Story Of Film Research Articles

Ukraine on Fire Cinema Novel by Oleksandr Dovzhenko: Saving Gesture of the Artist

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 systems – both Soviet and German. In addition, Dovzhenko as an author reveals the intention of a national prophet who believes in his magical ability to save his people. The author has special sympathy for Ukrainian girls and women. They are killed, raped, humiliated. However, they remain special bearers of the nation mentality, its cultural and artistic memory. Its beauty! Therefore, the images of women are permeated with folklore and literary motifs, those voice out and materialize the world of Ukrainians who oppose the war. The story has drawn a lot of criticism from the dictator Stalin, criticism made public during a special meeting in the Kremlin. The accusations have been reduced to alleged manifestations of nationalism, revision of the very foundations of the Bolshevik empire. The work has been banned from publication and production in the cinema. Today, in the context of the new stage of war of the Russian Empire against Ukraine, the work in which the artist at the time of the disaster, is on the edge of the abyss and the non-existence of the people, comes to its defense, acquires special relevance and worldview expressiveness. Ukraine on Fire is distinguished by the special lyrical nature of the text, it is permeated with folk singing, folklore images and even rhythm. An amazing consonance with the folk melos, a powerful lyric-epic coverage of folk life. The completion of work on the film story has coincided with the beginning of the stay of Dovzhenko’s mother, Odarka Yermolaivna, in Moscow, in Dovzhenko’s apartment (after the end of the German occupation of Kyiv). The artist has recorded a number of folk songs from her, those have a significant impact on the work on the following scenarios – Chronicle of Flaming Years, Enchanted Desna, Poem of the Sea.

Oleksandr Ivakhnenko and Oleksandr Danchenko are the Illustrators of Oleksandr Dovzhenko

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» – 1940s, «Poem on the Sea» – 1950s) are well-known. However, the topic “O. Dovzhenko is the Illustrator of His Own Literary Works” has hardly been explored by researchers of the master’s heritage, although the drawing Little Sashko which is both a portrait of the author in childhood and an image of the hero of the film story The Enchanted Desna, inspires further archival search in the filmmaker archives. V. Yevdokymenko (1967), M. Kompanets (1973), V. Yefymenko (1976), T. Kushch (2006), and others are among the illustrators of O. Dovzhenko’s prose. Oleksandr Ivakhnenko’s etchings for the film story The Enchanted Desna (1975–1976) have become a notable phenomenon in Ukrainian graphics during the period of the so-called “silent protest” (the 1970s–1980s). Having chosen a favourite graphic technique of that period, the artist, however, remained indifferent to the extremely popular “de-booking” technique of the 1970s–1980s. The Enchanted Desna is a book that is well-thought-out and coherent. In terms of space, the illustrations occupy as much space on the page as the printed text, and in shape, they are very elongated horizontally, thus creating a kind of pictorial “film strip”, logical and natural for a “film story”. Oleksandr Danchenko’s cycle of etchings for the collection of stories Unforgettable. 1941–1943 (1980) is another example. The artist has addressed frequently the theme of World War II tragedy (Koriukivka. March 1, 1943 (1971), Adzhimushkai (1985), a cycle of illustrations for O. Honchar’s novel Standard-Bearers (1989)). At the same time, his illustrations for O. Dovzhenko’s stories are internally connected with O. Danchenko’s series The Liberation War of the Ukrainian People of 1648–1654 (1954) and Chornobyl (1988–1990), as well as with the etchings for Dante Alighieri’s Divine Comedy (1990–1992). All these works are based on the combination of documentary with epic, where elevation and poeticism arise precisely as a result of such a combination. The construction of the illustration as a frame, sometimes even a freeze-frame, is an artistic tribute to the creativity of the outstanding filmmaker.

Exercising Intercultural Performance in Adaptations: Regional Kerala Myths and Rituals used as tool in Shakespeare film adaptation in Kannaki and Karmayogi

Integral to the concept of "interculturalism" is an appreciation and knowledge of many cultural backgrounds. The major emphasis of intercultural performances is the equitable and meaningful interchange of performance standards and conventions. The timeless universal truths about mankind found in William Shakespeare's plays ensure that they remain relevant and influential even in our own day. Shakespearean plays are more amenable to adaptation into any genre because of their adaptability and flexibility as well as their inherent humanism. There is a lengthy history of retelling great stories in Malayalam film. The literary shifts, thematic echoes, and cultural subtleties that set apart the two film versions of Shakespeare's tragedies, "Hamlet" and "Antony and Cleopatra," from one another are the subject of this research. The exotic customs of Kelipathram and Poorakkali from Kerala have been included into the film to emphasize the cultural superiority of the Orient over the Occident. Shakespeare's Cleopatra continues to evoke mixed feelings in modern audiences; some see her as a manipulative force, while others find her aesthetically pleasing. Whatever your opinion, it's clear that Cleopatra defies categorization within patriarchal society's narrow definitions of women. The film's director gave Kannaki a mysterious air. Kannaki successfully achieves the characteristic of cinematic appropriation by meticulously blending mythological, cultural, geographical, and semiotic aspects within the narrative realm of Antony and Cleopatra. As a result, the director alludes to Antony and Cleopatra's politics inside Kannaki's oriental poetics.

Inside and Outside the Film Genre: Old Age on the Way

This paper analyses Croatian film Night boats (2012), directed by Igor Mirković, from the anthropology of film and anthropology of age point of view. The film story is analyzed as the so-called diegetic universe, i.e. as an ethnography of the film, and is connected to the real experiences of the elderly. The plot of the film follows the meeting and emotional bonding of Helena and Jakov in one of Zagreb's nursing homes. Shortly after their brief acquaintance, these "seventy-year-old teenagers" begin a romance, run away from home and embark on a road adventure. In terms of genre, this film can be viewed as a road movie since, in addition to the fact that the main characters spend more than half of the plot on the road, the film thematically and visually follows the conventions of the aforementioned genre. Their road adventure is initiated on a metaphorical level, as an escape from illness and death, as well as an escape from loneliness and the circumstances that life in old age brings. The main characters flee from the lack of choice they are faced with which is why their journey can be interpreted as a search for lost, almost stripped identities. The journey of Helena and Jacob, two elderly individuals faced with the problems of loneliness and physical decline, represents a transformative experience for the main characters and signifies a form of quiet rebellion, a refusal to accept cultural conventions according to which active life ends with a socially constructed notion of old age. In this sense, this film story served to critically address various issues and problems concerning society’s stereotypical attitudes towards the elderly.

Visual Representation of Photography on the Cover of Fiction Novels

As a visual sign, photography is considered to be the right medium to represent an object with all its resemblance with the reality. The reality embedded in a photography is in line with the reliability of its audience who adhere to "seeing is believing" or believing in seeing. On the other hand, carefully structured verbal signs in a storyline appear in a narrative medium, one of which is a novel. Most novels that are considered popular are then often adapted to the story of a big screen film and then the cover of the original novel is replaced with a photo work that is considered as a representation of the story in a film. This research will examine how photography becomes an instrument of visual representation in conveying the message of the content of fiction novels and finding out the imagery relationships constructed by both verbal and pictorial texts on the cover of novels. This study used descriptive qualitative methods that would describe the aspects and characteristics of a particular message through empirical interpretation. It is hoped that the results of this study will add to the discourse on the visual representation of photography that can effectively deliver the message of the story by representing the entire narrative in the novel with just one frame in the form of a novel cover.

Interpretation of the Tiger Trappers Novel by Ivan Bahrianyi in the Ukrainian Cinematography of the 1990s and Musical Theatre of the 2020s

Attention is paid in the article to the landmark event of modern Ukrainian culture – the book celebrating its anniversary in 2024 – Ivan Bahrianyi’s novel the Tiger Trappers and the rethinking, interpretation of this work in the modern Ukrainian artistic space, in particular in cinematographic and theatrical texts. This year, 80 years have passed since the world saw the adventure work with autobiographical elements, which resonated not only at home, but also abroad. And this is not surprising, because Tiger Trappers has been translated into many languages of the world and had a circulation of over a million copies. Ivan Bahrianyi has submitted to a wide audience a very Ukrainian in spirit and worldview action, which even today in the 21st century is able to interest young people with its truthfulness and insight, its thirst and desire for freedom. The film version of the Tiger Trappers novel, which has appeared in 1994 at the Ukrtelefilm studio is analysed in the investigation. A well-known figure of Ukrainian culture Rostyslav Synko is a director and screenwriter of the film. The film text is based on the original source, but there are also differences those testify not only to another time period, the other era in which the film was shot, but also to certain new accents, a new vision, a reinterpretation of Ivan Bahrianyi’s novel about the young aviator Hryhorii Mnohohrishnyi. According to the plan of the author of the film story has another name. He is called Andrii Chumak in the film. There are also the other details those differ in the novel and in the fictional strip of the same name. And this is quite natural, because it is about the author’s interpretation, reinterpretation of a well-known work. The film of the same name also draws the viewer’s attention to the two Ukraines of the main characters: to the distant, dreamed-of real Ukraine with Golden-topped Kyiv and to the Second Ukraine, which immigrants, exiles from their native land, have built for them in the Far East in the bloody 20th century. In our time, this motif acquires new shades, because again, already in the 21st century, there are Ukrainian immigrants, again there are people who are forced to seek refuge all over the world, escaping from the terrible Russian invasion. Will new immigrants be able to find their Second Ukraine? Will they be able to return to their homeland? Life will show... The interpretation of the novel in modern Ukrainian musical theater is considered. Last year the musical Tiger Trappers directed by Serhii Pavliuk has been released basing on the novel of the same name by Ivan Bahrianyi. This fact, without exaggeration, has become a landmark artistic event, which has success with the audience and favourable reviews of critics. It is emphasized in the article that when we see a finished cultural product of the Ukrainian artistic space, whether it is a film or a theatrical production, a musical, etc., based on a certain work of fiction, we realize that this is already an interpretation, a reinterpretation. So, we are already talking about the creation of a new cultural text – a film text, a theatrical text, a musical text, etc. The significance of modern theater and film art is understood. It is claimed that the mission of art today is exactly rehabilitation through art. An artistic product should give hope, show a happy version of the course of events. Faith in the victory of good over evil, glorification of love that does not pass away – all this should be present in modern theatrical, musical and film texts today. After all, there is a demand for such cultural products in the modern time slice of the 2020s.

Multiple Personalities of Pulp Fiction 's Musical Soundtrack: Liner Notes to a 30th Anniversary

Abstract: Pulp Fiction: Music from the Motion Picture was released in 1994 in coordination with the film Pulp Fiction (1994). Across the film's soundtrack album, variously considered an auteur mixtape, a compilation score, and its own rich text, music formulates a cast of characters alongside those more recognizable from the film's story. Critical analysis reveals multiple and multiply associative and disassociative personalities that afford innovative approaches to the role of the soundtrack and sound-plus-visual imagery in Pulp Fiction .

Application and Analysis of Montage Shooting Techniques in the Film The King's Speech

The method of montage shooting is to express the film story more directly by splicing the shots. When telling the story that a person's thinking and doing things are not understood, it can be recalled through the narration, and the reason for the development of the story can be narrated at the end so that the audience can have a feeling of enlightenment. This also makes the film more layered and expressive. Through an in-depth study of the film The King's Speech, this paper analyzes the application of montage shooting techniques in the film. This paper first introduces the importance of montage in film production and the basic background of The King's Speech, then analyzes in detail how different types of montage shots promote the plot and express the complex emotions between the protagonists, and finally evaluates and reflects on the effect of using montage shooting techniques. This study not only contributes to an in-depth understanding of this classic film but also provides valuable enlightenment for future film and television production.

Why Do We Fear The Robopocalypse? Human Insecurity in The Age of Technophobia

The paper aims to determine where exactly fear of intelligent machines is located in the narrative layers embedded in science fiction film stories based on the intelligence explosion hypothesis. The analysis departs from the assumption that the Robopocaliptic narrative, a science fiction narrative depicting the dystopian future of human–robot relationship, is constitutive of the irrational technophobic stance widespread in the public opinion of today’s postindustrial societies. As narration plays an essential part in our daily reflective and social practices, we are naturally inclined to look for narrative structure in popular culture, particularly in film, the most popular form of visual art, and the easiest one to consume. Nine science fiction films have been selected as relevant empirical evidence: The Invisible Boy (1957), 2001: A Space Odyssey (1968), Westworld(1973), Futureworld (1976), Demon Seed (1977), Blade Runner (1982), The Terminator (1984), The Matrix (1999), Ex Machina (2015). The Robopocaliptic narrative interwoven with the themes of the analysed films uncovers four recurrent ideas or messages that create robotophobia: redundancy of the human race, moral indifference of robots, robots as emotional abusers, and the loss of control over one’s own mind and body. The author proposes that these four ideas or messages mirror four layers of fear, all pointing to a meta-fear: the fear of rejection to be recognised and treated as a morally worth human being. In conclusion, the author suggests that Axel Honneth’s concept of recognition opens a plausible avenue to clarify the roots of the fear of the Robopocalypse.

Fatih Akin’s Modern Tragedy of Deprivation: Aus Dem Nichts (In The Fade)

Fatih Akin's cinema takes a clear political stance on the experience of being the other, especially since the director himself, as an immigrant, has experienced it first-hand. Aus Dem Nichts (In The Fade), which is the subject of this article, stands out as a production with a sober discourse on the view of the other. The film's story draws heavily on real events and opens up Germany's long criminal file on xenophobia for discussion. However, Akin also emphasizes that xenophobia is fundamentally about the absence of empathy. In other words, the director goes beyond making a stereotypical movie by considering this absence as not only political but also anthropological. Violence against foreigners, far from being a political choice, is about an indifference to the presence of another, and is much more widespread than we realize. In this article, Aus Dem Nichts is analyzed in the context of mise-en-scene criticism. A philosophical deconstruction of the film's narrative and style reveals that Akin has successfully presented a modern tragedy of deprivation.

There’s more to life than the monomyth: multiperspectival approaches to teaching narrative and story in university film and media departments

ABSTRACT This article critiques the ongoing dominance of the Hollywood monomyth in the film and television industry, at least in the UK if not more widely. It considers how this is impacting on the teaching of narrative and story in university film and media departments as they move towards stronger collaborations with industry. It argues for the importance of two-way dialogue to help equip students and their future employers for a world facing complex global challenges. Drawing on the author’s extensive experience in teaching and practice-led research, it advocates for a creative problem-solving approach which decentres conflict-driven models of narrative development, such as the Hero’s Journey, placing them alongside alternative models which engage with the relationship between conflict and harmony in a variety of different ways. Considering narrative structures such as Kishōtenketsu, indigenous storytelling methods and the author’s own work with the Polyphonic Documentary project, the need for a genuinely inclusive and expansive approach is brought to the fore. A mixed economy is considered to be essential, with experimental and traditional approaches preparing students for current industry demands whilst also encouraging them to shape future storytelling landscapes. The argument is made that this is crucial to foster a nuanced understanding of narrative and story that can respond creatively and effectively to the demands of a rapidly changing world.

Unsur Naratif Pada Permainan Seluler “Selera Nusantara – Episode: Nasi Goreng”

“Selera Nusantara” is a mobile simulation game from Indonesia. The game not only offers cooking simulation challenges for the players but also provides information about the main characters who appear between game levels. The existence of story elements in the permainan seluler is the focus of this research. In this case, we chose “Selera Nusantara – Episode: Nasi Goreng” as the object of study. This research is about how the narrative aspect in the permainan seluler "Selera Nusantara – Episode: Nasi Goreng" is built. The arguments proposed by Egenfeldt-Nielsen, Smith, and Tosca in their book, Understanding Video Games (2020), are used as the theoretical framework of this research, especially the discussion about narrative. The results of this research show that the narrative aspect in "Selera Nusantara - Episode: Nasi Goreng" is constructed through a series of cutscenes which, if separated from the game mechanics and put together sequentially from level to level of the game, form a progressive plot identical with stories in short stories, novels, or film. Although integrated in the game, the plot does not affect the simulation game session. However, to be able to understand the complete series of stories that form the context of the game world (gamespace), players must go through each stage of the level. Thus, it can be concluded that the story fragments which become the background of "Selera Nusantara – Episode: Nasi Goreng" provide a narrative to the game, which makes it a form of ergodic literature.

Breaking news: Television in Baz Luhrmann’s William Shakespeare’s Romeo + Juliet

The story of film’s relationship with television is long and fraught, a story of close alliances and indeed desired assimilation (of films on the small screen, or of studios owning stations), as well as of bitter rivalries (for viewers) with disastrous consequences (like Mankiewicz’s dispendious and Shakespeare-inspired Cleopatra (1963) and its effect on Fox studios): a tale, in short, not entirely dissimilar to the legendary Romeo and Juliet. As such, viewers perhaps should not have been surprised that Baz Luhrmann, whose work has been largely characterized by surprising associations, would have begun his rendition of the classic tale with the image of a television set automatically turning on and revealing a newscaster whose “news” is the play’s prologue. In so doing, Luhrmann makes the news not the story itself, but rather the way it is conveyed – “the medium is the message”, as McLuhan would say, and the well-known tale is made new through mingling these media. From this perspective, the television becomes a defining characteristic of this film’s rendition of Luhrmann’s Red Curtain aesthetic. By bookending the film with a camera dollying first towards and finally away from the television set, the director foregrounds television, first as object, and then as aesthetic, in this performance of Shakespeare’s classic tale. Though television may seem peripheral (both literally and thematically) in the film, I argue that Luhrmann’s use of television and its multiplicity of genres and tropes are actually central to its politics of adaptation.

АНАЛИЗ ИНТЕРМЕДИАЛЬНОЙ ПОЭТИКИ ПРОЗЫ КАК СРЕДСТВО СОВЕРШЕНСТВОВАНИЯ ЛИТЕРАТУРОВЕДЧЕСКИХ КОМПЕТЕНЦИЙ СТУДЕНТОВ

This article describes in detail the methods, techniques and means of developing the concept of intermediality in practical seminars in a university classroom. The productivity of the interdisciplinary nature of the research is revealed, during which advanced provisions and conclusions of pedagogy, didactics, methods of teaching Russian literature, literary theory, and literary criticism were used. It is shown that during formative training it is advisable to use creative, heuristic, and reproductive reading methods. The use of the project method, the research method, conducting a heuristic conversation, organizing educational dialogue, and working in groups provided the necessary conditions for the development of students' subjectivity during the cognitive process. An effective technology for analyzing a literary text in the inextricable and organic unity of form and content is presented, providing a deep understanding of the originality of the poetics, style and problems of E. Tursunov’s film story “Kelin”. Methods for developing students’ skills in identifying various forms of manifestation of intermedial connections in a work and determining their role in the artistic world are identified and characterized. It was also established that during the study of E. Tursunov’s artistic creativity, the combination of various elements of the method of problematic presentation and creative reading ensured the effectiveness of the analysis of recreating intermedial connections in various types of art. Fragments of educational analysis of the forms of expression of intermediality in the works of Ermek Tursunov are offered using active and heuristic methodological techniques that contribute to the activation of students’ thinking and the development of their literary competencies. The consistent work of the teacher in a heuristic and interactive format is substantiated, promoting the involvement of students in the process of active discussions.

Interwencja bogini/Szatana? "Wenus w futrze" (2013) – lektura palimpsestowa filmu Romana Polańskiego

Goddess’s or Satan’s Intervention? A Palimpsest Reading of Roman Polanski’s Venus in Fur (2013) The text concerns Roman Polanski’s film Venus in Fur (2013), a multi-layer psychodrama written for two characters, taking place on several levels of human relations: actress vs. director, literary character vs. performing artist, man vs. woman. Venus in Fur has been defined as a kind of palimpsest, i.e. a film story based on the fictional skeleton of other works. Referring to the concept developed by Gérard Genette, who categorized the ways in which different texts interact with each other, the article investigates the film’s hypertextuality, i.e. the “grafting” of Venus in Fur (as a hypertext) upon earlier works (hypotexts). When discussing Venus in Fur as a text of culture constituting a hypertext superimposed on other literary pieces, such as David Ives’ dramas, Leopold von Sacher-Masoch’s novels, mythological and biblical stories, it was necessary to identify their mutual relations by deciphering all the interconnections, reworkings, reinterpretations, and revisions. Due to the relationships existing between the various cultural texts in the film, the analysis was treated as a palimpsest reading. Attention was also paid to the director-actress relationship and the role of the female character in connection with the reinterpretation of the myth of the goddess Venus.

ARTISTIC TRINITY: LITERATURE – CINEMA – MUSIC (THE FILM “EARTH” BY O. DOVZHENKO)

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 raised existential problems is expressed, the ethnic basis of the concept of characters and the works of art chosen for the analysis as a whole are indicated. The corpus of methods was applied in the research: the cultural-historical method contributed to the understanding of the place, role, and meaning of film, music, and literary texts in contemporary artistic realities; the intermedial approach helped in identifying and characterizing the common, different and peculiar in the pictorial, mood, ideological and thematic, content filling of scenes, micro-episodes, symbolic images and details in samples belonging to various types of arts; the hermeneutic method is applied to reveal and interpret the traditional and innovative in stylistic specificity of the ethno-chaos performance of the “DakhaBrakha” band. Based on the cultural and historical method, the hermeneutic method, and the intermedial approach in the research it was emphasized that the instruments (accordion, drum, cello, ratchet, etc.) involved by the DakhaBrakha musical group, their tonality, rhythm, as well as the Ukrainian folklore samples involved in the content plan contributed to the effective depiction of various states of the main and secondary characters (joy, grief, concentration, sadness, thoughtfulness, etc.), the moods of the peasants, interpersonal relationships, emphasizing the character traits of Ukrainian heroes, hereditary farmers, their natural desire to work on the land and thus self-actualize. The article remarked on the role of pauses in the reflection of emotionally capacious, conceptually important film episodes, micro-episodes, and scenes, enhanced by demonstrative cinematic techniques. The trinity of music, cinematic material, and literary work in the construction of characters and perfect plot layout is emphasized. The musical design of the film “Earth” by O. Dovzhenko, carried out by the ethnic-chaos DakhaBrakha group, accentuates the national selfhood of the Ukrainian character, even though the film tells about collectivization, the purposeful policy of the then Soviet government (the 30s of the twentieth century) to destroy the private property of Ukrainians, to negate the feeling of the owner composed over the centuries. Skillfully combined traditional and innovative stylistic specificity of performing skills of the ethnic-chaos group “DakhaBrakha” contribute to the identification of subtexts, codes for the interpretation of the content of works, actual existential problems, and national originality of the characters. The order, tempo of the musical performance as well as the visual content, that was thought out by the authors of the film, form the musical leading motif of the movie and deepen the understanding of the subtext, symbolic accents of the literary work, emphasize the features of the artistic presentation of the land problem with the help of expressive images of sunflowers, gardens, steppes, fields, oxen, etc. There are a music tempo-rhythmic and tonal-emotional support of frames in the film, that as well performs a peculiar function of sound illustration in the corresponding episodes of the literary text, thus giving the images of main characters and minor characters dynamics and expression. The musical drama of the film “Earth”, audio visualization of the main and secondary characters, repetition, the collision of frames with different plans, landscapes, and the specifics of their location in the frames emphasize the problematic of the literary work, contribute to the multifaceted images of heroes in the literary work and in the film, enhance the understanding of the conflicts (intra-frame, interpersonal, worldview, etc.), testify to the ideological-thematic, compositional, pictorial, emotional-semantic unity of musical, cinematographic and literary texts.

COMPARATIVE CHARACTERISTICS OF MEANS OF NON-VERBAL COMMUNICATION IN UKRAINIAN AND VIETNAMESE CULTURES (ON THE MATERIAL OF A FILM STORY «POEM ABOUT THE SEA» BY O. P. DOVZHENKO)

The purpose of this article is to identify and compare non-verbal means of communication in Ukrainian and Vietnamese traditions based on the film story «Poem about the Sea» by O. P. Dovzhenko and its translation into Vietnamese. The object of the research is linguistic units indicating non-verbal behavior in Ukrainian and Vietnamese traditions, as presented in this film and its Vietnamese translation. The subject of the research is the general and personal features of perception and the use of gestures, facial expressions, gaze, intona- tions, and other non-verbal means in the process of communication. Compara- tive, semantic, cognitive, linguistic, and cultural analyses, paraverbal analysis, and the descriptive method are applied. As a result, their pragmatic meanings were determined, signs of similarities and differences, features of translation, and correlations based on the level of equivalence in artistic works were identified. A number of equivalent, background, and non-equivalent means in Ukrainian and Vietnamese languages were revealed. Conclusions and prospects of the study. Non-verbal language reflects the national character and each nation can have its own characteristics. In the works of fiction, the translator and the editor tried to convey the non-verbal behavior of the characters in such a way that the equiva- lent situations and units that most adequately convey the behavior of people of another culture in the Vietnamese language prevailed. The linguistic realiza- tion of non-verbal means is described by means of verbal means such as verbs, nouns, adjectives and adverbs, and accompanied by epithets, metaphors, idioms and punctuation marks. Understanding the ethnocultural features of non-verbal language is necessary for an adequate understanding of Ukrainian-Vietnamese communication and for those who work on translations of literary texts from Ukrainian to Vietnamese and vice versa. In today’s world, this field of research is becoming more and more relevant and promising

FILM TITLE AS UNIT OF TRANSLATION AND IMAGE-SENSE (BASED ON ENGLISH AND KOREAN)

Purpose. The article focuses on the study of film titles that we consider an integral part of cinema text from the point of view of its special sign nature. A film title gives the key to the subject matter of the film story line. The translator faces a number of challenges as it is essential to capture the semantic multidimensionality of the original title in order to transmit accurately the same vision, sense and tonality embodied in the original title.
 Methodology. The study is done in the light of the synergetic approach to film translation that emphasizes the dominant role of the image-sense and its influences on translation solutions. The polysemiotic nature of a film text should be taken into account while dealing with film title translations.
 Results. The image-sense is an integral unity that can be cognized only in the context of the whole as the essence of semiosis, unity of individual and general, creating an authentic image in a viewer’s mind. Image-sense is characterized by unpredictability and ambiguity that can be eliminated due to video image and the interaction of some semiotic systems in creating an integral entity. The research materials are film dialogues of Korean and American feature films.

POETICAL ANALYSIS OF THE IMAGE OF UKRAINE IN O. DOVZHENKO'S FILM STORY “UKRAINE ON FIRE”

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 that served as a prerequisite for writing a film story. In these dire and terrible times for Ukrainians, the author admitted that he created it “with fiery pain in his heart and burning suffering for Ukraine, which was in German hands, with painful regret and fear for its fate” (Dovzhenko, 1956: 102). Such methods as hermenevtic interpretation, descriptional, structural are used. The purpose is to discover deep meanings, carved in this film story, due to which stylistic devices author emphasizes the horror of the war.

ANALISIS UNSUR PEMBENTUK FILM ANIMASI FATE/STAY NIGHT: HEAVEN’S FEEL

The Fate/Stay Night franchise and the original visual novels that are the source of the film's story. Fate/Stay Night is a media franchise developed by Type-Moon, a Japanese game development company. The franchise was first introduced through a visual novel released in 2004. This visual novel consists of three main routes, namely Fate, Unlimited Blade Works, and Heaven's Feel. Each route has a different story, with different characters and conflicts. This animation received the 2018 Crunchyroll Anime Award and received a rating of 8.18. I used two methods in this study, namely literature study and observation. The literature study method is carried out by studying book references, articles, and browsing the internet as well as reviewing literature related to system analysis. Analysis of these elements shows that the film has an interesting storyline, as well as presenting themes that can give a message to the audience.