Documentary Chronicles: Dialogue with Vitaly Mansky

Klassiki, 2022

Since 2014, when Russia began its war on Ukraine in Donbas, visual representations of the eastern region have constantly circulated in lm, television, and social media. As Oleksiy Radynski has pointed out, engagement with video documentation through social media is a de nitive feature of the way we experience this war. Many of those consuming these visuals, whether on Twitter, BBC, or in cinemas, have never visited Donbas, and know it only from images and videos made by journalists, documentary-makers, and by witnesses of violent events. While some recently-produced lms attempt to question and subvert power relations between viewer/ lmmaker and the subject of the gaze, as spectators we have to remain conscious of these power imbalances, especially when watching a region that has been invaded and under occupation for the past eight years. Radynskyi states that lming is an act of participation. What kind of participation, then, is the act of watching Donbas on screen? In the context of the ongoing Russian violence against the region, which destroys localities, communities, and environments, watching Donbas on screen is a more political experience than ever. Today we must ask ourselves: what are the politics and ethics of each particular act of lming, each act of screening? What does it mean to watch Donbas on screen now? The Russian occupation of parts of Donbas in 2014 resulted in greater attention being paid to the region both inside Ukraine and globally. Researchers turned to study the history and culture of Donbas in an effort to better understand what was happening in the region, including studying its historic and contemporary representations on screen. Perhaps the most internationally wellknown of these representations is Dziga Vertov's experimental 1930 documentary Enthusiasm. Today, Vertov's lm maintains a canonical status, and for many viewers, especially outside Ukraine, it remains one of the rst visual encounters with Donbas beyond mentions in the news. The lm takes its name from the Soviet concept of "enthusiasm," referring to the state of revolutionary fervour for the communist project. Along with optimism, energy, and rebelliousness, enthusiasm was thought to be one of the qualities necessary for forging a revolutionary society.

Apertura, 2021

approaches and themes in the way the international research community contributing to this issue analyses this somewhat minor but all the more exciting area of filmmaking. The issue was edited by Ervin Török and Lóránt Stőhr.

New Drama in Russian: Performance, Politics, and Protest in Russia, Ukraine, and Belarus

https://www.bloomsbury.com/uk/new-drama-in-russian-9781788313506/

SEEJ, 2024

MAI: Feminism and Visual Culture Journal, 2023

Contemporary Ukrainian and Baltic Art: Political and Social Perspectives, ed. by Svitlana Biedarieva, ibidem Press, 2021

This comparative analysis aims to explore different modes of representation of the Ukrainian revolution of 2013-2014 in contemporary documentary cinema. Inspired by ideas of Jacques Rancière and Alasdair MacIntyre, this study suggests looking at people of Maidan as political versus ethical entity to explain artistic choices of documentary filmmakers Sergey Loznitsa (Maidan) and Evgeny Afineevsky (Winter on Fire: Ukraine's Fight for Freedom).

MARTOR Journal of Anthropology, 2019

An interview with Adina Bradeanu about curating film heritage (the SAHIA VINTAGE project). By Ionuț Mareș.

Film Quarterly, 2004

Macedonian filmmaker Milcho Manchevski reflects on the nature of history, story-telling, and photographic evidence in a discussion of Before the Rain (1994) and his latest feature, Dust (2001/2003), a genre-crossing ““Baklava Western”” that explores what happens when West meets East in the violent history of the Balkans.

Bright Lights Film Journal, 2020