Oleksandr Dovzhenko, Ivan Kavaleridze, Leonid Skrypnyk. The avant-garde and philosophical explorations of Ukrainian filmmakers of the 1920s

0582976 - ÚDU 2024 RIV PL eng J - Článek v odborném periodiku
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. Roč. 34, č. 43 (2023), s. 195-208. ISSN 1731-450X. E-ISSN 2720-040X
Institucionální podpora: RVO:68378033
Klíčová slova: Ukrainian film * Oleksandr Dovzhenko * Ivan Kavaleridze * Leonid Skrypnyk * film Zvenyhora * film Arsenal * film Earth * film Downpour * film Perekop * rhythm * frame composition * static frame * lighting
Obor OECD: Studies on Film, Radio and Television
Způsob publikování: Open access
https://pressto.amu.edu.pl/index.php/i/article/view/39838/33629

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). Already a recognized sculptor at the time, Kavaleridze sought unique forms of expression in film. The approaches these directors took towards framing scenes, montage, lighting and rhythm underpinned the theoretical propositions of their contemporary, Ukrainian film theorist Leonid Skrypnyk. The author suggests that this testifies to a deliberate and comprehensive search for new means of expression in all phases of filmmaking.
Trvalý link: https://hdl.handle.net/11104/0351008