• Kino w podróży. Sytuacja ukraińskiej kinematografii po 1991 roku

Kino w podróży. Sytuacja ukraińskiej kinematografii po 1991 roku

Dobrochna Dabert
Google Scholar Dobrochna Dabert



This essay is an attempt at a synthesized look at the Ukrainian cinema after 1991. Some troubles with the unfinished transformation of government have an influence on the actual condition of this cinematography that is still searching for its own development ways. In the first phase of the period some adaptations of classical Ukrainian literary works were a very important phenomenon of regenerating cinematography. However, in the latest cinema historical-national discourse dominates. It plays a strategic role in restoration of national identity. Films by Yuri Illenko, Oles Yanchuk, unique in their poetics works by Kira Muratova, original and a little psychological cinema of reckoning with the political past by Roman Balayan, Eva Neyman’s different view of history — all these phenomena suggest that historical themes prevail in contemporary Ukrainian film discourse. And yet, the young generation of moviemakers slowly takes the initiative. Although they are deprived of support from the state institutions, they do not agree with the condition of national cinema so drastically diverged from the level of European cinema and they realize independent artistic enterprises. Short and small-budget movies concerning the most important problems of Ukraine turn to be a challenge thrown towards the society remaining in dangerous lethargy and indifference.

Translated by Sławomir Bobowski

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