{"title":"Triada obrazów akwatycznych jako podstawa integralności kompozycji filmu dokumentalnego Ołeksandra Awszarowa i Switłany Rudiuk Wasz Wasyl","authors":"Tetiana Mychajłowa","doi":"10.14746/i.2023.34.43.3","DOIUrl":null,"url":null,"abstract":"
 
 
 The article is dedicated to analysing the compositional integrity of Oleksandr Avsharov and Svitlana Rudyuk’s documentary Yours, Vasyl (2019) through the prism of key aquatic images, including the city flood from the archival materials of Kyiv from 1970, dirty water from the poet’s sister’s dreams and the flood, stream and sea from Stus’s poetry (Ще до жнив не дожив..., Із циклу «Забуттям», Костомаров у Саратові). On the basis of these aquatic images, represented by key textual messages, the plot of the film is schematically arranged in a triad, which in turn plays the role of a graphic image of a mountain – a symbol of the poet’s steadfastness and victory. Attention is also drawn to the rich symbolism of the images, the skillful intertwining of the visual and auditory, the past and the present, thanks to which the image of the Stus seems alive and modern, which is what the filmmakers wanted to achieve.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":"79 1","pages":"0"},"PeriodicalIF":0.2000,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Images","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.14746/i.2023.34.43.3","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0
Abstract
The article is dedicated to analysing the compositional integrity of Oleksandr Avsharov and Svitlana Rudyuk’s documentary Yours, Vasyl (2019) through the prism of key aquatic images, including the city flood from the archival materials of Kyiv from 1970, dirty water from the poet’s sister’s dreams and the flood, stream and sea from Stus’s poetry (Ще до жнив не дожив..., Із циклу «Забуттям», Костомаров у Саратові). On the basis of these aquatic images, represented by key textual messages, the plot of the film is schematically arranged in a triad, which in turn plays the role of a graphic image of a mountain – a symbol of the poet’s steadfastness and victory. Attention is also drawn to the rich symbolism of the images, the skillful intertwining of the visual and auditory, the past and the present, thanks to which the image of the Stus seems alive and modern, which is what the filmmakers wanted to achieve.
期刊介绍:
The study of Jewish art and visual culture, which has been cultivated for over a century in European, American and Israeli institutions, has burgeoned in the last fifteen years. Major universities have established graduate programs that integrate Jewish art and visual studies and Jewish museums dot the landscape in Israel, Europe and North America. Contemporary scholarship on Jewish art and visual culture intersects with concerns of the wider academy; a lively interchange among scholars has ensued. The field has now achieved the breadth and maturity to sustain an international journal that represents the interests of this interdisciplinary community of scholars.