{"id":1295,"date":"2010-06-18T23:14:30","date_gmt":"2010-06-19T04:14:30","guid":{"rendered":"http:\/\/blog.uvm.edu\/aivakhiv\/2010\/06\/18\/white-bird-with-a-black-mark-flies\/"},"modified":"2010-06-18T23:14:30","modified_gmt":"2010-06-19T04:14:30","slug":"white-bird-with-a-black-mark-flies","status":"publish","type":"post","link":"https:\/\/blog.uvm.edu\/aivakhiv\/2010\/06\/18\/white-bird-with-a-black-mark-flies\/","title":{"rendered":"white bird (with a black mark) flies"},"content":{"rendered":"<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/6uwm5L48r4g?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p><em>Shadows of Forgotten Ancestors (1964)<\/em><\/p>\n<p>Film director Yuri Ilyenko, one of the outstanding cinematographers and directors of the short-lived but significant Ukrainian New Wave, has passed away at age 74. Ilyenko (<em>aka<\/em> Illienko, Ilienko) first shot into prominence as the cinematographer on Sergei Paradjanov&#8217;s epochal <em>Shadows of Forgotten Ancestors<\/em> (1964), which launched what became known as &#8220;<a href=\"http:\/\/findarticles.com\/p\/articles\/mi_qa3763\/is_200003\/ai_n8899757\/\">Ukrainian Poetic Cinema<\/a>,&#8221; a movement based mainly at Dovzhenko Film Studios in Kyiv. In the years following, Ilyenko directed a series of critically lauded films including &#8220;<a href=\"http:\/\/movies.tvguide.com\/spring-thirsty\/review\/127113\">A Well-Spring for the Thirsty<\/a>&#8221; (<em>Krynytsia dlia sprahlykh<\/em>), considered a sobering, post-<a href=\"http:\/\/en.wikipedia.org\/wiki\/Holodomor\">Holodomor<\/a> updating of Aleksander Dovzhenko&#8217;s classic &#8220;Earth&#8221; (<em>Zemlya<\/em>), the wildly experimental &#8220;<a href=\"http:\/\/www.worldscinema.com\/2009\/12\/yuri-ilyenko-vecher-nakanune-ivana.html\">Eve of Ivan Kupalo<\/a>&#8221; (<em>Vechir na Ivana Kupala<\/em>), &#8220;White Bird with a Black Mark&#8221; (<em>Bilyi ptakh iz chornoyu oznakoyu<\/em>), &#8220;A Forest Song (<em>Lisova pisnia: Mavka<\/em>&#8220;), and &#8220;Swan Lake: The Zone&#8221; (<em>Lebedyne ozero: Zona<\/em>).<\/p>\n<p>Made in 1966, &#8220;Well-Spring&#8221; was shelved by Soviet censors for over two decades until it was officially released during the Glasnost era in 1988. &#8220;Eve of Ivan Kupalo&#8221; (1968) was rarely screened in the Soviet Union as well, but with &#8220;White Bird with a Black Mark&#8221; (1971) Ilyenko carved out a viable compromise between artistic integrity and a storyline that satisfied the Soviet censors. The film was awarded the Grand Prize at the Moscow International Film Festival. Ilyenko&#8217;s efforts in recent years, especially the controversial &#8220;<a href=\"http:\/\/www.columbia.edu\/cu\/ufc\/news\/2009_11_3.html\">A Prayer for Hetman Mazepa<\/a>&#8221; (2001), met with more mixed reviews.<\/p>\n<p><!--more--><br \/>\nIlyenko was a genuine magician behind the camera, the kind of person with so much energy, pent up over many years of difficult production circumstances, it&#8217;s a wonder he survived to make films after the Soviet Union fell. &#8220;Shadows&#8221; is completely different in style from <a href=\"http:\/\/en.wikipedia.org\/wiki\/Sergei_Parajanov\">Paradjanov<\/a>&#8216;s other films &#8212; note how wildly that camera moves in the woods (attributable more to Illienko than Paradjanov, though the latter&#8217;s experimental spirit deserves the credit for the film as a whole, which is arguably one of the most significant in Soviet cinema history).<\/p>\n<p>I once wrote an essay analyzing Ilyenko&#8217;s &#8220;trilogy&#8221; (Well-Spring, Eve of Ivan Kupalo, and White Bird), in the era before publications went electronic. I&#8217;ll try to dig it up. He&#8217;s not nearly as well known as he should be, so I&#8217;ll share another couple of clips here, from <em>Eve of Ivan Kupalo<\/em> and <em>Swan Lake: The Zone<\/em>:<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/EJTlZHHDywM?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/HT-OpcnD8js?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>Rest in peace. <em>Vichna yomu pamiat&#8217;<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Shadows of Forgotten Ancestors (1964) Film director Yuri Ilyenko, one of the outstanding cinematographers and directors of the short-lived but significant Ukrainian New Wave, has passed away at age 74. Ilyenko (aka Illienko, Ilienko) first shot into prominence as the cinematographer on Sergei Paradjanov&#8217;s epochal Shadows of Forgotten Ancestors (1964), which launched what became known [&hellip;]<\/p>\n","protected":false},"author":99,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[688745,689354],"tags":[16902],"class_list":["post-1295","post","type-post","status-publish","format-standard","hentry","category-cinema_zone","category-image_nation","tag-ukraine"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4IC4a-kT","jetpack-related-posts":[{"id":6135,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2012\/09\/05\/ukrainian-poetic-cinema-series\/","url_meta":{"origin":1295,"position":0},"title":"Ukrainian Poetic Cinema series","author":"Adrian J Ivakhiv","date":"September 5, 2012","format":false,"excerpt":"These are some of my favorite films of all time. \"Shadows of Forgotten Ancestors\" was groundbreaking and the 3 Illienko films rarely get shown anywhere. (\"Eve of Ivan Kupalo\" is one of the wildest rides on celluloid.) See them on the big screen -- at the Lincoln Center this coming\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1231,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2010\/04\/06\/cinema-poetry\/","url_meta":{"origin":1295,"position":1},"title":"cinema poetry","author":"Adrian J Ivakhiv","date":"April 6, 2010","format":false,"excerpt":"I just discovered the video blog Cinema Poetry, which has collected twenty (so far) of the most remarkable scenes in the history of cinema. The first of the two ride films below, the Lumiere brothers' rickshaw film from an Indochinese village, is beautiful (watch it in full screen with the\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/img.youtube.com\/vi\/C5XlKaii0OE\/0.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":6142,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2012\/09\/05\/illienkos-poetic-cinema\/","url_meta":{"origin":1295,"position":2},"title":"Illienko&#8217;s poetic cinema","author":"Adrian J Ivakhiv","date":"September 5, 2012","format":false,"excerpt":"The following is an article I originally wrote in 1989, or maybe 1988, after seeing three films by Ukrainian poetic cinema master Yuri Illienko (a.k.a.\u00a0 Iurii\/Yurij\/Jurij Ilyenko\/Ilienko\/Illyenko\/Il'yenko). Two of the films -- A Well for the Thirsty and Eve of Kupalo Night, or St. John's Eve -- had languished unseen\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2012\/09\/Kupala1-275x124.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":5213,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2011\/08\/24\/ruiz-goes-home\/","url_meta":{"origin":1295,"position":3},"title":"Ruiz goes home&#8230;","author":"Adrian J Ivakhiv","date":"August 24, 2011","format":false,"excerpt":"\u00a0 At bottom I am speaking of nothing other than a cinema capable of inventing a new grammar each time it goes from one world to the next, capable of producing a unique emotion before every thing, every animal, every plant, simply by modifying the parameters of space and time.\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2011\/08\/raoul-ruiz-231x275.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":3675,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2011\/04\/29\/stalking-the-cinema-stalking-the-world\/","url_meta":{"origin":1295,"position":4},"title":"Stalking the cinema stalking the world","author":"Adrian J Ivakhiv","date":"April 29, 2011","format":false,"excerpt":"Here's a version of something that comes late in Chapter One of my Ecologies of the Moving Image manuscript. This follows a description of Andrei Tarkovsky's film Stalker (USSR, 1979), which I take as a kind of paradigmatic model for the process-relational framework the book develops. Here I discuss the\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2011\/04\/tarkovsky.stalker-275x207.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":8995,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2016\/10\/25\/loznitsas-ethical-witnessing\/","url_meta":{"origin":1295,"position":5},"title":"Loznitsa&#8217;s ethical witnessing","author":"Adrian J Ivakhiv","date":"October 25, 2016","format":false,"excerpt":"I've written about ethical witnessing before -- both in the eco-trauma chapter of Ecologies of the Moving Image and in my reflections on Joshua Oppenheimer's The Act of Killing. Seeing Serhii Loznitsa's latest\u00a0film, Austerlitz, at Kyiv's Molodist Film Festival a few days ago, prompted me to think some more about\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"31rvffloznitsa-2-master675","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2016\/10\/31RVFFLOZNITSA-2-master675-275x145.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts\/1295","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/users\/99"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/comments?post=1295"}],"version-history":[{"count":0,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts\/1295\/revisions"}],"wp:attachment":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/media?parent=1295"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/categories?post=1295"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/tags?post=1295"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}