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Relevant bibliographies by topics / Dovzhenko A

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Academic literature on the topic 'Dovzhenko A'

Author: Grafiati

Published: 28 May 2022

Last updated: 30 July 2025

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Journal articles on the topic "Dovzhenko A"

1

Shapoval, Yury. "Was Oleksandr Dovzhenko a Judophobe (According to the materials of the Soviet special services)." Folk art and ethnology, no. 3 (September 30, 2024): 45–58. http://dx.doi.org/10.15407/nte2024.03.045.

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The submitted article is aimed at the revealing and representing previously unknown archival documents from the funds of the Soviet special services, concerning the non-conformist attitudes of Oleksandr Dovzhenko, his resentment towards the Jews in particular. The author’s task is directed at stimulating further studies and discussions in order to find means of depicting a realistic image of Dovzhenko. Methodological principles are based on the fundamentals of historicism and critical analysis of sources with a complex combination of the entire multiplicity of newly discovered historical facts

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Hosejko, Lubomir. "About Oleksandr Dovzhenko and His Stay in France." Folk art and ethnology, no. 3 (September 30, 2024): 29–37. http://dx.doi.org/10.15407/nte2024.03.029.

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The subject of the analysis of this article is the foreign trip and stay in France of Oleksandr Dovzhenko and Yuliia Solntseva in the summer of 1930 and the probable stay of Dovzhenko himself in Paris in 1932. The analysis is written on the basis of articles and reviews, most of which have appeared in the French film press in 1930–1931. The article is aimed at the describing a little-known information about Dovzhenko’s stay in France. The author also is trying to and to submit his exclusive assumptions about his probable second visit to the City of Light in 1932. During his visit Dovzhenko has

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Poleshuk, R. "DECODING THE COMPONENT COMPONENTS OF THE CULTURAL ARCHETYPE COMPLEX IN ARTISTIC CINEMA LANGUAGE O. DOVZHENKA." Bulletin of Mariupol State University Series Philosophy culture studies sociology 13, no. 25 (2023): 93–107. http://dx.doi.org/10.34079/2226-2830-2023-13-25-93-107.

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The article presents the results of O. Dovzhenko’s cultural study of artistic film language, conducted on the basis of modern methodological developments in mass media decoding, which implement the scientific principle of interdisciplinarity. The study identified new cultural archetypes of the figurative plan of the artisi's film philosophy. The decoded archetypes were used by the Ukrainian film director to broadcast culturogenic contexts and have a logical connection between themselves, within the narrative, which allowed them to be combined into a single complex of cultural archetypes. The p

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Bezruchko, Oleksandr. "Oleksandr Dovzhenko’s experiment in film pedagogy." Culture of Ukraine, no. 87 (January 22, 2025): 42–57. https://doi.org/10.31516/2410-5325.087.04.

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This article examines a little-known experiment in film pedagogy by Ukrainian director Oleksandr Dovzhenko. In the late 1930s and early 1940s, before the beginning of the German-Soviet war (1941–1945, called ‘Great Patriotic War’ in the Soviet Union), in addition to shooting his own films, Dovzhenko attempted to organise and conduct comprehensive training of film production personnel directly on site, at the Kyiv Film Factory (Kyiv Film Studio of Feature Films, now Oleksandr Dovzhenko National Film Studio of Feature Films). In the Soviet Union of the 1930s, the Party administrative apparatus s

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Кузнецова, Галина. "СТОРІНКАМИ «ЩОДЕННИКОВИХ ЗАПИСІВ: НАРИСУ-ПРИСВЯТИ» (ОСНОВОПОЛОЖНІ ПРИНЦИПИ, ЖАНРОУТВОРЮВАЛЬНІ КОНСТАНТИ, ЛІНГВОДИДАКТИЧНИЙ АСПЕКТ)". B U L L E T I N OF OLEKSANDR DOVZHENKO HLUKHIV NATIONAL PEDAGOGICAL UNIVERSITY 3, № 56 (2024): 34–42. https://doi.org/10.31376/2410-0897-2024-3-56-34-42.

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Introduction. This article explores the conceptual framework underlying the creation of the popular science and educational manual “Diary Entries: A Dedication Essay.” This manual is dedicated to two significant anniversaries: the 150th anniversary of Oleksandr Dovzhenko Hlukhiv National Pedagogical University, and the 130th anniversary of the birth of O. P. Dovzhenko, a prominent Ukrainian writer, artist, filmmaker, educator, and philosopher. In a time of unprecedented challenges and uncertainty, coupled with steadfast belief in victory and a peaceful future, the university’s academic communi

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Popova, Liana V. "“Earth” in the Artwork of Alexander Dovzhenko." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 73 (2024): 314–27. http://dx.doi.org/10.37816/2073-9567-2024-73-314-327.

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Currently, the study of the work of A.P. Dovzhenko, who had a huge influence on the poetic cinema of the 1960–1970's, does not receive due attention. In 1930 A.P. Dovzhenko created an epic poem about the land. One of the main ideas of A. Dovzhenko's work is the glorification of the earth, “soil”, which has already been indicated by many researchers. The earth, as the place of residence of a person, according to A. Dovzhenko, is a “creative space”. This tradition can be traced not only in “Earth”, but also in other films by A. Dovzhenko (“Aerograd”, “Shchors”, “Michurin”), as well as in films c

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GANZHA, Anhelina. "A FILM PORTRAIT OF AN ELITE LINGUISTIC PERSONALITY: LINGUISTIC AND STYLISTIC RECEPTION (BASED ON DOCUMENTARY FILMS ABOUT O. DOVZHENKO)." Culture of the Word, no. 101 (December 2024): 72–87. https://doi.org/10.37919/0201-419x-2024.101.6.

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The study attempts to make a linguistic and stylistic reception of two documentary film portraits of Oleksandr Dovzhenko: “Oleksandr Dovzhenko. Odesa Dawn” (2014) and “Oleksandr Dovzhenko. Lost Love” (2020). Both media products were created by professional teams of authors and highlight different facets of the writer’s fate and talent. The documentary “Oleksandr Dovzhenko. Odesa Dawn” is not very informative about the specifics of the linguistic portrait of the protagonist, a prominent Ukrainian filmmaker, but the film clearly represents the arsenal of tools for creating a film portrait of an

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Yamchuk, Pavlo. "Dialogue of the forever living (diary entries of Oleksandr Dovzhenko and Yevhen Sverstiuk in the context of the 20th – 21st centuries)." Philological Review, no. 1 (May 31, 2023): 182–202. http://dx.doi.org/10.31499/2415-8828.1.2023.281381.

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In the proposed philosophical-Ukrainian studies, and therefore – literary studies as an integral part of Ukrainian studies, the study examines the understanding of the deep beginnings of the tragic history of Ukraine and Ukrainianism. The constant principles of the spiritual-intellectual and all-time-essential Resistance defined by him in the totalitarian realities of the 1930s–50s, which were unprecedentedly cruel to Ukrainians, are outlined. The phenomenon of O. Dovzhenko as a visible confirmation of such Ukrainian spiritual-intellectual and material Resistance is undeniable. Philosophical a

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PALASH, Alyona. "THE CONCEPT OF “FIRE” IN THE WORKS OF OLEKSANDR DOVZHENKO’S: ASSOCIATIVE-SEMANTIC CONTEXT." Culture of the Word, no. 101 (December 2024): 61–71. https://doi.org/10.37919/0201-419x-2024.101.5.

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The article analyzes the concept of fire in Oleksandr Dovzhenkoʼs work and defines its semantic structure, functions, and symbolic meaning in the context of Ukrainian culture and national identity. Various aspects of the image of fire are considered: natural elements, war, death, sun, punishment (sin), revolution, character, and ritual order. Special attention is paid to analyzing the linguistic means used by Dovzhenko to create the concept of fire: metaphors, similes, epithets, syntactic constructions, hyperbole, and gradations. The study demonstrates how the image of fire helps Dovzhenko to

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Popova, Liana Vladimirovna. ""Earthly paradise" in Alexander Dovzhenko films." Культура и искусство, no. 4 (April 2024): 89–102. http://dx.doi.org/10.7256/2454-0625.2024.4.70201.

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The object of the study is the work of film director Alexander Petrovich Dovzhenko. The subject of research is the concept of "land" in the director's work, considered as a "garden," as an "earthly paradise". One of the main ideas of A. Dovzhenko's work is the glorification of the earth, "soil," which has already been indicated by many researchers. This tradition can be traced not only in "Earth," but also in other films by A. Dovzhenko ("Aerograd," "Shchors," "Michurin"), as well as in films created according to his scripts by director Yu. Solntseva ("Charmed Desna," "A Tale of Fiery Years").

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Dissertations / Theses on the topic "Dovzhenko A"

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Dovzhenko, Gleb [Verfasser]. "Characterization of Residual Stresses in Friction Surfacing of Ti and Al Alloys / Gleb Dovzhenko." Hamburg : Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky, 2020. http://d-nb.info/1230065008/34.

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Заїка, О. В., та А. В. Авраменко. "Глухівщина як творча колиска (штрихи до біографії О.Довженка)". Thesis, Видавництво СумДУ, 2010. http://essuir.sumdu.edu.ua/handle/123456789/7545.

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Глухівщина - край талантів і патріотів. Саме на цій землі формувалися особистості таких відомих і талановитих літераторів, як П.Товстуха, Л.Процик, М.П.Василенко, О.Довженко. У Глухові, навчаючись в учительському інституті (1911- 1914 рр.) отримав перші уроки національної самосвідомості Олександр Довженко. При цитуванні документа, використовуйте посилання http://essuir.sumdu.edu.ua/handle/123456789/7545

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Muguiro, Carlos. "Estética de la naturaleza en el cine ruso y sovietico : el tercer paisaje." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/127190.

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En Rusia, la representación de la naturaleza ha sido siempre una encrucijada estética fundamental. En ella han ido cuajando a lo largo de los siglos las principales tensiones filosóficas y artísticas que han perfilado su cultura. En el contexto de este gran tema cultural, esta investigación estudia las formas del paisaje en el cine ruso y soviético. Está dividida en tres partes. Identificación del paisaje ruso traza un recorrido histórico por los debates estéticos sobre la naturaleza que el cine hereda y asimila. Componentes del paisaje cinematográfico cataloga los distintos enfoques paisajíst

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Bancroft, Alan. "The sublated style of a cinema in transition: Grigori Kozintsev, Leonid Trauberg, and Oleksandr Dovzhenko from the 1920s - 1930s." Thesis, 2021. http://hdl.handle.net/1828/13098.

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This Master’s thesis examines the period of transition (1928-1935) in Soviet cinema when the avant-garde directors Grigori Kozintsev, Leonid Trauberg, and Oleksandr Dovzhenko, among others, began to make films under the strictures of a new state-mandated socialist realist aesthetic. It argues, despite the prominence of literature which maintains that socialist realism precipitated a conceptual break that effectively ended avant-garde filmmaking practice, that socialist realism simultaneously preserved, developed, and negated elements of the avant-garde cinema. Using Katerina Clark’s The Soviet

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Dovzhenko, Alexander [Verfasser]. "Towards plastid transformation in rapeseed (Brassica napus L.) and sugarbeet (Beta vulgaris L.) / vorgelegt von Alexander Dovzhenko." 2001. http://d-nb.info/964442035/34.

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Books on the topic "Dovzhenko A"

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Kepley, Vance. In the service of the state: The cinema of Alexander Dovzhenko. University of Wisconsin Press, 1986.

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Alexander Dovzhenko: A guide to published sources. Canadian Institute of Ukrainian Studies Press, University of Alberta, 1995.

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Alexander Dovzhenko: A Life in Soviet Film. British Film Institute, 2002.

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4

Oleksandr Dovzhenko vchora i sʹohodni: Zatemneni mist︠s︡i︠a︡ v biohrafiï. Teren, 2005.

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In the service of the state: The cinema of Alexander Dovzhenko. University of Wisconsin Press, 1986.

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Book chapters on the topic "Dovzhenko A"

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"Dovzhenko:." In First Films of the Holocaust. University of Pittsburgh Press, 2012. http://dx.doi.org/10.2307/j.ctvsn3pm8.10.

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"CHAPTER FIVE Danylo Demuts'kyi and Oleksandr Dovzhenko." In The Men with the Movie Camera. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781782380788-010.

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Titus, Joan. "Heroes and Cold War Relations." In Dmitry Shostakovich and Music for Stalinist Cinema (1936-1953). Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197611326.003.0005.

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Abstract Chapter 5 (“Heroes and Cold War Relations”) provides an examination of Shostakovich’s first postwar biopics and first Cold War film: Pirogov (dir. Grigory Kozintsev, 1947), Michurin (dir. Aleksandr Dovzhenko, 1948), and Meeting at the Elbe (Vstrecha na El’be, dir. Grigory Aleksandrov, 1948). Providing discussions about and analyses of Shostakovich’s scores, this chapter focuses on the complexity of his musical characterizations of historical figures, war, and revisionism during the late 1940s when Resolutions targeted specific artists, including filmmakers and musicians. Analyses of t

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"Dovzhenko’s Ivan Ivan (1932), directed by Alexander Dovzhenko The Spell of Tatra (Tatras Zauber, 1933), directed by Adolf Trotz." In Film Nation. Liverpool University Press, 2021. http://dx.doi.org/10.2307/j.ctv3029tqk.10.

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Klein, Scott W. "“You Must Speak”." In A Modernist Cinema. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199379453.003.0014.

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Charlie Chaplin, silent-era film star and director, did not make his first fully talking picture until The Great Dictator in 1940—years after sound became the technological norm. The film ends with a peroration by Chaplin against the emerging horrors of European fascism. “You Must Speak” interrogates this final monologue in a number of related contexts: as a speech act that runs counter to Chaplin’s career-long distrust of language; as a meditation on the relation between sound and image in the presentation of celebrities, particularly of political figures; and, in the context of the visual ic

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Besarab, Olena. "UKRAINIAN CINEMA ART AND TV AS A SIGNIFICANT ELEMENT OF SOCIAL DEVELOPMENT". У Іншомовна комунікація: інноваційні та традиційні підходи. Випуск 3, 3-тє вид. Primedia eLaunch LLC, 2024. http://dx.doi.org/10.36074/ikitp.monograph-2024.01.

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The research deals with cinematography and television as significant components of contemporary mass art. An attempt to analyse the origin and main stages of development of the above-mentioned art types is made. Cinema and TV are studied as cultural and social phenomena and their most outstanding representatives are pointed out. As these genres of modern art are not totally studied by the scientists, the popular articles dominate, so there is a wide range of aspects to analyse in this and many other following works. The first part of the work offers an overview of main stages of the cinema art

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"‘Ukrainian Poetic Cinema’ and the Construction of ‘Dovzhenko’s Traditions’." In Ukrainian Cinema. I.B.Tauris, 2015. http://dx.doi.org/10.5040/9780755694457.ch-005.

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Smith, Murray. "The Threshold of Legibility." In Engaging Characters. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198871071.003.0005.

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Recognition is the first of the three levels of engagement in the model of character engagement, and describes the most basic and fundamental relationship we can form with a character—which is to say, the very act of perceiving a character as a character. Recognition is in turn constituted by two component activities: individuation (distinguishing a character from adjacent ones) and reidentification (grasping that a given character at one point in a narrative is ‘the same as’—continuous with—a character at other points in the narrative). The roles of the body and of language in securing recogn

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Conference papers on the topic "Dovzhenko A"

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Getmanov, Ya V., O. A. Shevchenko, O. I. Deichuly, et al. "THE NOVOSIBIRSK FREE ELECTRON LASER FACILITY: CURRENT STATUS AND PLANSYa.V. Getmanov, O.A. Shevchenko, 0.1. Deichuly, E.N. Dementyev, B.A. Dovzhenko." In Terahertz and Microwave Radiation: Generation, Detection and Applications (ТЕRА-2023). Our Style, 2023. http://dx.doi.org/10.59043/9785604953914_49.

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