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

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F68378033%3A_____%2F23%3A00582976" target="_blank" >RIV/68378033:_____/23:00582976 - isvavai.cz</a>

Výsledek na webu

<a href="https://pressto.amu.edu.pl/index.php/i/article/view/39838/33629" target="_blank" >https://pressto.amu.edu.pl/index.php/i/article/view/39838/33629</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.14746/i.2023.34.43.12" target="_blank" >10.14746/i.2023.34.43.12</a>

Jazyk výsledku

angličtina

Název v původním jazyce

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

Popis výsledku v původním jazyce

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.

Název v anglickém jazyce

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

Popis výsledku anglicky

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.

Druh

J_SC - Článek v periodiku v databázi SCOPUS

CEP obor

—

OECD FORD obor

60405 - Studies on Film, Radio and Television

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2023

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

ISSN

1731-450X

e-ISSN

2720-040X

Svazek periodika

34

Číslo periodika v rámci svazku

43

Stát vydavatele periodika

PL - Polská republika

Počet stran výsledku

14

Strana od-do

195-208

Kód UT WoS článku

—

EID výsledku v databázi Scopus

2-s2.0-85174860401