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Ukrainian Cinema: Resources

于Studies in World Cinema
在线出版日期:
11 Sep 2024

Multiple – and growing – resources are related to Ukrainian cinema. Here are some of them.

Lists

The TOP 100. Rating of the Best Films in the History of Ukrainian cinema is available at the Dovzhenko Centre’s web-site: https://dovzhenkocentre.org/en/top-100/. It contains annotations for most of the films, as well as stills and posters. The list is also made available at Letterboxd, where the individual films are reviewed and discussed by a wide cinephile community: https://letterboxd.com/vasanta/list/top-100-the-best-ukrainian-films-of-all-time/.

Letterboxd features two lists of Ukrainian films by individual compiles – one by Dmyrto Malyar (https://letterboxd.com/dmytro_malyar/list/ukrainian-films/) and one by Joshua Dysart (https://letterboxd.com/joshuadysart/list/50-films-from-ukraine/). Other compilations that present personal takes on important films can be found on the IMDb, under ‘user lists’.

The Wikipedia article on ‘Cinema of Ukraine’ (https://en.wikipedia.org/wiki/Cinema_of_Ukraine) features yet another list of Notable Films, which partially overlaps with the Top 100 but which also includes many other titles.

Journals

The online journal KinoKultura published a special issue dedicated to Ukrainian cinema in 2009. It was edited by Vitaly Chernetsky; all texts can be found online: http://www.kinokultura.com/specials/9/ukrainian.shtml.

A special issue on ‘Thinking Ukrainian Cinema’ was published in 2023 by Cinema: Journal of Philosophy and the Moving Image. Vol. 15 No. 1. It is edited by Mariia Lihus and Patrícia Castello Branco and is available open access at: https://cinema.fcsh.unl.pt/index.php/revista/issue/view/15.

A special issue of The Slavic and East European Journal, The Ukrainian Film Forum: Interviews and Essays, edited by Ana Hedberg Olenina, is forthcoming in Fall 2024.

A special issue of The Journal of Russian and Soviet Cinema, as well as a cluster of articles in Slavic Review (edited by Vitaly Chernetsky) are forthcoming, too.

Writing related to Ukrainian cinema can also be found in Studies in Eastern European Cinema, as well as in the online Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe (https://www.apparatusjournal.net/index.php/apparatus) and the East European Film Bulletin (https://eefb.org/).

Two great resources related to vufku can be found online. There is the excellent and richly illustrated bilingual site of the 2021 vufku: Lost and Found exhibition, at https://vufku.org/en/home/. Drawing on the Dovzhenko Centre’s media library, it contains images and posters of most films made in the 1920s, biographical information about the directors, film annotations, as well as rental contacts.

And, there are the recorded proceedings of ‘vufku: Independence and Innovation’, a symposium that took place at the Centre for Documentary Research and Practice at Indiana University on 4 November 2022 (https://vimeo.com/769537631).

Films

Ukrainian films for streaming can be found at subscription/rental sites such as Eastern European Movies (https://easterneuropeanmovies.com/country/ukraine) and Klassiki (https://klassiki.online/online-ukrainian-cinema/).

Takflix, operating out of Ukraine, serves the diaspora (https://takflix.com/en); many of the films they carry are subtitled.

Select films can also be found at main streamers such as Amazon Prime, Netflix, Apple tv, Hulu, mubi, or the Criterion Channel.

A great number of Ukrainian films, most of them in a Russian language version and many with English subtitles, are available on YouTube where they can be seen for free. In particular, the channel of the Odesa Film Studio (https://www.youtube.com/@OdesaFilmStudio), which not only carries all the films made here, but also some seventy of the films made at the Dovzhenko Studio in Kyiv, as well as a great deal of other material.

The Dovzhenko Centre’s YouTube channel is at https://www.youtube.com/@-dovzhenkocenter8117.

Searching on YouTube for the name of a specific director – e.g. Kira Muratova, Leonid Osyka, Feliks Sobolev – often leads to useful fan-produced playlists.

Readings

This select bibliography of published texts mainly includes writing related to the films from the Top 100 list.

  • Blackledge, Olga. 2024. ‘Ukrainian Animation on the Margins of the Empire: The Case of Davyd Cherkas’kyi’s Adventure Trilogy’. In De-colonising the (Post-) Soviet Screen, edited by Heleen Gerritsen and Irina Schulzki, 309–328. Apparatus Press.

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  • Bryukhovetska, Olga. 2009. ‘Chernobyl: Half-life of the Soviet Imaginary’. KinoKultura, Special Issue No. 9: Ukrainian Cinema. December. http://www.kinokultura.com/specials/9/ukrainian.shtml (accessed 26 May 2024).

  • Chernetsky, Vitaly. 2008: ‘Visual Language and Identity Performance in Leonid Osyka’s A Stone Cross: The Roots and the Uprooting’. Studies in Russian and Soviet Cinema, 2:3, 269–280.

  • Chernetsky, Vitaly. 2009. ‘Defining and Exploring Ukrainian Cinema’. KinoKultura, Special Issue No. 9: Ukrainian Cinema, December. http://www.kinokultura.com/specials/9/introduction.shtml (accessed 26 May 2024).

  • Chernetsky, Vitaly. 2009. ‘Annychka’s Anomaly: A Daughter’s Rebellion in a “Non-Soviet” Soviet War Film’. KinoKultura, Special Issue No. 9: Ukrainian Cinema, December. http://www.kinokultura.com/specials/9/chernetsky.shtml (accessed 26 May 2024).

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  • De Luca, Raymond. 2021. ‘The Pig’s Gaze: Human-Animal Mutuality in Kira Muratova’s Chekhovian Motifs’. Frames Cinema Journal, issue 18, 2021. https://framescinemajournal.com/article/the-pigs-gaze-human-animal-mutuality-in-kira-muratovas-chekhovian-motifs/ (accessed 26 May 2024).

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  • Eagle, Herbert. 2009. ‘How Poetic Structure Counters Socialist Realist Narrative in Illienko’s White Bird with a Black Spot’. KinoKultura, Special Issue No. 9: Ukrainian Cinema, December. http://www.kinokultura.com/specials/9/ukrainian.shtml (accessed 26 May 2024).

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  • Finnin, Rory. 2008. ‘Silence and Extinction in Shadows of Forgotten Ancestors’. Slavic and East European Performance, 28:1, Winter.

  • Finnin, Rory. 2009. Review of Oles’ Sanin’s Mamai (2003). KinoKultura, Special Issue No. 9: Ukrainian Cinema, December. http://www.kinokultura.com/specials/9/mamai.shtml (accessed 27 May 2024).

  • First, Joshua. 2009. ‘Ukrainian National Cinema and the Concept of the “Poetic”’. KinoKultura, Special Issue No. 9: Ukrainian Cinema, December. http://www.kinokultura.com/specials/9/first.shtml (accessed 26 May 2024).

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  • First, Joshua. 2014. Ukrainian Cinema: Belonging and Identity during the Soviet Thaw. London: I.B.Tauris.

  • First, Joshua. 2016. Sergei Paradjanov: Shadows of Forgotten Ancestors. Chicago: The University of Chicago Press.

  • Furman, Yelena. 2008. ‘Shamara: Writing and Screening the Female Body’. Studies in Russian and Soviet Cinema, 2:2, 167–181.

  • Gorfinkel, Elena. 2019. ‘Kira Muratova’s Searing World’. Close Up. https://www.closeupfilmcentre.com/library/essay/kira-muratovas-searing-world (accessed 24 May 2024).

  • Gradinari, Irina, and Irina Schulzki (eds.). 2024. The Films of Kira Muratova: Essays on Cinematic Rebellion From the Margins. Edinburgh: Edinburgh University Press.

  • Hicks, Jeremy. 2009. ‘Confronting the Holocaust: Mark Donskoi’s The Unvanquished’. Studies in Russian Soviet Cinema, 3:1, 33–51.

  • Hicks, Jeremy. 2012. First Films of the Holocaust: Soviet Cinema and the Genocide of the Jews, 1938–46. Pittsburgh: University of Pittsburgh Press.

  • Hoberman, J. 2010 [1991]. Bridge of Light: Yiddish Film Between Two Worlds. Lebanon, New Hampshire: University Press of New England.

  • Hoberman, J. 2022. ‘Framing Babyn Yar’. New York Review of Books. March 29.

  • Hosejko, Lubomir. 2001. Histoire du cinéma ukrainien (1896–1995). Die, Drôme: Éditions À Dié.

  • Iordanova, Dina. 2021. ‘Kira Muratova: The Magnificent Maverick’. Frames Cinema Journal, Issue 18: https://framescinemajournal.com/article/kira-muratova-the-magnificent-maverick/ (accessed 26 May 2024).

  • Iordanova, Dina. 2024. ‘No Unknown Soldiers …’. Senses of Cinema, Issue 109, May. Available at: http://www.sensesofcinema.com/2024/feature-articles/no-unknown-soldiers/ (accessed 26 May 2024).

  • Kaganovsky, Lilya. 2012. ‘Ways of Seeing: on Kira Muratova’s Brief Encounters and Larisa Shepit’ko’s Wings’. Russian Review, 71:3 (July): 482–499.

  • Kristensen, Lars. 2009. Review of Viacheslav Krishtofovich’s A Friend of the Deceased (Pryiatel’ nebizhchyka/Priiatel’ pokoinika,1997). KinoKultura, Special Issue No. 9: Ukrainian Cinema, December: http://www.kinokultura.com/specials/9/friendofdeceased.shtml (accessed 27 May 2024).

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  • Lacny, Stefan, 2024. ‘(Re)discovering Ukrainianness: Hutsul folk culture and Ukrainian identity in Soviet film, 1939–1941. Studies in Russian and Soviet Cinema, 9 May: https://www.tandfonline.com/doi/full/10.1080/17503132.2024.2348250 (accessed 27 May 2024).

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  • Larsen, Susan. 2007. Korotkie Vstrechi / Brief Encounters. In The Cinema of Russia and the Former Soviet Union, edited by Birgit Beumers, 119–129. London: Wallflower.

  • Nebesio, Bohdan. 1996. ‘A Compromise with Literature?: Making Sense of Intertitles in the Silent Films of Alexander Dovzhenko’. Canadian Review of Comparative Literature, 23:3, 679–700.

  • Nebesio, Bohdan Y. 2000. ‘Questionable Foundations for a National Cinema: Ukrainian Poetic Cinema of the 1960s’. Canadian Slavonic Papers, 42:1–2, 35–46.

  • Nebesio, Bohdan Y. 2009a. ‘Panfuturists and the Ukrainian Film Culture of the 1920s’. KinoKultura, Special Issue No. 9: Ukrainian Cinema, December: http://www.kinokultura.com/specials/9/nebesio.shtml (accessed 26 May 2024).

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  • Nebesio, Bohdan. 2009b. ‘Competition from Ukraine: vufku and the Soviet Film Industry in the 1920s’. Historical Journal of Film, Radio and Television, 29:2, 159–180.

  • Nebesio, Bohdan Y. 2011. ‘Are We There Yet?: Studies of National Cinema in Ukraine’. Canadian Slavonic Papers, 53:2–4: 475–484.

  • Nebesio, Bohdan. 2013. ‘The First Five Years with no Plan: Building National Cinema in Ukraine, 1992–1997.’ In Cinemas in Transition in Central and Eastern Europe after 1989, edited by Catherine Portuges and Peter Hames, 197–229. Philadelphia: Temple University Press.

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  • Papash, Ol’ha, and Stanislav Menzelevsky. 2009. ‘Kira Muratova’s Anti-Cinema.’ KinoKultura, Special Issue No. 9: Ukrainian Cinema, December: http://www.kinokultura.com/specials/9/ukrainian.shtml (accessed 26 May 2024).

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  • Schulzki, Irina. 2012. ‘Contingency, Anthropology and Space in Muratova’s Later Films’ (co-author: Raoul Eshelman). In Die nicht mehr neuen Menschen. Russische Filme und Romane der Jahrtausendwende, edited by Bettina Lange, Nina Weller and Georg Witte, 293–312. Wiener Slawistischer Almanach, Sonderband 79. Munich, Berlin, Vienna: Verlag Otto Sagner.

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  • Schulzki, Irina. 2021. ‘Touch and Sight in the Films of Kira Muratova: Towards the Notion of a Cinema of Gesture,’ Frames Cinema Journal. Issue 18: https://framescinemajournal.com/article/touch-and-sight-in-the-films-of-kira-muratova-towards-the-notion-of-a-cinema-of-gesture/ (accessed 26 May 2024).

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  • Shpolberg, Masha. 2021. ‘Deconstructing Socialism in the Early Films of Kira Muratova’. Frames Cinema Journal. Issue 18: https://framescinemajournal.com/article/deconstructing-socialism-in-the-early-films-of-kira-muratova/ (accessed 26 May 2024).

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  • Shpolberg, Masha. 2023. ‘Catastrophe, Obliquely: The Revival of the Essay Film Form in Soviet Documentaries About Chernobyl’. In Cinema and the Environment in Eastern Europe: From Communism to Capitalism, edited by Masha Shpolberg and Lukas Brasiskis, 124–147. New York and Oxford: Berghahn.

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  • Taubman, Jane. 2004. Kira Muratova: KINOfiles Filmmakers’ Companion 4. London: I.B. Tauris.

  • Zvonkine, Eugénie. 2007. ‘The structure of the fairy tale in Kira Muratova’s “The Sentimental Policeman”’. Studies in Russian and Soviet Cinema, 1:2, 131–145.

  • Zvonkine, Eugénie. 2013. ‘Muratova’s Cinema before and after Perestroika: Deconstructing and Rebuilding Film Aesthetics’. In Russia’s New fin de siècle, edited by Birgit Beumers, 215–230. Bristol: Intellect.

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题名:
Ukrainian Cinema: Resources
文章类别:
Research Article
DOI:
https://doi.org/10.1163/26659891-04020002
Language:
英文
Page Range:
247–252
原题名:
Studies in World Cinema
卷/期:
卷4: 期2
出版社:
Brill
国际标准刊号（电子版）:
2665-9891
国际标准刊号（印刷版）:
2665-9883
主题:
Television & Film, Media Studies, Comparative Studies & World Literature, Literature and Cultural Studies, Drama & Theatre Studies, Art History, Literary Relations, Criticism & Theory

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