of independent Ukraine
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.
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