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1965 motion picture past Sergei Parajanov

Shadows of Forgotten Ancestors
Tini zabytykh predkiv (1965, Ukrainian poster by Heorhiy Yakutovych).jpg

Ukrainian original affiche
Ukrainian Тіні забутих предків
Directed past Sergei Parajanov
Screenplay past Ivan Chendej
Sergei Parajanov
Based on Shadows of Forgotten Ancestors
by Mykhailo Kotsiubynsky
Starring Ivan Mykolaichuk
Larisa Kadochnikova
Tatyana Bestayeva
Cinematography Yuri Ilyenko
Music past Myroslav Skoryk

Production
visitor

Dovzhenko Moving picture Studios
Distributed by Holovkinoprokat (UkrSSR)
Artkino Pictures (U.S.)

Release date
  • 22 March 1965 (1965-03-22) (MFF)
iv Sep. 1965 (UkrSSR)

Running time

 97 minutes
Country Ukrainian SSR
Linguistic communication Ukrainian
Budget krb.300–500 one thousand
Box role vi.5 mil. admissions[note 1]

Shadows of Forgotten Ancestors , alternatively translated into English as Shadows of Our Forgotten Ancestors or Shadows of Our Ancestors (Ukrainian: Тіні забутих предків, romanized: Tini zabutykh predkiv ), besides known in English language under the culling title Wild Horses of Fire and nether the mistaken title of In the Shadow of the Past ,[1] is a 1965 Ukrainian film by the Armenian filmmaker Sergei Parajanov based on the novel Shadows of Forgotten Ancestors by Ukrainian writer Mykhailo Kotsiubynsky that tells a "Romeo and Juliet tale" of young Ukrainian Hutsul lovers trapped on opposite sides of a Carpathian family blood feud.[2]

The film was Parajanov'south first major piece of work and earned him international acclamation for its rich employ of costume and colour.[three] The festival program form the 1966 edition of the New York Motion picture Festival described the film as an "avant-garde, extravagant, sumptuous saga" and a "haunting piece of work" that combined folk-songs and atonal music with fantastic camera work.[4]

Shadows of Forgotten Ancestors is considered to exist the most internationally heralded Ukrainian picture show in history,[5] and a archetype of Ukrainian magical realist cinema.[6]

Plot [edit]

In a pocket-size Hutsul village in the Carpathian mountains of Ukraine, a beau, Ivan, falls in love with the daughter of the man who killed his father. Though their families share a bitter enmity, Ivan and Marichka accept known each other since childhood. In grooming for their marriage, Ivan leaves the hamlet to work and earn money for a household. While he is gone, Marichka accidentally slips into a river and drowns while trying to rescue a lost lamb.

Ivan returns and falls into despair after seeing Marichka'due south torso. He continues to piece of work, enduring a flow of joyless toil, until he meets another woman, Palagna, while shoeing a horse. Ivan and Palagna get married in a traditional Hutsul nuptials in which they are blindfolded and yoked together. The union quickly turns sour, still, every bit Ivan remains obsessed with the memory of Marichka. Estranged from her emotionally distant married man, Palagna becomes involved with a local molfar Yurko, while Ivan begins to experience hallucinations.

At a tavern, Ivan witnesses the molfar cover Palagna and strike one of his friends. Roused into an uncharacteristic fury, Ivan snatches up his axe, only to be struck down by the molfar. Ivan stumbles into the nearby wood and perceives Marichka'southward spirit to be with him, reflected in the water and gliding amid the trees. As reality merges into dream, the colourless shade of Marichka reaches out across a swell infinite and touches Ivan's outstretched hand. Ivan screams and dies. The community gives him a traditional Hutsul burial while children sentry through cross braced windows.

Cast [edit]

  • Ivan Mykolaichuk every bit Ivan
  • Larisa Kadochnikova as Marichka
  • Tatyana Bestayeva [ru] as Palagna
  • Spartak Bagashvili as molfar Yurko
  • Mykola Hrynko as Chief Shepherd
  • Leonid Yengibarov as Mykola
  • Nina Alisova equally Paliychuk

Production [edit]

Budget [edit]

The exact upkeep for Shadows of Forgotten Ancestors is currently not publicly known, and it is but available from the film's records at Ukrainian Land Archives.[7] The fractional records gathered past Ukrainian film historians reveal that the cabinet ministers of UkrSSR in May 1966 issued a strongly worded reproachment to Parajanov for "exceeding the budget of Shadows of Forgotten Ancestors by 97 1000 karbovantsi".[8] Ukrainian filmmaker Oleh Chornyi, however, speculated in 2019 that the moving picture'due south upkeep was in line with typical flick budgets of the time, ranging from 300 to 500 thousand karbovantsi".[9]

Filming [edit]

The film was one of the rare Ukrainian-language feature film productions at the Ukrainian Dovzhenko Moving picture Studios, which typically produced simply Russian-language picture show productions, some of which were subsequently dubbed into the Ukrainian language for theatrical distribution in UkrSSR. The regime officials had asked Parajanov to make a Russian version of the film, to which he stated that he has "long resisted translating the Ukrainian-linguistic communication motion-picture show dialogues into the Russian language" considering he "considered this text to exist an inalienable part of the artistic material of the moving-picture show".[x] [8] In his 1988 interview with Ron Holloway, Parajanov confessed that "the ministry asked me to make a Russian version [of the film]. The picture show was not simply shot in the Ukrainian language, simply information technology was also in the Hutsul dialect [of Ukrainian linguistic communication]. They asked me to dub the film in Russian but I turned them down categorically."[11]

The film is set up in the Ukrainian part of the Carpathian Mountains and the location shooting of the hamlet scenes took place in the Carpathian village of Kryvorivnia. The house in Kryvorivnia where the filming took place is now a museum.[12] [thirteen] The indoor shooting took identify in the pavilions at the Dovzhenko Motion-picture show Studios.

Casting [edit]

Originally, Parajanov planned to cast a rising-star and box-role magnet Russian role player Genadi Yukhtin to play the main protagonist Ivan, but under the recommendation of filmmaker Viktor Ivchenko, forth with comments from the film's cinematographer Yuri Ilyenko that "Yukhtin just did not fit the office and when [during the try-outs] he dressed in the Ukrainian hutsul garments, it wasn't a fit for him", Parajanov later changed his decision and cast a Ukrainian role player Ivan Mykolaichuk instead.[14]

Music [edit]

The music was written by composer Myroslav Skoryk, who wrote the score inspired by Ukrainian hutsul folk culture.[3] The haunting Ukrainian-folk music contributes to the film's grandeur, and is considered to be ane of Skoryk's greatest movie scores.

Many individuals who worked on the film admitted that the motion-picture show was a result of collective effort, and was certainly not an auteur film reflecting the personalities and ideas of only its director Sergei Parajanov. Specifically, the film represented a creative catalogue of many Ukrainian artists, not least of all composer Myroslav Skoryk.[15] [16] Film historian James Steffen in his book The Cinema of Sergei Parajanov specifically called out the fact that "one of the most distinctive aspects of the film is its use of [Ukrainian] Hutsul folk music on the soundtrack in addition to Skoryk's folk-inspired orchestral compositions" and expressly noted that "Skoryk'south original score, a Bartok-similar composition that combines lively [Ukrainian] folk-based themes and rhythms with modern dissonance, complements the traditional folk songs used in the film and provides an effective emotional counterpoint to the epitome".[3]

The film features leitmotifs that relate to each of the main characters, equally well every bit to the spirit of the Ukrainian West (the hutsul region in the Carpathian mountains). Skoryk'south rendition of a Ukrainian folk song The Willow Lath (Ukrainian: Вербова дощечка, romanized: Verbova doshchechka ), which was sung past an unknown choir; is played twice in the picture and was intended to add musical drama to the hymeneals scenes. Another one of Skoryk'due south musical pieces in the motion-picture show was his composition for the symphony orchestra Hutsul Triptych (Ukrainian: Гуцульський триптих, romanized: Hutsulskyi tryptykh ).[17]

Release [edit]

Festival release [edit]

Throughout the film's festival run in Bound 1965, it represented "the Soviet Matrimony" and non "the Ukrainian Soviet Socialist Republic", despite the fact that it was very distinctly Ukrainian. In 1965, the Head of State Film Agency of UkrSSR, Sviatoslav Ivanov [great britain], described in his diary how he, along with the picture'south main actors Larisa Kadochnikova and Ivan Mykolaychuk, went to Argentina for the Mar del Plata International Moving picture Festival to represent the flick there, noting that "we represented at the festival the Soviet Union, and we were not the Ukrainian, only the Soviet delegation. I was not offended by the words of greetings addressed to the Soviet Union (the crowd of Mar del Plata cried: 'Viva Moscú', 'Viva Unión Soviética') [...] We were just representatives of a great people and they [the Argentines] did non suspect the subtleties of relations within the two nations [of Russians and Ukrainians]".[18] [xix]

The film began its international film festival tour in Bound 1965 and was warmly received by a number of moving-picture show festival effectually the world;[20] [3] later on, esteemed American film critic Roger Ebert in his 1978 review noted, peradventure somewhat exaggeratingly, that the picture won "almost every award in sight on the 196[v] film festival circuit".[21] [22] Amongst the motion-picture show's screenings at more prestigious movie festivals were an in-competition screening at Mar del Plata International Film Festival in March 1965,[23] an out-of-competition screening at Venice Moving-picture show Festival in tardily August 1965,[24] [25] an out-of-competition screening at San Sebastian Film Festival in early on June 1965,[26] [27] an out-of-competition screening at San Francisco International Picture show Festival in early on October 1965,[28] [29] [30] [25] an out-of-competition screening at Barcelona International Movie Festival's Calendar week of Films in Color in late Oct 1965,[31] [32] an out-of-competition screening at Montreal Picture show Festival in tardily June 1966,[33] [34] an in-competition screening at the inaugural Rome Film Festival in late October 1965,[35] an out-of-competition screening at 'Soviet Pic Week' in Rome in late November 1965,[36] [37] an out-of-contest screening at 'Soviet Picture show Week' in London in late November 1965,[38] an out-of-competition screening at Locarno Film Festival in belatedly July 1966,[39] an out-of-competition screening at New York Film Festival in late September 1966,[4] [xl] an in-competition screening at Thessaloniki Film Festival in belatedly September 1966,[41] an out-of-contest screening at BFI London Film Festival's Festival of Festivals in early December 1966,[42] and an out-of-competition screening at Melbourne International Picture show Festival in late June 1967.[43] [44]

Special screening at Venice Biennale 1977 [edit]

In 1977, the usual Venice Film Festival was non held. Instead, a special cultural program of Cultural Dissent (Italian: Il Dissenso Culturale) was organised as a show of back up by Italian artists for the repressed dissident artists from the Soviet Union and other communist countries.[45] A part of this program consisted of a special seminar dedicated to the works of Parajanov and was aimed at showing support for his illegal imprisonment on trumped-up charges of homosexuality.[46] The program likewise held a special Cinema from the Eastern Countries (Italian: Cinema e Paesi dell'Est) event in which two of Parajanov's films, one of which was Shadows of Forgotten Ancestors, were screened.[47] [48] [49] [50] [51] Ahead of this screening, Lino Miccichè [it] – who after became the president of the Venice Film Festival in 1997 – read a declaration which was signed by Italian filmmakers and film critics addressed to the government of the Soviet Spousal relationship with a protest confronting the repression of dissident artists.[52] [53]

Theatrical release [edit]

The motion picture began its theatrical release in UkrSSR on 4 September 1965 with a gala premiere in Kyiv at the Ukrayina movie theatre.[54] [55] [3] This Kyiv premiere drew a significant political protest due to the growing imprisonment and oppression of Ukrainian intellectuals by the Soviet government.[56] [57] [10] [58]

The theatrical release of Shadows of Forgotten Ancestors had enjoyed a limited commercial success in UkrSSR and other republics of the USSR.[59] The moving picture drew an impressive 6.5 million (according to some sources 8.5 meg) admissions during its theatrical run from 1965 to 1966[60] beyond the UkrSSR and other republics of the USSR. This was the 2nd all-time of Parajanov's movies, only behind his 1959 communist kolhosp motion-picture show The Elevation Guy which amassed 21.7 meg admissions in domestic USSR box-office.[61] [62]

Home media and Restoration [edit]

In 2011, Ukrainian newspapers reported that in 2010, the Dovzhenko Heart had hired a company called TOV IBS to create a restored version of multiple films which included Shadows of Forgotten Ancestors as a part of the centre'southward push button to release two DVD collections of thematic movies known as the Ivan Mykolaichuk Collection and the Yuri Ilyenko Drove.[63] [64] The blazon of restoration fabricated in 2010 remains unknown, only the fact remains that the Dovzhenko Eye has indeed released a restored version of the film on DVD equally a role of both collections, fifty-fifty as they were non for auction and were but intended for insider events.[65] [66] [67]

Among the multiple home media releases[notation 2], the nearly significant is the 2015 fully restored version – a "long overdue" version (as described by one of the main actors of the picture show – Larisa Kadochnikova – in early 2015[75]) with fully restored audio and epitome – that was created to commemorate the 50th anniversary of film'southward release.[76] This 2015 fully restored version was commissioned in July 2015 by the Ukrainian Land Film Agency (in association with the Dovzhenko Centre[77]) and the Ukraine'southward Ministry building of Culture.[78] [79] [lxxx] [81] [82] In September 2015, this fully restored version premiered on Ukrainian public Telly channel UA:Pershyi,[78] [83] in multiple picture show theatres throughout Kyiv,[84] [85] [86] [87] [88] and in 24 movie theatres across the other 5 large cities of Ukraine.[89]

Reception and legacy [edit]

The flick was released in March 1965 to by and large favourable reviews from Anglophone picture critics from abroad and mixed reviews from Ukrainian film critics from UkrSSR. The 1967 edition of Britannica Book of the Year listed Shadows of Our Forgotten Ancestors amidst four stand-out films that came out that year from Eastern Europe and called information technology a "free-wheeling, extravagantly sumptuous saga".[90] On the review aggregator website Rotten Tomatoes, the movie holds an approval rating of 93% based on xl reviews, with an average rating of 8.ane/10.[91] On the ranking aggregator website TSPDT the movie is ranked 431st in their ranking of yard Greatest Films.[92]

Upon its release, the film attracted mostly positive reviews from Anglophone picture show critics. Cistron Moskowitz of Diverseness chosen it "visually resplendent" and "youthfully excessive, simply filmically beguiling movie in spite of its style out techniques",[24] while Andrew Sarris, also of Variety, stated that it was a "technically admirable if dramatically incomprehensible" film.[93] Roger Ebert, reviewing the film for Chicago Sun-Times in 1978 following Parajanov'southward imprisonment in Siberian GULAG labor camps in the 1970s, chosen it "one of the most unusual films I've seen, a avalanche of images, music and noises, shot with such an agile photographic camera we almost need seatbelts" and compared Parajanov's piece of work to "some of the early on piece of work of Martin Scorsese".[21] Stephen Holden of The New York Times, called information technology an "eruptively colourful picture show", "charged with fantastical imagery", a "surreal folk fable strewn with larger-than-life characters whose faces and body language speak more than eloquently than any words".[94] [95] Edward Guthmann of San Francisco Chronicle described the picture show as "i of those rare films that look totally fresh and uncorrupted – as if the director hadn't pilfered a thing from other film makers simply had simply discovered the photographic camera, and how best to utilize it, by himself".[96] David Parkinson of Empire praised the film, calling it "a cinematic masterpiece, deconstructing the cinematic form and message and blowing the audience away with its multi-layered imagery […] pure genius"; and in his volume History of Flick, Parkinson further expanded on his reception of the film past calling it "an audacious assault on the conventions of narrative and visual representation" that sought to "redefine the relationship between causal logic and screen space, and thus challenge accepted theories of audition perception" which managed to, paradoxically, "juxtapose subjective and objective viewpoints and use athwart distortions, intricate (and seemingly incommunicable) camera movements, 'rack focus', telephoto-zoom and fish-centre lenses, and what [Paradjanov] termed a 'dramaturgy of colour' to recount his tale of doomed love".[97] [98] Jonathan Rosenbaum of Chicago Reader noted that information technology was an "boggling merging of myth, history, poesy, ethnography, trip the light fantastic, and ritual".[99] Dave Kehr of The New York Times, described it as a "lyrical, unruly flick" that "experiments with a nonrealistic use of color and some of the near free-spirited camerawork seen in a Ukrainian picture show since the pioneering work of [O]leksandr Dovzhenko", while James Hoberman of The Village Vox, praised information technology equally an "overwhelmingly beautiful picture" where "a sorry, short, brutalised life is elevated to ecstatic myth".[100] [101] John Patterson of LA Weekly chosen information technology a "startling combination of ethnography, [...] folk-myth and fairy-tale logic that sears the retina with its beauty, energy and ceaselessly inventive filmmaking."[102]

Notwithstanding, reviews from Ukrainian motion picture critics upon its release were mostly mixed. Y. Boboshko and G. Maslovs'kyi, writing for Soviet Culture in November 1964, criticised the film's departure from socialist realism, and through a humorous poem, emphasised that instead of tales of "shadows of ancestors", the authors should be creating stories well-nigh "contemporaneity".[103] S. Zinych and Due north. Kapel'horods'ka, writing for Folk Art in October 1965, emphasised the importance of the literary 'source material' for the film and highlighted the fact that the film was produced to commemorate the 100th anniversary of Mykhailo Kotsiubynsky'southward altogether – the writer of the eponymous novel Shadows of Forgotten Ancestors that served as the basis for flick'due south plot; they also emphasised that Parajanov's film managed to masterfully re-create the cultural unicity of western Ukraine's peasants, particularly praising film composer Myroslav Skoryk's fitting choice of Ukrainian folks songs/music also every bit cinematographer Yuri Ilyenko'due south and product designer Heorhiy Yakytovych [united kingdom of great britain and northern ireland]'s appropriate option of aesthetics that accurately depicted Ukrainian hutsul peasants's customs, traditions and beliefs.[104] Ivan Drach, whose review of the movie was printed in 1969 book Film Directors and Films of Ukrainian Modern Movie theatre: Creative Portraits, emphasised that what makes Shadows of Forgotten Ancestors so powerful is pic's use of accurate Ukrainian dialogues in the form of the Hutsul Ukrainian emphasis as well as its use of Ukrainian ethnographic material.[105] Larysa Pohribna, in her 1971 volume Kotsiubynsky's Works on Screen, spoke negatively well-nigh the motion picture and highlighted that Parajanov's Shadows of Forgotten Ancestors failed to live-up to the Kotsiubynsky's literary source material, and concluded that "servile copying of the literary source fabric leads only to the creation of weak films".[106]

Given that Parajanov's motion-picture show drastically departed from the officially 'approved' socialist realism artistic style of the time, it is surprising that Ukrainian film critics were not louder in their reproachment of Shadows of Forgotten Ancestors every bit they would have expected to be. This could exist partially due to Ukrainophilic tendencies of the-then head of UkrSSR Petro Shelest who served as a 'patron-protector' of sorts to Parajanov, and Shelest'southward son Vitaliy later stated in his memoirs that "Paradjanov substantially was being protected [by his father, i.e., Petro Shelest]; practically the aforementioned solar day that father left [the post of the head of UkrSSR] – Parajanov got arrested".[107]

Themes [edit]

In his 1988 interview with Ron Holloway, Parajanov confessed that after previously filming 8 films in Ukraine, information technology was in this picture show that he was finally able to "find his theme, his field of interest: the problems faced by the [Ukrainian] people". Parajanov further emphasised that he deliberately "focused on ethnography, on God, on dearest and tragedy".[11]

The moving picture's visuals differed from the officially 'approved' socialist realism fashion that, according to the Soviet government, was to exist used past all artists. Instead, Shadows of Forgotten Ancestors is highly symbolic, making frequent utilize of Ukrainian religious and folkloric images that included crosses, lambs, graves, and spirits. The moving-picture show likewise uses colour to correspond mood: during Ivan's period of mourning, black and white film stock is used, while in other scenes, colours are often muted, providing a dissimilarity to the bright usage of red and yellow.

Awards and notable film festival screenings [edit]

The film began its international film festival tour in Leap 1965 and was warmly received by the film festival oversupply.[three] Among the many awards received and the not-competition screenings that the film had, the most notable were:[25] [108] [109] [110]

  • Grand Jury Laurels: Southern Cross for Best Product and Critics' Chiliad Prize – Mention for Colour Photography, Special Furnishings and Moving-picture show Scenography – Mar del Plata International Flick Festival (March 1965)[111] [112] [113] [114]
  • Not-competition screening – San Sebastian Moving picture Festival (June 1965)
  • Not-contest commercial section screening – Venice Pic Festival (August 1965)
  • Italian Tourist Office Award – Rome Film Festival (October 1965)[35]
  • Non-contest screening – San Francisco Motion-picture show Festival (October 1965; again in 1976 as a part of a retrospective)
  • Non-competition screening – 'Soviet Flick Week' in Rome (Nov 1965)
  • Not-competition screening – Barcelona International Film Festival'southward Week of Films in Colour (Oct 1965)
  • Non-competition screening – 'Soviet Film Week' in London (November 1965)
  • Jury Special Prize – All-Union Pic Festival in Kyiv (May 1966)[115] [116] [117]
  • Non-contest screening – Montreal Film Festival (July 1966)
  • Non-competition screening – Locarno Moving-picture show Festival (July 1966)
  • Non-contest screening – New York Picture Festival (September 1966)
  • Gilded Medal for Best Director – Thessaloniki Motion picture Festival (September 1966)[41] [118] [119]
  • Non-competition screening – BFI London Moving picture Festival's Festival of Festivals (Dec 1966)
  • Non-competition screening – Melbourne International Film Festival (June 1967; once again in 2019 as a office of a retrospective)
  • Shevchenko National Prize in Cinematography (1988/1991[note 3])

In pop culture [edit]

In 2013 the band A Militarist and a Hacksaw released their 6th studio anthology Y'all Have Already Gone to the Other World under the label LM-Duplication as a make new rescore of the motion-picture show.[122] [123] Prior to album's release, in 2012 the band performed the album You Have Already Gone to the Other World live during their tour in, amongst others, the UK, Portugal, Italy and Switzerland as well as during multiple screenings of the picture in the US.[122] [124] [125] [126]

See likewise [edit]

  • Listing of Ukrainian films
  • Verbova doshchechka

Notes [edit]

  1. ^ Note that in UkrSSR, as in the rest of the republics that were function of the USSR, the 'film box part' was usually tracked for statistical purposes not in budgetary terms, simply in terms of millions of addmission tickets sold
  2. ^ Annotation that, in add-on to the release of 2015's 'fully restored version', there have been a number of less notable home media releases including 2007 Kino Lorber's DVD release in the US and elsewhere in 2007 (under the sub-licensing agreement with the Russian film distribution company Russian Movie theater Quango/Ruscico),[68] 2018/2019 Cinemark Gaffin/Kinokuniya Shoten'south Blu-ray release in Japan (not a 'true' Blu-ray release, merely rather a 4K upconverted version of their earlier 1998/2018[69] [70] DVD releases)[71] [72] [73] [74] etc.
  3. ^ Note that in 1991 Shevchenko National Prize in Cinematography for the film Shadows of Forgotten Ancestors was awarded not simply to film's director Sergei Parajanov (posthumously), but also to cinematographer Yuri Ilyenko, role player Larisa Kadochnikova, and production designer Heorhiy Yakytovych [united kingdom]; farther note that the role player Ivan Mykolaichuk already received Shevchenko National Prize in Cinematography in 1988 (posthumously) for, among others, the film Shadows of Forgotten Ancestors [120] [121]

References [edit]

  1. ^ Reviewing the picture in 1966 for Variety Cistron Moskowitz mistakenly called the film In the Shadow of the Past, see Shadows of Forgotten Ancestors: Ukrainian Revival. The Reception of Shadows of Forgotten Ancestors // James Steffen (2013). The Movie theater of Sergei Parajanov. Madison: University of Wisconsin Press. 306 p.: pp. 73–78. ISBN 978-0-299-29653-7
  2. ^ Shadows of Forgotten Ancestors. Turner Classic Movies. 2021
  3. ^ a b c d e f Shadows of Forgotten Ancestors. Ukrainian Revival // James Steffen (2013). The Picture palace of Sergei Parajanov. Madison: Academy of Wisconsin Press. 306 p.: pp. 56–87. ISBN 978-0-299-29653-7
  4. ^ a b The quaternary New York Film Festival: Tini Zabutykh Predkiv / Shadows of Our Forgotten Ancestors // Robert Elliot Palets (1969). The New York Film Festival 1963–1966: A thesis submitted in fractional fulfillment of the requirements for the degree of Masters of Arts. Madison: University of Wisconsin. 235 p.: p. 216
  5. ^ Preface // First, Joshua J (2008). Scenes of Belonging: Cinema and the Nationality Question in Soviet Ukraine during the Long 1960s: A dissertation submitted in fractional fulfillment of the requirements for the degree of Medico of Philosophy (History) in The University of Michigan. 372 p.: p. ii
  6. ^ Johnson, Steven (November 28, 2011). "Q&A: A Hawk And A Hacksaw". musicOMH . Retrieved 2015-11-17 .
  7. ^ ЦДАВО України, ф. Р–2, оп. 13, т. 1, спр. 739., арк. 101–103 (in Ukrainian)
  8. ^ a b Розділ three. Українська тема в радянському кінематографі та умови її реалізації: 3.1. Висвітлення історії України в художніх кінострічках // Наталя Ховайда (2015). Державна політика у галузі кінематографа УРСР (друга половина 1960–х – перша половина 1980–х рр.): дисертація на здобуття ступеня кандидата історичних наук. Київ: Київський національний університет імені Тараса Шевченка. 240 стор.: C. 122–123 (in Ukrainian)
  9. ^ «Тіні забутих предків»: вигадки замість правди. detector.media. 2 September 2019 (in Ukrainian)
  10. ^ a b 4 вересня 1965 – прем'єра фільму "Тіні забутих предків". Ukrainian Establish of National Retentivity. 04.09.2019 (in Ukrainian)
  11. ^ a b Ron Holloway. Sergei Parajanov Speaks upward // Kinema. Spring 1996 Issue
  12. ^ Ukrainian Program: At the Movies. AY fifteen–16 Ukrainian Plan Highlights. lsa.umich.edu. 06/07/2016
  13. ^ Kryvorivnya: Journey to Origins. kharkivobserver.com. fifteen/x/2017
  14. ^ Chapter Ane – Fiction, Film and Ethnography: The Making of Tini zabutykh predkiv: Making Shadows // J.J. Gurga (2012). Echoes of the past: Ukrainian poetic cinema and the experiential ethnographic mode: Doctoral thesis. London: University College London. 342 p.: p. 88-123
  15. ^ Valentyn Moroz. Chronicle of Resistance // Valentyn Moroz (1974). Written report from the Beria Reserve: The Protest Writings of Valentyn Moroz. Edited and translated from the Ukrainian: John Kolasky. Chicago: Cataract Press; Toronto: P. Martin. 162 pp.: p. 75. ISBN 0-88778-097-0 (P. Martin edition); ISBN 0-914764-02-0 (Cataract Printing edition)
  16. ^ Bohdan Nebesio (1994). 'Shadows of Forgotten Ancestors': Storytelling in the Novel and the Film. Literature/Film Quarterly. vol. 22, no. 1. pp. 42–49.
  17. ^ Affiliate 1. An Overview of Skoryk's Life and Works: Stylistic Development // Victor Radoslav Markiw (2010). The life and solo piano works of the Ukrainian composer Myroslav Skoryk. Queenston, Ontario: The Edwin Mellen Press. 164 pp.: p. 13. ISBN 978-0-7734-3690-9
  18. ^ Nadia Kindrachuk. Eradication of the National Element in Ukrainian Cinema in the 1960s–1970s // Historia i Polityka. No. 24 (31/2018). p. 113-121
  19. ^ 7. Пугало "українського буржуазного націоналізму" і реальність російського великодержавного шовінізму як головної небезпеки в національному будівництві СРСР // Іван Дзюба (1968). Інтернаціоналізм чи русифікація?. Мюнхен: Сучасність. 276 стор.: 84–145 (html version)
  20. ^ Shadows of Forgotten Ancestors at Parajanov.com. 2021
  21. ^ a b Roger Ebert. Shadows of Forgotten Ancestors // Chicago Sun-Times. January 30, 1978
  22. ^ MIFF Arhive: 2019; Shadows of Our Forgotten Ancestors. miff.com.au. 2019
  23. ^ Previous editions: 8th edition (1965). mardelplatafilmfest.com. 1965
  24. ^ a b Factor Moskowitz. Venice Moving-picture show Festival Reviews: Tini Zabytykh Predkiv (In the Shadow of the Past). Variety. September viii, 1965. p. 68
  25. ^ a b c Filmography. Shadows of Forgotten Ancestors // James Steffen (2013). The Cinema of Sergei Parajanov. Madison: University of Wisconsin Printing. 306 p.: p. 256. ISBN 978-0-299-29653-7
  26. ^ "Once a Thief", un drama de viejos fondos bien urdido y resuelto, protagonizado por Alain Delon. ABC. nine de juny de 1965 (in Spanish)
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  55. ^ Світло «Тіней забутих предків»: 55 років тому відбувся перший публічний протест проти політичних репресій в СРСР. radiosvoboda.org. 4 September 2020. (in Ukrainian)
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  57. ^ Перший Майдан. iv вересня минає 50 років із дня легендарної прем'єри фільму «Тіні забутих предків» Сергія Параджанова. The Mean solar day. 2 September 2015 (in Ukrainian)
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  80. ^ 50-річчя прем'єри "Тіней забутих предків" відзначатиметься цього року офіційно. kmu.gov.ua. 13 July 2015 (in Ukrainian)
  81. ^ Держкіно відреставрує "Тіні забутих предків" Параджанова. Кабмін затвердив план заходів з відзначення l-річчя прем'єри фільму. lb.ua. eleven July 2015 (in Ukrainian)
  82. ^ Відновлену версію фільму "Тіні забутих предків" покажуть у вересні з нагоди fifty-річчя прем'єри картини. ua.interfax.com.ua. 11 July 2015 (in Ukrainian)
  83. ^ На «UА:Першому» покажуть відреставровану версію «Тіней забутих предків». stv.detector.media. 4 September 2015 (in Ukrainian)
  84. ^ У столиці відбудеться урочистий вечір, присвячений 50-річчю прем'єри художнього фільму «Тіні забутих предків». old.kyivcity.gov.ua. 4 September 2015 (in Ukrainian)
  85. ^ Ювілейний показ "Тіні забутих предків" в кінотеатрі "Україна". dovzhenkocentre.org. four September 2015 (in Ukrainian)
  86. ^ Дні українського кіно «...від Довженка до Параджанова» в кінотеатрі "Київ". dovzhenkocentre.org. 12 September 2015 (in Ukrainian)
  87. ^ До дня українського кіно та до ювілею фільму «Тіні забутих предків». Ретроспектива Від Довженка до Параджанова: німа трилогія Довженка та фільми поетичного кіно з 10 по 13 вересня. kyivkino.com.ua/uk/. 12 September 2015 (in Ukrainian)
  88. ^ Кінопокази фільму "Тіні забутих предків" до 50-го ювілею в кінотеатрі "Київ". dovzhenkocentre.org. 23 September 2015 (in Ukrainian)
  89. ^ У кінотеатрі "Україна" відзначили ювілей прем'єри стрічки "Тіні забутих предків". iv вересня відбувся урочистий вечір до 50-річного ювілею прем'єри фільму «Тіні забутих предків» Сергія Параджанова з демонстрацією відреставрованої версії в кінотеатрі «Україна» у Києві, де 50 років тому і відбулася його прем'єра. Цього ж дня у 5 великих містах України просто неба і в 24 місцевих кінотеатрах пройшов одночасний показ відновленої версії стрічки. mincult.kmu.gov.ua. four September 2015 (in Ukrainian)
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  110. ^ Screenings at International Picture show Festivals (and Awards) // Joshua Showtime. Sergei Paradjanov: Shadows of Forgotten Ancestors. Chicago: Intellect Books, The University of Chicago Printing. 2016. 86 p.: p. viii. ISBN 978-1-78320-709-one
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  119. ^ Εξήντα χρόνια Φεστιβάλ Κινηματογράφου Θεσσαλονίκης μέσα από 10 εικόνες και ιστορίες. Η δημοσιογράφος και ιστορικός κινηματογράφου Λίνα Μυλωνάκη μιλά στην HuffPost για τους σημαντικότερους σταθμούς στην ιστορία του θεσμού. huffingtonpost.gr. 29/10/2019 (in Greek)
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  121. ^ Постанова від 27 лютого 1991р. № 52 Про присудження Державних премій УРСР імені Т.Г. Шевченка. knpu.gov.ua. 27 February 1991 (in Ukrainian)
  122. ^ a b Shadows of Forgotten Ancestors – A Militarist and a Hacksaw. lmduplication.com. 2013
  123. ^ Hawk and a Hacksaw rescore Shadows of Forgotten Ancestors. folkradio.co.uk. 2012
  124. ^ A Hawk and A Hacksaw unveil 'Shadows of Forgotten Ancestors' tour & Soundtrack for 2012. godisinthetvzine.co.uk. 2011
  125. ^ "Shadows of Forgotten Ancestors featuring a alive HAWK & A HACKSAW score! – Society Cinema". world wide web.guildcinema.com . Retrieved 2021-10-20 .
  126. ^ Shadows of Forgotten Ancestors and A Hawk and A Hacksaw // Santa Iron Reporter Arts Festival Programme Guide. p. 12. Sep. 2012

Farther reading [edit]

  • Shadows of Forgotten Ancestors. Ukrainian Revival // Steffen, James (2013). The Cinema of Sergei Parajanov. Madison: University of Wisconsin Press. 306 pp.: p. 56–87. ISBN978-0-299-29653-7.

External links [edit]

  • Shadows of Forgotten Ancestors at IMDb
  • Shadows of Forgotten Ancestors at the TCM Movie Database
  • Shadows of Forgotten Ancestors at AllMovie
  • Shadows of Forgotten Ancestors at the American Film Institute Catalog
  • Shadows of Forgotten Ancestors at Rotten Tomatoes

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

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