Ukraine: Dziga (Vertov) Means Top in Ukrainian

Cinema pioneer Denis Kaufman’s family was Jewish and hailed from Bialystok in what was once Russia, but is today a part of Poland. Kaufman is known to us by his pseudonym, Dziga Vertov, which he seems to have started using as early as the year 1915. According to an entry in momoscope, “Vertov” is a neologism extrapolated from the Russian verb vertit’sia, to spin, and Dziga is the Ukrainian word for a top, This new name carried connotations of the dynamism of the age. Another aspect of this name change is that it was typical of Russophilic Jewish youth of the revolutionary period.

In the light of today’s crisis and conflict on Ukraine, it is significant that being Russophile does not preclude the pairing of Russian and Ukrainian words in the coining of a pseudonym. In fact, much of Vertov’s seminal ‘Man with a Movie.’ Camera was shot in Ukraine. Here is how this seminal work of modernist filmmaking is described in the Telescope International film database, “A man wanders around Moscow, Kharkov, Kiev, and Odessa with a camera slung over his shoulder, documenting urban life with dazzling invention. There are few films that better enable the viewer to feel and understand the power of editing than this towering achievement in cinema.”

https://monoskop.org/Dziga_Vertov

https://telescopefilm.com/film/9035-man-movie-camera

Ukraine: Forgotten Ancestors

 Soviet film director Sergei Parajanov‘s masterful first feature, Shadows Of Our Forgotten Ancestors (1965), has been described as a Ukrainian masterpiece. It is an adaptation of Mikhaylo Kotsyubinsky’s 1912 novel of the same name. Kotsiubynsky was a Ukrainian modernist who developed a sophisticated form of ethnographic realism. In this film, Parajanov poetically portrays the traditional life of the Hutsul people and the natural environment of the Carpathian Mountains in Western Ukraine.

Ivan falls in love with Marichka, who is the daughter of the man who killed his father. While Ivan is away from their village, Marichka drowns trying to rescue a lost lamb. Ivan is inconsolable over the loss but eventually meets Palahna whom he marries. Ivan remains obsessed with Marichka and the marriage fails. Palahna is unfaithful with a local molfar (magician) named Yurko,. Yurko mortally wounds Ivan in a fight. Ivan goes out into the forest, sees the spirit of Marichka, dies, and finally, he is given a traditional Hutsul burial.

https://parajanov.com/shadows/

https://en.wikipedia.org/wiki/Mykhailo_Kotsiubynsky

https://en.wikipedia.org/wiki/Shadows_of_Forgotten_Ancestors

Ukraine: The Boy from Kharkiv

Ya Mogo Govorit

There are few scenes in 20th-century cinema that I hold as dear as the opening scene of Andrei Tarkovsky’s Zerkalo (Mirror). I have identified with the young man in that scene in terms of the struggle to express myself in my art and, in terms of getting through life itself in difficult times …. as Russian forces assault the Ukrainian city of Kharkiv … I am reminded how the young man in this scene struggles to say that he hails from Kharkov (Russian for Kharkiv) …. My prayers are with that boy from Kharkiv.

https://eturbonews.com/3019230/kharkiv-is-fallen/

https://koboiproject.com/2020/07/25/tarkovsky-monument-2-2/
https://koboibalikkampung.wixsite.com/berhijrah