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Journal articles on the topic 'Dovzhenko A'

Author: Grafiati

Published: 28 May 2022

Last updated: 30 July 2025

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Trymbach, Serhiі. "Dovzhenko: Apocalypse. War through the Eyes of a National Prophet." Folk art and ethnology, no. 4 (December 30, 2024): 57–67. https://doi.org/10.15407/nte2024.04.057.

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The article is about the creative heritage of film director Oleksandr Dovzhenko during the Second World War and the role he chooses for himself, the role of the national Prophet. At first, Dovzhenko has shown a restrained optimism regarding the historical fate of Ukraine and Ukrainianhood in the vicissitudes of the tragic confrontation of peoples and political systems. His perception of the world is consistent with the format of the national ideology, formed during the liberation struggles of the early 20th century. It is about a national reflection in a pan-European scale, which is in no way

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12

Vinogradov, V. V. "Alexander Dovzhenko. Poetic Space of Immortality." Vestnik VGIK 13, no. 3(49) (2024): 25–40. http://dx.doi.org/10.69975/2074-0832-2021-49-3-25-40.

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The article focuses on the theme of death and rebirth in the works of A. Dovzhenko. In fact, the theme of death has been essential throughout the history of cinema. It is a matter of concern and representation in almost every film. But the authors do not always have an original concept of death. Among those for whom this topic is a through line are K. T. Dreyer, I. Bergman, A. Tarkovsky, J.-L. Godard, A. Sokurov, J. Cocteau. Death and resurrection play a key role in the films of A. Dovzhenko whose creation marked a milestone in the history of world cinema and set a special trend in its develop

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13

Koliada, Ihor. "The Role of O. Dovzhenko in the Formation and Becoming of M. Vingranovskyi as a Film Director." Науковий вісник Чернівецького національного університету імені Юрія Федьковича. Історія 1, no. 47 (2018): 30–36. http://dx.doi.org/10.31861/hj2018.47.30-36.

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In the article «The role of O. Dovzhenko in the formation and becoming of M. Vingranovskyias a film director» I. Koliada highlights facts from biography of the outstanding poet, film director, scriptwriter and actor M. Vingranovskyi; was made an attempt to analyze the role of influence on the formation of his personality as a film director, prominent Ukrainian filmmaker O. P. Dovzhenko. The autor analyzes the peculiarities of pedagogy of O. Dovzhenko, reveals the peculiarities of organization as an artist of the educational process at the film director’s course; were supplemented with new fact

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14

Lamonova, Oksana. "Oleksandr Ivakhnenko and Oleksandr Danchenko are the Illustrators of Oleksandr Dovzhenko." Folk art and ethnology, no. 3 (September 30, 2024): 76–81. http://dx.doi.org/10.15407/nte2024.03.076.

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The article is dedicated to the illustrations of the prominent Ukrainian graphic artists Oleksandr Ivakhnenko and Oleksandr Danchenko for the prose of Oleksandr Dovzhenko, as well as the issue of the existence of auto-illustrations by the filmmaker himself. Oleksandr Dovzhenko (also known as Alexander Dovzhenko) is not only a world-renowned filmmaker but also an outstanding artist – a painter and a graphic artist. Besides his painted portraits and thematic paintings, graphic caricatures, cartoons, and portraits, his drawings for films («Arsenal» – late 1920s, «Shchors» – late 1930s, «Michurin»

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15

Panchenko, Olena, and Karolina Bilous. "POETICAL ANALYSIS OF THE IMAGE OF UKRAINE IN O. DOVZHENKO'S FILM STORY “UKRAINE ON FIRE”." Scientific Journal of Polonia University 59, no. 4 (2023): 81–86. http://dx.doi.org/10.23856/5911.

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The appearance of the central image of Ukraine in the film story “Ukraine on fire” as the dominant character of insubordination and the tragedy of the suffering of the Ukrainian people. The image of Ukraine in O. Dovzhenko's film story “Ukraine on Fire” is an undisguised, tragic truth about the fate of the Ukrainian people during the Great Patriotic War. The years 1941–1942 remained in history as the most difficult hours of the great grief of the war for Ukraine. This is the time when all of Ukraine was occupied by fascists. Oleksandr Dovzhenko watched all these bloody events, it was the war t

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16

Lobodovskaya, Irina. "Creative achievements of Hryhoriy Dozhenka as Ukrainian artistic heritage of the twentieth century." Scientific Visnyk V. O. Sukhomlynskyi Mykolaiv National University. Historical Sciences 48, no. 2 (2019): 27–30. http://dx.doi.org/10.33310/2519-2809-2019-48-2-27-30.

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This article is about the artistic legacy of the famous monumental artist Grigory Avksentievich Dovzhenko, who lived and worked in the difficult and contradictory times of Ukrainian history and yet managed to preserve the identity of our culture in his works, perpetuate its signs in paintings, murals, mosaics, «Stone embroidered shirts». Studying local history, preserving cultural heritage sites, popularizing the historical past contributes to the formation of national and local identities, and gives impetus to the development of local communities. It is the community, its past, its distinctiv

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17

Trymbach, Serhiі. "Ukraine on Fire Cinema Novel by Oleksandr Dovzhenko: Saving Gesture of the Artist." Folk art and ethnology, no. 3 (September 30, 2024): 17–21. http://dx.doi.org/10.15407/nte2024.03.017.

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The years of German-Soviet war (1941–1945) have become a period of special trials for the outstanding film director Oleksandr Dovzhenko. All hopes for the revival of the Ukrainian nation and its culture have turned out to be an illusion. The victory of the Soviet Union in the war has led to the collapse of the remnants of political and cultural autonomy in Ukraine, complete control of the imperial center over the processes of social and cultural life. Dovzhenko writes the film story Ukraine on Fire, which demonstrates the considerable resources of resistance of Ukrainians to totalitarian syste

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18

Tkachenko, Roman. "Philosophical and aesthetic meaning of the image / title of O. Dovzhenko’s film story “Enchanted Desna”." Synopsis: Text Context Media 29, no. 2 (2023): 70–76. http://dx.doi.org/10.28925/2311-259x.2023.2.2.

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The Subject of the study is the philosophical and aesthetic aspect of the title of the film story “Enchanted Desna”. The purpose is to find out the author’s intention, clarify the problem and idea of the work based on deciphering its title. The established interpretations of “Enchanted Desna” in Dovzhenko studies need to be revised. The widespread understanding of this text in a populist way contradicts or at least does not include the interpretive possibilities provided by the author’s poetics. The need for its re-reading in the context of today makes the study relevant. Linguistic, aesthetic

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19

Perez, Gilberto. "Dovzhenko: Folk Tale and Revolution." Film Quarterly 64, no. 4 (2011): 17–21. http://dx.doi.org/10.1525/fq.2011.64.4.17.

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20

Poleshuk, Ruslan. "Applying categories of H.V.F. Hegel’s philosophy for cultural study of soviet cinematography of the 20-30's of the 20th century." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 23 (2022): 104–10. http://dx.doi.org/10.34079/2226-2849-2022-12-23-104-110.

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The article compares the filmmaking of S. Eisenstein and O. Dovzhenko, from the point of view of Hegelian concepts, including the modern understanding of concrete and abstract unity. The work revealed the cultural content of Hegel's concepts "spirit of the people", "spirit of the time" and "spirit of the world", "progress" and "freedom", as well as the modern understanding of Hegel's dialectics. The work offers a cinematic context of Hegel's concrete and abstract unity. According to our conclusion, the philosophical context of O. Dovzhenko's filmmaking has fundamental differences from the cine

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21

Kalish, Valentyna. "Study of a complex sentence by applicants for higher philological education as a means of syntactic organization of an epistolary text (based on the material of O. Dovzhenko's epistolary)." Bulletin of Luhansk Taras Shevchenko National University 2, no. 8 (346) (2021): 34–45. http://dx.doi.org/10.12958/2227-2844-2021-8(346)-2-34-45.

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The article emphasizes the advantages of the cognitive-communicative scientific paradigm focused on the study of language units based on the text. Accordingly, methodical recommendations are offered by students of higher philological education to study a complex sentence with the use of epistolary texts, especially O. Dovzhenko. To this end, the study of diary entries and letters of the writer, identified different types and varieties of complex sentences, analyzed their formal-syntactic, semantic organization and role in the communicative purpose of the text.Based on the analysis of syntactic

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22

Mekh, Nataliia. "Logoworld of Oleksandr Dovzhenko in the Ukrainian Audiovisual Space." Folk art and ethnology, no. 4 (December 30, 2024): 76–82. https://doi.org/10.15407/nte2024.04.076.

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The article is an attempt to understand the logoworld of Oleksandr Petrovych Dovzhenko. A lot has been written about him. And this is not surprising, because O. Dovzhenko is an iconic figure of the Ukrainian cultural space, known far beyond the borders of our country, a world-recognized film director and writer. This year the 130th anniversary of his birth will be celebrated on September, the 10th. Any thinking person, over time begins to address eternal questions. Oleksandr Dovzhenko undoubtedly had these questions. Moreover, in fact, all of his multifaceted heritage, his logoworld, as a conc

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23

Kushnierova, M. "“PROMETHEUS’ SPIRIT OF DOVZHENKO” (PERSONALITY OF OLEKSANDR DOVZHENKO IN INTERPRETATION OF THE UKRAINIAN EMIGRATION REPRESENTATIVES)." International Humanitarian University Herald. Philology 1, no. 42 (2019): 22–26. http://dx.doi.org/10.32841/2409-1154.2019.42.1.5.

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24

Trymbach, Serhii. "Oleksandr Dovzhenko: Peculiarities of the National Myth Creation." Folk Art and Ethnology, no. 2 (June 30, 2024): 8–18. http://dx.doi.org/10.15407/nte2024.02.008.

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Russia’s full-scale war against Ukraine, its culture, its civilizational choice raises the issues of the formation and functioning of the national mythology. There are many definitions of myth, interpretations of its significance and place in the world and national history. One thing is clear: any nation forms the mythological core of its picture of the world. The heart, which serves as one of the main tools of its self-identification and self-defense against external forces. In this sense, the phenomenon of Ukrainian cinema and one of its creative leaders, Oleksandr Dovzhenko, is of a particu

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25

Horpenko, Volodymyr. "Volodymyr Naumovych Myslavskyi "The First Decade of Cinematographic Work by Oleksandr Dovzhenko" : Monograph." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 2, no. 2 (2019): 216–19. https://doi.org/10.31866/2617-2674.2.2.2019.185716.

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26

Koval-Fuchylo, Iryna. "Ukrainian Song Folklore in Oleksandr Dovzhenko’s Records: History of Publication, Analysis of Motifs and Plots." Folk art and ethnology, no. 3 (September 30, 2024): 68–75. http://dx.doi.org/10.15407/nte2024.03.068.

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The subject of this study analysis concerns the history of publication of notes those Oleksandr Dovzhenko has recorded from his mother in December 1943 in Moscow. These are 32 song texts of Ukrainian folk Christmas carols, shchedrivky, spring rite carols and lyrical songs. The records are contained in a separate notebook, which has 30 sheets. The name of the collection is The Mother’s Songs. It is kept in the Russian State Archives of Literature and Art in Moscow (RSALA, fund 2081, inventory 1, unit of issue 330). The published work is aimed at the description of the editorial approaches to th

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27

Sheiko, V. "“Dovzhenko as a graphic artist” by V. N. Myslavskyi: Unknown milestones of famous Ukrainian director’s art." Culture of Ukraine, no. 74 (December 20, 2021): 98–100. http://dx.doi.org/10.31516/2410-5325.074.15.

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KOSMEDA, Tetyana. "O. DOVZHENKO’S MASTERY IN VERBALIZING GENDER IMAGES IN THE WRITER’S DIARY TEXT." Culture of the Word, no. 101 (December 2024): 49–60. https://doi.org/10.37919/0201-419x-2024.101.4.

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The scientific study is conducted within the paradigm of diary studies, gender linguistics, linguistic personology, and linguistic stylistics. These research perspectives allowed for a multifaceted portrayal of O. Dovzhenko as a refined Ukrainian linguistic personality, which manifests in his unique verbalization of national images of жінка / дівчина (woman / girl) in all their roles (матір, дружина, сестра, дочка (mother, wife, sister, daughter)), juxtaposed with the masculine images of Ukrainian чоловік / парубoк (man / young man). To verbalize these images, the writer activates nationally c

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Yamchuk, Pavlo. "Ukrainian worldview constants in state-creating and nation-creating contexts of the twentieth century. literary outlines and philosophical horizons. (Taras Shevchenko, Yevhen Malaniuk, Pavlo Tychyna, Oleksandr Dovzhenko)." Philological Review, no. 2 (November 29, 2023): 122–31. http://dx.doi.org/10.31499/2415-8828.2.2023.299079.

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In the offered attention of readers, the studios outline, analyze and actualize in the modern value-semantic discourse the leading concepts of the national philosophical and Ukrainian thought of the twentieth century, which are represented in the thoughts and axiological visions of artists-thinkers Taras Shevchenko, Pavlo Tychyna, Yevhen Malanyuk, Oleksandr Oles, Oleksandr Dovzhenko, Lina Kostenko. Contextually, the memoirs of V. Molotov and A. Mikoyan are presented, which illustrate this research value-semantic discourse. In addition, the article draws attention to the conceptually significan

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Kholyavko, I. V. "GENRE STANDARDS OF DIARY DISCOURSE O. DOVZHENKO." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 3, no. 1 (2019): 56–61. http://dx.doi.org/10.32838/2663-6069/2019.3-1/11.

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31

Rosliak, Roman. "Oleksandr Dovzhenko and the Soviet Secret Police." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 34, no. 43 (2023): 173–94. http://dx.doi.org/10.14746/i.2023.34.43.11.

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   The article reviews the specifics of the surveillance process of the Ukrainian film director Oleksandr Dovzhenko organized by the Soviet secret police. The main focus is on agents’ reports about the director’s work on the films Earth, Ivan, Shchors, and the screenplay for Ukraine in Flames. The article reveals that Dovzhenko was under permanent secret police surveillance, starting from the end of the 1920s until the end of his life in 1956. This surveillance was well organized; it was large-scale and complex in its nature and covered not only his professional but his priva

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32

Rosliak, Roman. "The Film Ivan by Oleksandr Dovzhenko in the Light of the Soviet Intelligence Services." Folk art and ethnology, no. 3 (September 30, 2024): 59–67. http://dx.doi.org/10.15407/nte2024.03.059.

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A set of archival documents of the Soviet secret services (agent messages, reports, summaries, etc.) related to Dovzhenko’s work on the film Ivan in 1931–1932 is analyzed in the article. Ivan is just the film that has the largest number of documents of this kind among the works. The agents have informed the secret services about the work on the script, its passage through the censorship authorities, and the filming period in their reports. The criticism of the author has started in Ukraine after the completion of the film. During this period the agents have recorded the artist’s difficult mora

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Uzwyshyn, Ray, and Roman Korohodsky. "Dovzhenko v Poloni: rozvidky ta esei pro maistra." Slavic and East European Journal 46, no. 2 (2002): 408. http://dx.doi.org/10.2307/3086207.

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34

Murray, James. "Alexander Dovzhenko: A Life in Soviet Film (review)." Velvet Light Trap 57, no. 1 (2006): 105–7. http://dx.doi.org/10.1353/vlt.2006.0018.

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35

Trymbach, Serhii. "Artistic power vs. state power: Dovzhenko, Savchenko, Parajanov." Studies in Russian & Soviet Cinema 6, no. 3 (2012): 357–64. http://dx.doi.org/10.1386/srsc.6.3.357_7.

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36

Shabat-Savka, S. T. "OLEXANDR DOVZHENKO DIARY DISCOURSE: INTENTIONAL SCOPE AND SYNTAXING." Тrаnscarpathian Philological Studies, no. 37 (2024): 67–73. https://doi.org/10.32782/tps2663-4880/2024.37.11.

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37

Myslavskyi, V. "Anthology of Ukrainian film criticism of the 1920s." Culture of Ukraine, no. 81 (September 21, 2023): 94–95. http://dx.doi.org/10.31516/2410-5325.081.12.

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Book review: Anthology of Ukrainian film criticism of the 1920s / edited by: S. Menzelevskyi, O. Teliuk; foreword by S. Menzelevskyi. Oleksandr Dovzhenko National Center, 2019–2021. Vol. 1 — 176 p.; Vol. 2 — 128 p.; Vol. 3 — 200 p.; Vol. 4 — 200 p.

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Naumova, Larysa. "Oleksandr Dovzhenko, Ivan Kavaleridze, Leonid Skrypnyk: The avant-garde and philosophical explorations of Ukrainian filmmakers of the 1920s." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 34, no. 43 (2023): 195–208. http://dx.doi.org/10.14746/i.2023.34.43.12.

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   The filmmakers Oleksandr Dovzhenko and Ivan Kavaleridze created bold avant-garde works at the time when Ukrainian cinema was being established, at the end of the 1920s and early 1930s. In effect, the works of these two directors shaped the defining features of Ukrainian cinema. This article discusses the creative methods used by Dovzhenko in his three films Zvenyhora (1927), Arsenal (1929) and Earth (1930), which clearly depict Ukrainian worldviews and mentality. Kavaleridze’s approach is considered in the light of two of his films, Downpour (1929) and Perekop (1930). Alre

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Богдашина, О. М., та І. Д. Дразман. "АНАЛІЗ ЖІНОЧОЇ ТЕМИ У ТВОРЧІЙ СПАДЩИНІ О. П. ДОВЖЕНКА (ЗА МАТЕРІАЛАМИ КІНОПОВІСТІ «УКРАЇНА В ОГНІ»)". Історія та географія, № 54 (1 листопада 2018): 127–33. https://doi.org/10.5281/zenodo.1476609.

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<em>In the article «Analysis of the female theme in the creative legacy of A. P. Dovzhenko (based on the materials of the film&bdquo;Ukraine on fire”)» the works of contemporary Russian and Ukrainian preachers are considered.  In these studies, the theme of the formation of images of women in the author<strong>’</strong>s works is analyzed.  Considered in the article diary of A. P.Dovzhenko shows the reasons for the formation of female images and characters of his work.  Analysis of female images takes place on the example of the film &laqu

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Tsin’ko, S. V. "The femininity category in the idiostyle of Oleksandr Dovzhenko." Literature and Culture of Polissya 101, no. 16f (2021): 149–61. http://dx.doi.org/10.31654/2520-6966-2021-16f-101-149161.

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Vorozhbitova, Aleksandra A., Serhiy I. Potapenko, Natalya Yu Khachaturova, and Yuliya N. Khoruzhaya. "Linguistic rhetoric of Soviet discourse: official vs personal register (J. Stalin – A. Dovzhenko)." Revista Amazonia Investiga 9, no. 29 (2020): 224–33. http://dx.doi.org/10.34069/ai/2020.29.05.25.

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Within the conception of the Sochi Linguistic & Rhetorical School the paper discusses the diglossia of the Soviet discourse employed in the former USSR, distinguishes official and personal registers as well as shows their difference drawing on Joseph Stalin’s speech of 31 January 1944 to the Politburo of the Central Committee of the All-Union Communist Party of Bolsheviks concerning Alexander Dovzhenko’s screenplay “Ukraine in Flames” and in the writer’s diaries. The comparison reveals a few specific linguistic rhetorical features of cognitive communicative type ontologically characteristi

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Bezruczko, Oleksandr. "Два маловідомі міжнародні кінопроекти українських кінематографістів". Studia Ucrainica Varsoviensia 6 (20 квітня 2018): 305–20. http://dx.doi.org/10.5604/01.3001.0011.7967.

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The article is devoted to two unknown international cinemaprojects of the National Film Studio of Feature Films named of Oleksandr Dovzhenko: made in Kyiv, Lviv, Mukachevo, Bakhchisaray, Yalta, Balaklava and Sevastopol by the Ukrainian and Chinese cinematography two twenty-series of television feature fi lms „As steel was tempered” (1999) and „Gad-fl y” (2003).

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Gorbolis, Larysa M., and Anna Ye Chernysh. "ARTISTIC TRINITY: LITERATURE – CINEMA – MUSIC (THE FILM “EARTH” BY O. DOVZHENKO)." Alfred Nobel University Journal of Philology 2, no. 26/2 (2023): 238–52. http://dx.doi.org/10.32342/2523-4463-2023-2-26/2-15.

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The purpose of the article is to reveal the ideological, thematic, descriptive, intonation-rhythmic consonance of the musical accompaniment of the band “DakhaBrakha” with the film and film story by O. Dovzhenko. The article highlights the role of musical accompaniment in the restored 2012 version of the film “Earth” by the famous Ukrainian director of the twentieth century O. Dovzhenko. This is the first study in which, through the comprehension of the trinity of the samples of music, cinema, and literature, new meanings are revealed in musical compositions and the film, the relevance of the r

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Briukhovetska, Larysa. "Lina Kostenko jako scenarzystka „Sprawdźcie swoje zegarki — kto powróci, pokocha do końca”. Scenariusz i film." Miscellanea Posttotalitariana Wratislaviensia 9 (May 9, 2022): 219–34. http://dx.doi.org/10.19195/2353-8546.9.16.

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Why did Arkady Dobrovolsky and Lina Kostenko, the talented authors of the critically-acclaimed screenplay Check Your Watches, take their names out from the credits of Leonid Osyka’s film Who Return, Will Love to the End based on their screenplay? Using archival materials analysis, this article shows collisions that revolved around Kostenko’s notorious work between 1964–1966 at the Dovzhenko Film Studios in Kyiv.

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Depretto, Catherine. "George O. Liber, Alexander Dovzhenko : A Life in Soviet Film." Cahiers du monde russe 46, no. 46/4 (2005): 921–23. http://dx.doi.org/10.4000/monderusse.6623.

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Bondarenko, Halyna. "A Poem on the Sea of Tears, or the Chronicles of a Disaster. Oleksandr Dovzhenko about Kakhovka Hydroelectric Power Plant." Folk art and ethnology, no. 4 (December 30, 2024): 68–75. https://doi.org/10.15407/nte2024.04.068.

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The article is based on the diary entries of Oleksandr Dovzhenko. The realities of the construction of the Kakhovka hydroelectric power station (1950–1956), which has become another stage of Stalin’s plan to “tame nature” are investigated in the article. As a result of thoughtless, ideologically driven decisions, irreparable damage has been done to Ukraine’s ecology, its demographic and settlement structure, cultural and historical heritage. On June 6, 2023, the dam of the reservoir has been blown up by Russian occupation forces, causing a global environmental disaster. In this regard, interes

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Poleshuk, R. "APPLYING THE PRINCIPLE OF INTERDISCIPLINARITY TO EXPAND THE RESEARCH METHODOLOGY OF STUDYING O. DOVZHENKO'S WORKS." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 24 (2022): 105–12. http://dx.doi.org/10.34079/2226-2849-2022-12-24-105-112.

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Guided by the principle of interdisciplinarity, the article proposes a methodology for the cultural analysis of O. Dovzhenko's works using the method of ethnographic description. The above-mentioned methodology makes it possible to investigate the issue of the difference between Ukrainian and Russian culture, which is significant nowadays, as well as to determine the direction of the development of the Ukrainian culture in order to create the conditions necessary for bourgeois transformations in society. By applying the method of ethnographic description to the study of Dovzhenko's films, we h

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Lawton, Anna, Vance Kepley, Denise J. Youngblood, Val S. Golovskoy, and John Rimberg. "In the Service of the State: The Cinema of Alexander Dovzhenko." Russian Review 47, no. 2 (1988): 203. http://dx.doi.org/10.2307/129980.

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Suhovij, L., T. Sharova, and S. Sharov. "Features of movies O. Dovzhenko “Ukraine in Fire”: watch, running, removing." International Humanitarian University Herald. Philology 40, no. 1 (2019): 97–100. http://dx.doi.org/10.32841/2409-1154.2019.40.1.23.

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Безручко, Олександр. "The Beginning of the Artistic and Mentoring Activities of O. Dovzhenko." Art Research of Ukraine, no. 18 (December 19, 2018): 204–8. http://dx.doi.org/10.31500/2309-8155.18.2018.152396.

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