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Journal articles on the topic '"new" Ukrainian cinema'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Alforova, Zoia. ""New" Ukrainian Cinema in the Context of Contemporary Audiovisual Art." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 3, no. 2 (2020): 213–21. https://doi.org/10.31866/2617-2674.3.2.2020.217646.

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The purpose of the research is to understand the contextual existence of the “new” Ukrainian cinema in the morphology of contemporary audiovisual art in Ukraine. The research methodology is based on the use of the method of morphological analysis, art history monitoring of modern problems of fiction, documentary and animation cinematography in Ukraine. The scientific novelty consists in a certain morphological systematization of the development of the “new” Ukrainian cinema and the identification of its place in the context of audiovisual art.&n

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2

Polishchuk, Oleksandr, and Rosina Hutsal. "Ukrainian Cinema Formation and Development." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 2, no. 2 (2019): 173–80. https://doi.org/10.31866/2617-2674.2.2.2019.185697.

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The purpose of the article is to investigate the development of Ukrainian cinema, taking into account historical events and realities, in which took place the of national cinema emergence. Trace the conditions for the new wave of young kin and the emergence of a new hero. Highlighting the historical events of Ukraine at the present stage, which not only changed the ideology of the country, but also became the impetus for new themes in cinema. The research methodology. The analytical and comparative analyses were conducted in the study of Ukrainian cinematography and the following res

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Novokhatko, Leonid, and Valeriia Snopkova. "KEY TENDENCIES AND ACHIEVEMENTS BRAND OF UKRAINIAN CINEMA AFTER A FULL-SCALE RUSSIAN INVASION." Integrated communications 16, no. 2 (2023): 83–88. http://dx.doi.org/10.28925/2524-2644.2023.1610.

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The article examines key trends and achievements of the Ukrainian film brand after the full-scale Russian invasion. The realities of promoting the Ukrainian film brand involve festival engagement and representation of Ukrainian perspectives on international platforms. In Ukraine, a unique cinematic brand is actively developing. Each year sees the creation of new initiatives dedicated to promoting Ukrainian cinema, introducing new talents to the industry. Ukrainian cinema reflects values shaped throughout history, such as resilience, independence, innovation, cultural self-identification, and a

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Rosinska, Olena. "Stereotypical Elements in the Narrative Structure of the Nationally “Other” in Contemporary Polish and Ukrainian Cinema." Roczniki Nauk Społecznych 51, no. 4 (2023): 61–81. http://dx.doi.org/10.18290/rns2023.0047.

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This paper researches topical Ukrainian and Poland cinema narratives related to interaction with the representatives of other nationalities in the territory of one country. The purpose of the research is to analyse changes in intercultural narratives related to the national stereotypes in contemporary films. The current development stage of the world culture requires new narratives –signals about that appear in the world and Ukrainian cinema. For Ukraine, these narratives become especially relevant after 2014. Now, the Ukrainians are thinking over their history and their relationship with thos

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Cherkasova, N. "Peculiarities of Ukrainian Films Distribution at the Present Stage." Culture of Ukraine, no. 73 (September 23, 2021): 113–20. http://dx.doi.org/10.31516/2410-5325.073.16.

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The relevance is determined by the need to reconsider the attitude to the traditional system of film distribution in the new reality. Under conditions of quarantine, the film and the audience actively interact mainly outside of cinemas. Current distribution practices have changed significantly over the last year. Cinemas have almost lost movies and viewers, and filmmakers are trying to minimize the negative effects with new content delivery channels. It is important for various representatives of the film industry to quickly and effectively adapt to new conditions of film consumption. Th

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Kokhan, T. G. "CULTUROLOGICAL ORIENTATORS OF MODERN UKRAINIAN CINEMA CRITICS." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 18–22. http://dx.doi.org/10.17721/ucs.2020.1(6).04.

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The article analyses the position of Ukrainian scientists, represented in their works during the first two decades of the XXI century, when the influence of the basis of the cultural analyses on the development of cinema critics has become appreciable. The accent has been made on new approaches both to the history of Ukrainian cinema in trying to understand personalized approach prevails and to the estimation of subject direction of the films shoot on the boundary of the XX – XXI centuries. It is underlined that film expert's attention was concentrated on the further improvement of notion-cate

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Е.М., Алієв. "ФЕНОМЕН УКРАЇНСЬКОГО КІНО". Вісник Харківського національного педагогічного університету імені Г.С. Сковороди "Філософія" 2, № 46 (2016): 164–69. https://doi.org/10.5281/zenodo.58735.

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The article deals with the history of Ukrainian cinema from inception to  the present day. The analysis films nineteenth century and their impact  on the consciousness of modern Ukrainian audience. Considered the most famous Ukrainian film directors. Much attention is paid to  contemporary cinema and its main trends. At present Ukrainian cinema is  trying to get back on his feet, but neither the authorities nor our society  do not want this to help people prefer American films, forgetting that our  country takes a decent movie. However, despite all the diffic

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Bakirov, Vil, and Dmytrii Petrenko. "Contemporary Ukrainian Visual Culture on the Way to the International Cultural Space." Perspektywy Kultury 41, no. 2/2 (2023): 91–110. http://dx.doi.org/10.35765/pk.2023.410202.08.

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The article is devoted to the visual culture of Ukraine since independence. It pays special attention to the trends and phenomena of contemporary Ukrainian visual culture that have entered the context of world culture through recognition on international cultural platforms (competitions, festivals, biennials, etc.). The considerations concern the development of various trends in contemporary Ukrainian art, which use various artistic media: photography, installation, performance and film. In particular, Ukrainian conceptual photography was the most interestingly represented by several generatio

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Demydenko, Maksym. "National images and symbols of visual Ukrainian cinematography in the works of foreign scholars." CONTEMPORARY ART, no. 18 (November 29, 2022): 141–50. http://dx.doi.org/10.31500/2309-8813.18.2022.269722.

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The article is devoted to the problem of historical symbolism in the visual language of Ukrainian cinema. The focus is on the foreign historiography of the problem, which today is one of the most relevant areas in the general scientific discourse of the problem. The author notes that at present, the understanding of national imagery and symbolism in cinematography continues within the framework of two parallel strategies: 1) as the still active deconstruction of existing historical images and visual narratives (especially in cinematography and in general within the framework of audiovisual art

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Bodrug, Anatoliy. "THE PHENOMENON OF UKRAINIAN DIASPORIC CINEMA IN THE CONTEXT OF CANADIAN MULTICULTURALISM POLICY." Scientific Herald of Uzhhorod University. Series: History, no. 1 (46) (June 27, 2022): 140–45. http://dx.doi.org/10.24144/2523-4498.1(46).2022.257132.

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The article is devoted to a comprehensive study of the genesis and development of Ukrainian cinema in the conditions of being outside the ethnic territory. The author explores cinema as one of the essential aspects of the national and cultural movement of the Ukrainian diaspora in Canada from the second quarter of the 20th – to the beginning of the 21st century. Particular attention is paid to the phenomenon of Canadian multiculturalism and its role in the development of both Anglo-French and Ukrainian cultural traditions. The relevance of this work is related to the current geopolitical, econ

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Alforova, Zoia. "“New” Ukrainian Cinema in the Context of Contemporary Audiovisual Art." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 3, no. 2 (2020): 213–21. http://dx.doi.org/10.31866/2617-2674.3.2.2020.217646.

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Rosliak, R. "From the History of Ukrainian cinema of the Central Rada period (1917–1918)." Culture of Ukraine, no. 85 (September 25, 2024): 38–45. http://dx.doi.org/10.31516/2410-5325.085.04.

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The relevance of this article. For a long time, the history of national cinematography from the specified period remained largely unexplored. The archives of newspapers and magazines from that era were declassified only after Ukraine declared its independence, which facilitated the creation of objective studies in film history from that period. The proposed topic is relevant both theoretically and practically. Theoretically, it involves investigating lesser-known and even undiscovered aspects of Ukrainian cinema history, contributing to a comprehensive understanding of the subject. Practically

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Puchkov, A. "YOUNG OLEXANDER KORNIYCHUK: SCREENWRITER AND FILM DIRECTOR (1929–1934)." Innovative Solution in Modern Science 7, no. 43 (2020): 122. http://dx.doi.org/10.26886/2414-634x.7(43)2020.9.

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For the first time, the cinematographic heritage of the 1920s by Ukrainian comedian Oleksandr Korniychuk (1905–1972) was comprehensively considered, and an attempt to create a new historical and cultural optics in considering the creative heritage of Soviet playwrights and cinematographers of official ideological orientation was proposed. The degree of importance of studying the author’s compositional architecture of the «big mute» at the Odessa and Kyiv film studios in deepening the elucidation of the dramatic principles of Korniychuk’s stage work is shown.Key words: Oleksandr Korniychuk and

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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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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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Lihus, Mariia. "Representation of the 1990s in Ukrainian Women’s Cinema." NaUKMA Research Papers. History and Theory of Culture 8 (July 9, 2025): 115–23. https://doi.org/10.18523/2617-8907.2025.8.115-123.

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This article analyzes the 1990s as a liminal period in Ukrainian history and culture, focusing on how collective hope and nostalgia are expressed in women’s cinema created both within that era and by a new generation of female directors. In particular, the films of Kira Muratova (Three Stories, 1997; Letter to America, 1999) and Iryna Tsilyk (Rock. Paper. Grenade, 2022) are used to explore the cultural significance of the 1990s in shaping collective representations of Ukrainian national identity. is the analysis demonstrates that, although Muratova never idealized Soviet ideology—instead expos

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Pichenikova, S. G. "THE PHENOMENON OF AESTHETICAL ANTROPLOGY IN KONTEST OF DEVELOPMENT OF THE UKRAINIAN POETIC CINEMA." Anthropological Measurements of Philosophical Research, no. 2 (December 25, 2012): 76–83. https://doi.org/10.15802/ampr2012/7847.

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Becoming of modern philosophical space takes a place in the aspect of interdiscipline approach. As a result of co-operating of philosophy with many humanities, new directions of modern philosophical idea appear. Aesthetical anthropology is one of concepts of modern scientific knowledge which presents the theories of new type. In the structure of the poetic cinema aesthetical anthropology will be realized foremost in an author idea, and also by interpretation of cultural sense initiator through the prism of spectator. A question of development of the cinema art in the context of aesthetical ant

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18

Shyrman, Roman, and Diana Myroshnychenko. "Ukrainian Theater and Cinematograph at the Beginning of the XX Century: Aspects of Interaction and Innovative Trends." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 2, no. 2 (2019): 188–99. https://doi.org/10.31866/2617-2674.2.2.2019.185704.

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The purpose of the work is to study the development process, the interaction of Ukrainian cinema and the theater of the XX century in the world entertainment genre context, identifying innovative trends characteristic of the historical conditions of the time. Methodology of the research is based on the use of empirical, theoretical, and structural-functional methods which aimed at accumulating factual material, observing the dynamics of development of genre diversity, identifying differences and similarities between objects, as well as analyzing the artistic works of screen and

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Tormakhova, А., and D. Tovmash. "REPRESENTATIONS OF SOCIAL PRACTICES OF ALCOHOL CONSUMPTION IN UKRAINIAN CINEMA OF THE PERIOD OF INDEPENDENCE." Bulletin of Mariupol State University Series Philosophy culture studies sociology 14, no. 27 (2024): 88–95. https://doi.org/10.34079/2226-2830-2024-14-27-88-95.

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The article explores the complex relationship between social practices of alcohol consumption and their cinematic representation, which reflects the social changes in post-Soviet countries after their independence. There has been a significant transformation of worldview paradigms, a shift from ideological coercion to various determinants of a "new life" supported by newfound freedoms. The liberation from authoritarian control brought complex challenges as citizens moved from a repressive regime to a more open society. The study examines the dynamics of the transformation of worldviews, which

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Olzacka, Elżbieta. "Kino jako narzędzie konstruowania tożsamości cywilizacyjnej na przykładzie ukraińskiego filmu Kruty 1918 (2019)." Polish Journal of the Arts and Culture New Series, no. 15 (1/2022) (October 21, 2022): 49–66. http://dx.doi.org/10.4467/24506249pj.22.003.16024.

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Cinema as a Tool for Constructing Civilizational Identity on the Example of the Ukrainian Film Kruty 1918 (2019). The article, inspired by the “new wave” of civilizational studies, focuses on a sphere that usually remains outside the mainstream of civilizational research: cinema. The main aim of the article is to show that the analysis of film works can be a valuable source of knowledge about the civilizational identity promoted by the political and cultural elite. This complements approaches that focus on ways to use the term “civilization” in political, academic, or media discourses, or to l

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Melnychenko, Svitlana, Anatolii Mazaraki, Nadiia Vedmid, Alla Okhrimenko, and Aliona Shtanova. "Communication policy of cinema industry enterprises in the context of COVID-19 (on the example of cinema chains)." Innovative Marketing 17, no. 2 (2021): 112–24. http://dx.doi.org/10.21511/im.17(2).2021.11.

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The global pandemic caused a crisis in the Ukrainian cinema industry. Some entities were closed, but the biggest market players were able to concentrate their efforts on interacting with visitors through social networks, public attention, frequent press mentions and discussions of influencers as synergies of communication policy tools. The purpose of the paper is to make proposals for improving the communication policy of cinema chains under new challenges. Based on a system analysis and indices of activity in social media of ten key Ukrainian cinema chains during the COVID-19 period, the main

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Zadorozhnyuk, Andriy. "Development of cinematography and functioning of cinemas in Kamianets-Podilskyi in the early twentieth century based on the material of the local Podolianyn newspaper (1910-1911)." Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 41 (October 2, 2023): 60–70. http://dx.doi.org/10.32626/2309-2254.2023-41.60-70.

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The purpose of the study is to use the existing source base to cover the proces- ses of formation and development of cinematographic art and the functioning of cinemas in Kamianets-Podilskyi in the early twentieth century on the pages of the local Podolianyn newspa- per. Th e research methodology is based on the principles of a specifi c historical approach, ob- jectivity, comprehensiveness and integrity, as well as the use of methods of analysis and synthe- sis, historical-comparative, and problematic-chronological. Th e scientifi c novelty is the fact that for the fi rst time in historiograp

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Gotsalyuk, Alla. "TRADITIONS AND INNOVATIONS AS DETERMINING FACTORS IN THE DEVELOPMENT OF UKRAINIAN THEATRICAL ART." Spatial development, no. 7 (February 23, 2024): 612–24. http://dx.doi.org/10.32347/2786-7269.2024.7.612-624.

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This article analyzes the trends in the use of the most important means of artistic expression in theatrical art and cinema, marked by the influence of evolutionary changes in modern cultural life and the emergence of new genre modalities in today's staging decisions, related to the ideological reorientation of social consciousness and the formation of innovative artistic features in the modern theater. The compositional portrait of modern theater highlights the possibilities of dramatic genre modeling, modern technologies and their transformational processes, which are interrelated with the d

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Nykonenko, V. "Artistic transformations of the image of father in the Ukrainian cinema during the Stalinist era." Culture of Ukraine, no. 83 (March 21, 2024): 107–13. http://dx.doi.org/10.31516/2410-5325.083.12.

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The purpose of the article is to study the peculiarities of artistic interpretations of the image of father in Ukrainian cinema during the Stalinist era, with special attention to the socio-cultural and political factors of the period, which fundamentally influenced the trends in the interpretations of the screen image of father. The methodology. On the example of the films “Ivan” (1932), “Wonderful Garden” (1935), “Aerograd” (1935), “Guerillas in the steps of Ukraine” (1942), “Third strike” (1948) historical factors were analyzed that fundamentally determined the peculiarities of the sc

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Kotliar, Svitlana, and Alina Buchma. "Product Placement in Contemporary Cinematic Art." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 8, no. 1 (2025): 92–105. https://doi.org/10.31866/2617-2674.8.1.2025.332395.

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The purpose of the article is to analyse the role of product placement in contemporary cinema. To investigate the effectiveness of advertising in films, determine its financial impact on film budgets, and consider how film characters interact with advertising products to reveal their impact on audience perception. Research methodology. The following methods were used: analysis – to get acquainted with the literature and electronic resources on the research topic, comparison – to compare advertising of global brands in foreign and Ukrainian cinema, observation – to watch different films that us

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Zubko, Olha. "Movie in the life of ukrainian emigration in the interwar CHSR (1921–1939)." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, no. 18 (2019): 37–43. http://dx.doi.org/10.34079/2226-2849-2019-9-18-37-43.

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In the 1920 s, the politically heterogeneous Ukrainian emigration community in inter-war Czechoslovakia, with its back in World War I and losing national liberation competitions, desperately needed both physical and spiritual rest. However, the status of «emigrants» transformed the imagination of the natives about leisure and leisure. The recreational regulator was, on the one hand, the scientific and technical implications of the 'stormy twenties' and, on the other, the urgent need to keep 'one's band', that is, a collective form of rest and leisure. Ukrainian exiles visited various theatrica

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Harmash, Yurii, and Oleksandr Priadko. "Research of Historical and Cultural Factors of S. Paradzhanov's Creative Work." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 3, no. 2 (2020): 237–44. https://doi.org/10.31866/2617-2674.3.2.2020.217652.

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The purpose of this article is to study the historical and cultural factors of the emergence, formation, and development of the brilliant personality of Sergei Paradzhanov through the lens of his life and creative path, to analyze the role of Ukraine in becoming an outstanding film director, his contribution to Ukrainian and world cinema. The research methodology is to apply historical, cultural, empirical, general-logical methods for the analysis of creativity and social activity of S. Paradzhanov. The scientific novelty of the work lies in a comprehensive study of th

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Nataliia, Lychkovska. "THE GENESIS OF ACTOR'S DEVELOPMENT IN AUDIOVISUAL ART." Global Prosperity 2, no. 3 (2022): 47–54. https://doi.org/10.5281/zenodo.7743908.

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<em>This article analyzes the main stages of the formation of acting in audiovisual art in the context of the genesis of a new art form in Ukraine. An analytical interpretation of these stages has been carried out, the research focus is on the period from the beginning of the 20th century to the 1920s inclusive. In particular, the characterization of the artistic features of the development of the acting art period at the end of the 19th century in Kharkov, as well as at the beginning of the 20th century in Odessa and other cities is presented. Considerable attention is paid to the peculiariti

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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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Bezruchko, Oleksandr. "Roman Natanovych Shyrman "Director's Solution of a Screen Work": monograph." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 3, no. 1 (2020): 153–54. https://doi.org/10.31866/2617-2674.3.1.2020.202690.

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The monograph “Director’s Solution of a Screen Work” was prepared at the Department of Cinema and Television of the Kyiv National University of Culture and Arts by a prominent Ukrainian film director, Honored Art Worker of Ukraine, Professor, Head of the Cinema and Television department, and Director of the Film Directing Section. An undoubted advantage of Roman Shyrman’s new book is a thorough exploration of the crucial elements of directing. After all, according to the testimonials of outstanding filmmakers, it is this stage of the director’s work on the screenp

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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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Tymoshenko, Alyona. "The image of the hero in modern Ukrainian cinema: moral and sociocultural collisions of creation." UKRAINIAN CULTURAL STUDIES, no. 1 (14) (2024): 13–21. http://dx.doi.org/10.17721/ucs.2024.1(14).02.

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Background. The relevance of research lies in the fact that a wide spectrum of characters created by contemporary cinema become symbols of their time and culture. Analyzing such heroes' images allows us to uncover the depth of their moral, sociocultural, and psychological aspects that reflect the trends and values of contemporary society. Methods. The method of interview is used in the research, and the optics of the texts by Carl Jung and Joseph Campbell were used to conceptualize the material. Investigating the cinematic creation of hero's image reveals the methods and strategies used by aut

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Bilenka, Anastasiia. "Stage Word in National 1930s–1940s Cinematography: Historical and Cultural Process." Issues in Cultural Studies, no. 38 (October 29, 2021): 14–23. https://doi.org/10.31866/2410-1311.38.2021.245523.

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The purpose of the article is to review the evolution stages of the Ukrainian word in the industry of cinema in the context of the historical and cultural process of the 1930s –1940s and analyse the features of Socialist Realism and its impact on cinema. The research methodology is based on historical and culturological approaches. The method of the historical retrospective is used to analyse the stage word of actors’ screen performances of the studied period of time (the 1930s–1940s). The culturological method is used to study the influence of the ideological foundations of

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Bondareva, Olena. "NEW FORMS OF ARTIST BIOGRAPHIES PRESENTATION AS INTELLECTUAL CHALLENGE: CLASSIFICATION PROBLEMS." LITERARY PROCESS: methodology, names, trends, no. 16 (2020): 6–15. http://dx.doi.org/10.28925/2412-2475.2020.16.1.

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The article analyzes the dynamics of the forms of presentation of biographies of Ukrainian cultural icons. It has become evident in the Ukrainian cultural environment recently. It is noted that modern Ukrainian culture overcomes Soviet matrices and cliches of its key figures’ apprehension (such as Taras Shevchenko, Ivan Franko, Lesya Ukrainka). On the other hand,it tends to expand the boundaries and character ranks of its cultural pantheonsignificantly. This is important for the formation of a post-totalitarian Ukrainian identity; therefore,itrequires new scientific approaches, analytical work

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Yelchyk, Oksana. "Film Adaptations of the Theatrical Performances in Ukrainian Cinematography during the USSR Period." Folk art and ethnology, no. 1 (March 30, 2025): 81–87. https://doi.org/10.15407/nte2025.01.081.

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The article is focused on the processes of film adaptation of theatrical performances in Ukrainian cinema during the period of the Union of Soviet Socialist Republics; their impact on the development of the film industry and national identity is analyzed; the key trends and achievements in this direction are highlighted. The film adaptations of theatrical performances are of a great significance in the development of Ukrainian national cinematography. Studying the history of film adaptation in the USSR (Ukrainian SSR) in the light of the peculiarities of Ukraine’s development enables better un

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Krupenya, Iryna, and Vladylena Sokyrska. "Ukraine – ASEAN: new opportunities for strengthening partnership." Acta de Historia & Politica: Saeculum XXI, no. 08 (June 16, 2024): 88–98. http://dx.doi.org/10.26693/ahpsxxi2024.08.088.

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The article provides a comprehensive scientific analysis of the current state of relations between Ukraine and ASEAN. The article considers promising areas of cooperation between them in the areas of food, agriculture, digitalisation, trade, energy, disaster management, demining, and socio-cultural cooperation. The author outlines Ukraine’s advantages in the field of agriculture and its ability to make a significant contribution to the sustainable supply of products to the ASEAN markets, given the production potential that far exceeds the needs of the domestic market. The article considers Ukr

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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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Зеленко, Олена Олександрівна, та Уляна Євгенівна Осовська. "КІНОТУРИЗМ ЯК ІННОВАЦІЙНИЙ ІНСТРУМЕНТ РОЗВИТКУ СФЕРИ ГОСТИННОСТІ УКРАЇНИ". TIME DESCRIPTION OF ECONOMIC REFORMS, № 1 (29 квітня 2022): 80–91. http://dx.doi.org/10.32620/cher.2022.1.10.

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The film industry, as part of the creative industry, is designed itself to generate certain emotions of the consumer, which, in fact, push the consumer of a particular film product to further steps - to organize a trip to places you see or hear while watching films, programs, etc. This study is devoted to the development trends of cinema tourism and related hospitality. The purpose of the study: analysis of the level of cinema tourism in the world and in Ukraine, taking into account the available natural, historical and cultural resources that will be used for domestic cinema tourism, and will

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Nikoriak, Nataliia. "“CineSkovoroda”: Cinematic Update of the Biography." Pitannâ lìteraturoznavstva, no. 106 (December 30, 2022): 7–24. http://dx.doi.org/10.31861/pytlit2022.106.007.

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The article concerns the relevance of the issue of genre heredity between literature and cinema. The cinematography actively turned to the genre of biography even in the first decades of its development, in the era of the silents. It did not disappear from the view of cinematographers throughout the 20th century. Recently, this genre has been activated both in cinema and on television, which increased the interest of researchers. Hence, the receptive problematics of the Ukrainian philosopher, theologian, poet and teacher Hryhorii Skovoroda’s biography (1722–1794) is analysed in the cinematogra

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Sachleben, Mark. "Contested Identities, Hunger, and Emigration: Themes in Ukrainian Cinema to Explain the Present Day." Czech Journal of International Relations 59, no. 1 (2024): 153–76. http://dx.doi.org/10.32422/cjir.771.

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Storytelling is an essential aspect of the creation of a community of the mind. Shortly after its invention, film became instrumental in cultivating national identity. States and national groups are keen to have their stories told in order to reinforce a sense of identity internally and claim relevance externally. This paper explores how film and popular culture help to explain politics and identity in Ukraine, examining how films are reinterpreted, reformulate a canon, and facilitate new political arguments. Therefore, through the films of Alexander Dovzhenko, we can see how the struggle to b

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Zarichna, Yana. "Molodist Film Festival: History of Formation and Specifics of its Functioning." Issues in Cultural Studies, no. 43 (May 2, 2024): 114–24. https://doi.org/10.31866/2410-1311.43.2024.303039.

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<em>The aim of the article </em>is to provide a brief overview of the Molodist Film Festival history and to identify the specifics of its functioning in contemporary Ukraine. <em>Research results</em>. It is emphasised that in the age of “clip thinking”, a film festival is one of the few places where you can watch a film without stopping it, without rewinding it back and forth, which allows viewers and filmmakers to patiently communicate, discuss films and the ideas they proclaim. It is noted that the Molodist Film Festival, which fully complies with international standar

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POGREBNYAK, Olena. "THE “WHITE AND BLACK” MOTIF IN UKRAINIAN LITERATURE AND ART OF THE EARLY TWENTIETH CENTURY." Astraea 2, no. 2 (2021): 71–90. http://dx.doi.org/10.34142/astraea.2021.2.2.04.

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The article analyzes the dualistic motif of «white and black» as one of the most productive in Ukrainian literature, fine arts and cinema of the early twentieth century. An attempt is made to interpret this motif in the works of Ukrainian film directors, artists, and writers. It is proposed to interpret the motif of «white and black» as a manifestation of ambivalence and intermedia potential of the artistic search of an individual artist and significant for the cultural atmosphere of the time. The contrast between the darkness of the past and the bright future becomes the central object of bla

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Prykhodko, N. "TRAUMAS OF WAR AND CULTURAL IDENTITIES: VISUAL MEDIA IN THE UKRAINIAN CONTEXT." Bulletin of Mariupol State University Series Philosophy culture studies sociology 14, no. 28 (2024): 109–18. https://doi.org/10.34079/2226-2830-2024-14-28-109-118.

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The article focuses on the role of visual media in shaping national identity and overcoming collective trauma in Ukrainian society amidst the war with Russia. The author analyzes how visual media such as cinema, photography, television, and social networks influence cultural positioning, integration of different cultural identities, and preservation of cultural heritage. Using phenomenological and cultural paradigms, the study shows how these media encode and transmit cultural meanings, forming social narratives and significances that impact the perception and comprehension of the war. The wor

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Орлов, O. І. "Art House - Exhibiting the country in elite circles." Grani 22, no. 3 (2019): 43–51. http://dx.doi.org/10.15421/171931.

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The article investigates the phenomenon of growing popularity of art-house cinema in the twentieth century. The possibilities and success of art-house cinema as an instrument of research of socio-cultural problems of the past, present and future are considered. The formation of contemporary art house cinema and the growing interest in it by various social groups determine the relevance of the art house. It is this direction of cinema that affects the most acute socio-cultural transformations of modern society, in parallel contributing to the establishment of new social interactions, the format

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Khomenko, Oleksandr, and Bohdan Skopnenko. "Ukrainian Revolution of 1917—1921 in the Propaganda Discourse of the Russian Bolshevism: Tymofii Levchuk’s Film “A Kyiv Citizen” (1958)." Ukrainian Studies, no. 3(80) (October 28, 2021): 151–69. http://dx.doi.org/10.30840/2413-7065.3(80).2021.241993.

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The history of cinema is one of those unique cultural phenomena, which constantly attracts the attention of researchers. This phenomenon, especially in the 20th century, determined not only the direction of aesthetic transformations of the cultural development but also had an impact on the formation of ideologies and the strengthening of political regimes. This topic is relevant because the methods of propaganda that were actively used by totalitarian regimes (including the Soviet totalitarian rule) are now actively used by the undemocratic Russian administration to achieve political goals. Th

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Bosak, Edgar. "VECTORS OF MODERN POLISH-UKRAINIAN COOPERATION IN CINEMATOGRAPHY." Scientific Herald of Uzhhorod University. Series: History, no. 1 (48) (June 11, 2023): 40–48. http://dx.doi.org/10.24144/2523-4498.1(48).2023.280214.

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The article is devoted to the importance of modern cinematography in the development of Polish-Ukrainian cultural cooperation. Attention is drawn to the special features of cinematography, which make it an important mediator for the transmission of important socio-political narratives. The main thematic vectors of modern Polish-Ukrainian cinematography are analyzed in the chronological sequence of historical events. The main thematic areas are defined as: the era of the Cossacks, the liberation struggle of the Ukrainian people of 1917 – 1921, the events of the Second World War, the «Volyn trag

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Ponomarenko, O. "Cultural orientation of the “mimicry” society. The search for national self-identification in contemporary screen art." Culture of Ukraine, no. 83 (March 21, 2024): 114–21. http://dx.doi.org/10.31516/2410-5325.083.13.

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The purpose of this article is to study the peculiarities of the behavioral manifestation of Ukrainian screen characters in order to identify qualitative features characteristic of the Ukrainian mentality. This will allow us to determine the themes of screen works that will be relevant for the contemporary Ukrainian viewer, which will improve the qualitative and quantitative characteristics of Ukrainian audiovisual art. The methodology. Five scientific sources were studied (one dissertation, one collective scientific work, and three scientific articles), which allowed us to analyze the r

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Novikova, Liudmyla. "Dynamics of changes in the image of Ukraine in the audiovisual art of the XXI century." Materìali do ukraïnsʹkoï etnologìï 21 (24) (November 30, 2022): 112–16. http://dx.doi.org/10.15407/mue2022.21.112.

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The article reviews some of the established stereotypes and new trends in the image of Ukraine and Ukrainians in the world audiovisual art. Traditionally, all nations rely primarily on stereotypes in their attitudes towards others. Most of the time, in the screen arts (especially when it comes to American films, television programmes, etc.), Ukrainians, russians, or Belarusians are portrayed as either «russians» or «Slavs» with a russian-centric identity. Cases of positive cinematic representation of Ukrainians in the twentieth century were an exception, the most notable of which was the film

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Myslavskyi, V., and N. Markhaichuk. "Ways to overcome the screenwriting crisis in Ukrainian cinematography of the second half of the 1920s." Culture of Ukraine, no. 83 (March 21, 2024): 35–49. http://dx.doi.org/10.31516/2410-5325.083.04.

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The relevance of the article. The history of Ukrainian cinematography of the 1920s is generally well studied. The relevance of this work lies in the fact that there are almost no works in Ukrainian film studies that examine the state of screenwriting in Ukraine during its birth and formation. Problem statement. After the end of the Soviet-Ukrainian (“civil”) war, which led to the Bolshevik occupation of Ukraine, there was an urgent need to reorganize the work of the entire cinematographic industry. With the organization in 1922 on the basis of the All-Ukrainian Film Committee of the All-

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Zubavina, Iryna. "Actualization of the warrior maiden archetype in Ukrainian cinema of the beginning of the 21st century." CONTEMPORARY ART, no. 18 (November 29, 2022): 19–26. http://dx.doi.org/10.31500/2309-8813.18.2022.269658.

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The article focuses on the screen incarnations of female characters, whose images, being contemporary with the challenges of today, associated with the archetype of the Warrior, destroy the stereotypical notions of the feminine as weak and passive characteristic of traditional (that is, phallocentric/patriarchal) culture. Nowadays, such an essentialist view seems not just debatable, but finds an alternative interpretation, both in material realities and in artistic practices. In particular, the cinematography of Ukraine at the beginning of the 21st century convincingly testifies to the expansi

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