Амбівалентність фольклору та національна ідентичність в українському кінематографі за радянської відлиги

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 screen character of father during the years of Soviet repressions. In the article, a definition of the concept of paternalism in the context of the theory of law and statecraft is provided. Also in the article Ukrainian films of the Stalinist era were studied, in which the paternal concept “The state is father of its citizens” was fully manifested. Socio-cultural analysis of films, in which the figure of the genetic father was relegated to the background by Soviet ideology, and the role of the main educator of children was taken over by representatives of the Russian imperial authorities, was carried out. The paternal figure is considered in the broadest symbolic context — when the paternal role for a citizens can be played by an entire social institution or the apparatus of state power. The results. The period of Joseph Stalin turned out to be one of the most difficult in Ukrainian history. In those years, the Ukrainian nation faced numerous political cataclysms: industrialization, the Holodomor, deportation to remote regions of the USSR, repressions and World War II. However, the cinematography presented a completely transformed picture of reality, according to which the Bolshevik government was a kind and caring father for Ukrainians, but not a cruel tyrant. Nevertheless, even in such a tragic historical period, national directors were able to reflect in propagandistic films the longing of Ukrainian society for the traditional family system, and by biological parents in particular. The scientific novelty. The main attention is focused on the essential characteristics of the archetypal image of father and it makes it possible to analyze many Ukrainian classic films in a new scientific context. The practical significance. The article can contribute to further research in the field of several humanitarian disciplines: film studies, cultural studies, art studies, sociology and History of Ukraine.

When Soviet Union begun to crumble in late 1980s and glasnost replaced official ideology, Ukrainian cinema responded with a resurrection of a twenty-two year old film rather than with a new production that would take advantage of new political openness. The release of Krynytsia dlia sprahlykh (A Well-Spring for Thirsty), made in 1966 but released only at end of 1987, initiated, on one hand, a new era in history of Ukrainian cinema and, on other, put Ukrainian cinema into a retrospective mode which has hindered its development during 1990s.I Due to its belated release, film and its director Yuri Ilienko, became synonymous with idea of a national cinema in newly independent Ukraine. The high critical regard for Ilienko was extended to 1960s cinematic movement that made him famous: Ukrainian Poetic Cinema. Why does ghost of a bygone era still haunt film-makers in Ukraine today? Why does model of national cinema envisioned over 30 years ago under totalitarian Soviet regime still dominate Any discussion on national cinema in independent Ukraine? Moreover, why are films which had little or no impact on general audiences in Ukraine considered to be representative of a national group these audiences belong to? In answering these questions this paper attempts to take a close look at Ukrainian Poetic Cinema of 1960s as a cinematic and cultural phenomenon that shaped cinema of independent Ukraine in 1990s. Although main focus of paper is on cinema I also try to analyse much broader cultural implications. The post-colonial status of post-Soviet space in which Ukrainian cinema finds itself today demands a search for answers in a complex historical process which formed present Ukrainian society and her artists. Ukrainian Poetic Cinema of 1960s is a cultural phenomenon which shaped generation of Ukrainians who actively sought creation of an independent Ukrainian state and who were first to proscribe a national cultural model for this new state. Therefore, Ukrainian Poetic Cinema is both a cinematic and a general cultural phenomenon that provided groundwork for creation (or absence) of a national cinema in independent Ukraine of 1990s. The story of Ukrainian Poetic Cinema begins on set of Tini zabutykh predkiv (Shadows of Forgotten Ancestors) in 1964. The production brought together director Sarkis Paradzhanian (better known as Sergei Paradzhanov), cameraman Yuri Ilienko, and actor Ivan Mykolaichuk, all of whom continued to make their own films, as well as artists Hryhorii Yakutovych (set designer) and Myroslav Skoryk (composer). As most participants admit production was a truly cooperative effort. The resulting film proved to be not only a challenge to socialist realist film style in Soviet Union but also a picture that could successfully compete at film festivals around world.2 Why has Shadows of Forgotten Ancestors appealed to international critics and audiences?3 The film had a stylistic and thematic freshness unexpected from a film originating in Soviet Union. The universal appeal of its tragic story, quickly summarized by foreign critics as shadows of unforgotten Shakespeare or the Romeo and Juliette of Carpathians, played to tune familiar to Western cultures.4 A journey to his own destruction taken by Ivan, main character, after death of his beloved Marichka was yet another well utilized romantic motif used in film. However, film's originality did not come from its story but from its setting. Like its model, modernist novel by Mykhailo Kotsiubynsky, film was set among Hutsuls, a Ukrainian tribe living high in Carpathian Mountains oblivious to politics, changing regimes and borders, and in general to progress taking place below them. Hutsuls had a complex system of beliefs combining pagan, Catholic and Orthodox world views, had preserved otherwise forgotten rituals and customs and spoke a Ukrainian dialect little affected by language politics. …

The article highlights the key methods of transforming linguistic and cultural values of an individual, turning him into a «Soviet man» in the context of the problem of bilingualism during the «stagnation» period. The main causes and consequences of the influence of the policy of Russification on the formation of a new personality, its behavior model and self-identification are determined. This was a decisive step in the development of a new supranational community «Soviet people» in the context of the declared course of «unification of nations». It is proved that the language policy had a significant effect on the development of the identity of the population of Soviet Ukraine and became an important method of forming the Soviet person. It was established that along with the Russification of society, the Soviet authorities also used other tools for forming a new worldview of the population. They were especially effective through mass media. Using myths, theses, and ideologues substantiated by Soviet ideologues, the Soviet media carried out a kind of zombification, imposing the necessary ideas on ordinary citizens. In the context of the implementation of the course for the «unification of nations», certain informational messages of the Soviet mass media formed an inferiority complex in certain ethnic groups, which led to a rapid change of the linguistic and cultural traditions of their people to new Soviet ones. It was found that television and the film industry significantly influenced the formation of the personality of the «stagnation» period. Russian-language cinema gradually filled the airtime. Due to a number of factors, Ukrainian cinema was unable to fully compete with Russian cinema. It was determined that the so-called «education of the masses» took place since school years. The anti-religious campaign and Russification were especially actively implemented. The importance of the ideological justification of the place of women in Soviet society in the context of the formation of the image of the «Soviet man» is revealed. The development of Soviet ritualism had a prominent place in the context of the transformation of the worldview of the population. It was found out that the Soviet policy in the field of culture had negative consequences, as it significantly influenced the ethno-demographic processes, deformed the identity of certain categories of the population, which did not perceive the linguistic, cultural and national features of the state formation of Ukraine from the moment of independence.

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 generations of photographers of the Kharkiv School, who combined radical bodily imagery and social criticism. The Ukrainian installation is represented by the works of artists of the REP (Revolutionary Experimental Space) group, which is focused on the unity of art and politics and considers artistic creation as a political act. An interesting sub-direction of the installation is the video installation, which delivers an original combination of contemporary Ukrainian artists with site-specific art and artistic means of reflecting on the traumas inflicted on Ukrainian society by the war. The article pays special attention to the development of contemporary Ukrainian cinema. The author demonstrates the connection between the work of contemporary Ukrainian filmmakers and the traditions of Ukrainian poetic cinema. In addition, other trends in Ukrainian cinema are identified: the experimental search for a new film language, the development of documentary cinema, on top of the convergence of fiction and non-fiction artistic languages in the work of contemporary Ukrainian filmmakers. The dominant issues of contemporary Ukrainian films selected for screening at leading European film festivals are identified: inclusiveness, reflection on Ukrainian history, war trauma, psychological rehabilitation of combatants, etc.

Book Review| January 01 2022 Review: A Revolution in Movement: Dancers, Painters, and the Image of Modern Mexico, by K. Mitchell Snow K. Mitchell Snow, A Revolution in Movement: Dancers, Painters, and the Image of Modern Mexico. Gainesville: University Press of Florida, 2020. 346 pages. Hardcover $90.00. Lesley A. Wolff Lesley A. Wolff Texas Tech University, Lubbock Search for other works by this author on: This Site PubMed Google Scholar Latin American and Latinx Visual Culture (2022) 4 (1): 152–154. https://doi.org/10.1525/lavc.2022.4.1.152 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Lesley A. Wolff; Review: A Revolution in Movement: Dancers, Painters, and the Image of Modern Mexico, by K. Mitchell Snow. Latin American and Latinx Visual Culture 1 January 2022; 4 (1): 152–154. doi: https://doi.org/10.1525/lavc.2022.4.1.152 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentLatin American and Latinx Visual Culture Search There is a timeliness to the release of K. Mitchell Snow’s A Revolution in Movement: Dancers, Painters, and the Image of Modern Mexico in September 2020, a moment when the COVID-19 pandemic brought the world to a standstill. We were suddenly confronted with empty roadways, empty classrooms, and the constant hum of the computer fan running in overdrive to keep us virtually connected through a litany of corporate collaborative platforms: Zoom, Skype, Yammer, Slack, Canvas, Blackboard. At the same time, protestors and activists took to the streets across the hemisphere, from Chile to Mexico to the United States, disrupting the stillness to demand civic, social, and racial justice. Against this backdrop of capitalism and modernity stressed to their very limit and a collective longing for connection, Snow’s book brings the vitality of movement and the promise of collaboration into relief, not only in the context of Mexico, but also as... You do not currently have access to this content.

Local experiences on Instagram: Social media data as source of evidence for experience design.

The intersection of literature and film, particularly through film adaptation, is critical to understanding cultural narratives and identities. This study examines the growing importance of examining how literary works are transformed into film, reflecting social changes and collective memory. The object is the screen adaptation of Serhii Zhadan’s novel Voroshylovhrad in the film Wild Field directed by Yaroslav Lodygin. The study explores the challenges and limitations inherent in adapting complex literary texts to film, including how key narrative elements can be simplified or changed, affecting original themes and character depth. The article’s goal is to find out whether the essential components of S. Zhadan’s narrative have been preserved in the cinematic version. The study uses a combination of semiotic, comparative, and structural analyses explore the transformation of narrative elements between the novel and the film. These techniques allow for a careful examination of how visual storytelling devices affect the depiction of themes and characters. The obtained results indicate that Wild Field quite successfully reflects the main motifs of the narrative of the literary base, but simplifies important elements, in particular, the motif of the road and the interweaving of memory and reality. The timeline of the film is moved to 2010, which leads to a significant change in the thematic emphasis. This led to a reduction in the number of key characters and a simplification of the plot, which somewhat reduces the depth of the original narrative. This study contributes to the field of adaptation studies by providing a nuanced understanding of the semiotic transformations that occur when literary texts are adapted into films, and emphasizes how Wild Field reinterprets the literary text of the novel Voroshylovhrad, offering an understanding of the cinematic representation of Ukrainian identity and memory. The study opens up opportunities for further studies of adaptation processes in Ukrainian cinema and literature, encouraging future research into other screen adaptations and the broader implications of such transformations for national identity narratives. In addition, it is proposed to study the audience’s perception of adaptations better to understand these cinematic interpretations' impact on cultural memory.

At many late nineteenth- and twentieth-century World Fairs architecture was an important tool in the representation of national identities. Pavilions at these Fairs offered telling ‘scenery’, against which to display old and new objects, machines, art collections, interior designs and social customs. They formed architectural settings that contributed to the staging of the nation’s vision of its own past, present or future. Furthermore, as the architectural historian Edward N. Kaufman has pointed out, the late nineteenth-century World Fairs were important forerunners of the first open-air museums. In these more permanent exhibition settings, architecture also often played a crucial role in the representation of national or regional identities. In many open-air museums buildings were conceived as important exhibits providing visitors, sometimes implicitly, with information about the nation or region’s past: information considered fundamental to its present or future identity.

The starting point for our considerations is the claim that the areas of memory, media, communication technology and culture may be treated as a separate subject of research, but the problems common to these areas are equally important. Images of memory are traces of something ineffable, and the media structure the fluidity of images of memory, and the area of unspoken. The author puts forward the thesis that for a proper understanding of the relationship between collective memory, photography and visual culture, a paradigmatic shift in the discourse on photography that has lasted over the last 40 years is necessary. Photography is commonly regarded as a medium that is easy to manipulate, so that the viewer is as much a viewer as an object of action by an image. There is also a stereotype that photography supports political systems and imposes on us ways of seeing social reality and that it is manipulated against democracy. Such a view, according to the author, is not so much false as simplified. The contact with photography has sharpened the critical sense in modern social thought. The photography was considered important because thanks to it, many problems, the importance of human rights and many elements of the modernisation process were understood. To read the social dimension of photography, the existing categories are sufficient, but to read new content, one should – the author follows Susan Blackmore’s thought – refer to the hermeneutics of suspicion. The first step should be decontextualisation, because – contrary to the stereotype, photography can always be read out of context. Attempting to link photography to its original context is not only a wrong path, but it also reduces what is the greatest strength of a photographic image, that is the ability to generate meanings, not just convey them. The meaning is not glued to the picture, and no picture is bound to one context because it is perceived in a varied visual neighbourhood. Hermeneutics breaks with the artist’s intention and context, allowing us to look at the issue differently. Photography is an open museum, the viewing of which is an integral part of the life of a modern citizen. The necessary criticism of images requires seeing them through decontextualisation, and not as related to some socio-political goals and practices. The photography – the author concludes – is not a record of what was but reflects what will be.

Reviewed by: Slaves to Fashion: Black Dandyism and the Styling of Black Identity Kristin Moriah (bio) Miller, Monica L. Slaves to Fashion: Black Dandyism and the Styling of Black Identity. Durham: Duke UP, 2009. Monica Miller claims that the history of black dandyism is virtually unknown in spite of the fact that its traces surround us. Black bodies' ability to contain and confront the ethos of key cultural moments and the attendant complex relationships between cosmopolitanism and the corporation, postcolonialism and visual culture are the subjects of Miller's Slaves to Fashion: Black Dandyism and the Styling of Black Identity. In this volume, Miller shows "the ways in which Africans dispersed across and around the Atlantic in the slave trade—once slaves to fashion—make fashion their slave" (1). Miller has performed a cultural excavation, sifting through fragments of visual and literary culture to trace a history of black style and assemble the first history of black dandyism. Her work deserves a place among the finer recent contributions to black performance studies, including Marvin McAllister's White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour (2003) and Harry J. Elam Jr. and Kennell Jackson's Black Cultural Traffic: Crossroads in Global Performance and Popular Culture (2005). Slaves to Fashion provides a platform from which further theorizing of the relationship between black bodies, culture, and commerce can commence. [End Page 1137] Slaves to Fashion delineates a cultural practice black subjects are not often thought to engage in. Black men have been excluded from most studies of dandyism. Even among scholars of the black Diaspora, Miller's situation of black dandyism within the realm of other modes of black performance is singular. Her study of the shifting visual, literary, and theatrical representations of black people, and black men's move from luxury object to stylish subject, provides a means by which to reevaluate black masculinity within the Diaspora. As Miller points out, "black dandyism is often seen as being imitative of Western dress and as a sign of one's aspiration to enter the mainstream, but when interpreted as a signifying practice, it becomes instead a dialogic process that exists in relation to white dandyism at the same time as it expresses, through its own internal logic, black culture" (14). Miller's work is not merely an extension of previous investigations into the power of black signifiying. Slaves to Fashion takes a nuanced approach to its subject matter by treating black style as performance, as opposed to simply theorizing the performativity of blackness. In the first chapter of her work, "Mungo Macaroni: The Slavish Swell," Miller painstakingly outlines the forced cosmopolitanism that characterized the lives of black slaves and servants. In England, Isaac Bickerstaffe's highly successful play The Padlock (1768) featured an assertive and nattily clad slave named Mungo Macaroni. The use of the term "Mungo" to describe black swells can be traced to this play. "Mungo Macaroni" draws attention to the dark figures often left to sit on the sidelines of eighteenth-century studies. Mapping a transatlantic movement from Africa to the Americas and to England, Miller explains that black dandy figures first emerged in eighteenth-century England as status symbols for their owners. Separated from the British colonies (and thus from the site of the production of their owner's wealth), the black dandy's lifestyle mirrored the lifestyle of the upper classes, even though his social position was tenuous. Luxury blacks piqued curiosity and captured the public's imagination. One of the first English plays to use blackface, The Padlock went on to successful runs in America and was influential in early American theatrical productions. Miller explains that in the figure of Mungo Macaroni and his real life counterparts, one could read "the complicated prehistory of African-diasporic identity formation and representation" (41). In the next chapter, "Crimes of Fashion: Dressing the Part from Slavery to Freedom," Miller shows the relationship between "two indigenous dandyish performative traditions": American slave carnivals and blackface minstrelsy. Miller writes that "in the colonial period and throughout the nineteenth century in America, black dandyism, as enacted at these indigenous festivals, was a practice that destabilized...

O presente texto tem por objetivo continuar uma discussão sobre as relações possíveis entre os campos da educação e da cultura visual, sugerindo um viés que sistematize uma espécie de epistemologia da cultura visual. Para isso, utilizamos como eixo argumentativo a ideia de um ensino pela cultural visual, em oposição ao que seria um ensino da cultura visual, construindo, a partir deste termo, três enunciados: de que a cultura visual é um campo transdisciplinar e, portanto, não pode ser ensinado como um conjunto fechado de conteúdos; que a cultura visual pode ser entendida como um tipo de estratégia para interligar os conteúdos da escola ao cotidiano extraescolar dos alunos; por fim, um manifesto em defesa de uma educação pela cultura visual. Para embasar tais discussões e proposições, lançamos mão das perspectivas teóricas de autores como Hernández (2000, 2005, 2007); Freedman (2006); Mirzoeff (2003); Eisner (2008); dentre outros.

Over the decades, media and cultural narratives have significantly influenced political discourses, often depicting idealized representations of individuals with attractive characteristics to further the aims and ideals of socialism. Scholars in disability studies focusing on the Eastern European context have observed that during the Soviet era, individuals with disabilities in visual arts and media were frequently portrayed through specific narratives that emphasized themes of heroism, pity, and care. This portrayal was profoundly shaped by Soviet ideology, underpinning social myths that prioritized physical well-being and productivity as fundamental preconditions for societal participation. Individuals who did not conform to these standards faced disqualification and discrimination, leading to their exclusion from visual culture and media. This paper seeks to investigate the representation and perception of children with intellectual disabilities in Latvia, tracing the evolution from the Soviet era to contemporary times. It will provide a comprehensive overview of the history of Children’s Care Home No. 2 in Baldone. Furthermore, this article will analyze the representation of the institution and the depiction of children with intellectual disabilities in printed media from the establishment of the institution in 1969 until its closure in 2019. A thorough examination of all media references pertaining to the institution will be conducted to illuminate the ideological narratives that have emerged and transformed over the decades.

In the era of media dominated by visual culture, the characteristics of new media art with technology as the carrier and visual expression as the core naturally fit with the interdisciplinary nature of design. Visual culture not only reshapes the audience's perception and aesthetic logic, but also promotes the deep interweaving of new media art and design, technology, humanities and other disciplines, becoming an important driving force for breaking disciplinary barriers and promoting innovative practices. This article takes visual culture as a theoretical perspective, based on the interdisciplinary nature of new media art and the development needs of interdisciplinary design. Through literature research, interdisciplinary research, and industry practice, it explores the practical reasons, core contradictions, and practical paths for the integration of the two. Research has found that the integration of the two requires a visual cultural aesthetic consensus as the basis, building a triple mechanism of technological collaboration, aesthetic collaboration, and disciplinary collaboration, and improving the guarantee system through educational reform, industry collaboration, and policy support. This integration not only expands the boundaries and application scenarios of new media art expression, but also injects cultural connotations and innovative vitality into interdisciplinary design, ultimately promoting the high-quality development of the design industry and the diversified upgrading of cultural dissemination. The purpose of this study is to provide theoretical references for the integration of the two in practice, and to provide reference ideas for academic research and industry applications in related fields.

Indonesia's geographical location in the growth zone of three plates namely Eurasia, Indo-Australia and Pacifica or commonly known as ring of fire, causes Indonesia to have many active volcanoes. The study intends to determine the design of illustrations in the encyclopedia of volcanoes as an alternative learning media for for inspiring the students. To collect detailed actual information that describes the symptoms of nature as well as the situation of social symptom conditions then this research is carried out with descriptive qualitative and quantitative research methods. This study uses illustration theory and visual culture as the main reference literature. Visual culture is an interdisciplinary field with visual concepts as the basis for the study of knowledge and understanding. One part of visual culture that has a very important role in this research is illustration. Illustration design is conveyed through drawings, illustrations, or photos about disaster situations and conditions that are equipped with narratives though effective language. It is expected that by the illustrations through visual images and combined with the narrative the interest of students, especially children can be more aroused so that the information presented can be more quickly captured and understood.With the availability of the book Encyclopedia of Mount Erupting for elementary school students, it is expected that knowledge about the erupting mountain can be conveyed interestingly so that children can have better understanding of the causes and how to deal with the disaster of erupting mountains. Keywords:Encyclopedia, Illustration, Book, Mountain Eruption, Visual Culture.

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