Ukrainian Animation on the Margins of the Empire
The Case of Davyd Cherkas’kyi’s Adventure Trilogy
DOI:
https://doi.org/10.17892/app.2024.00018.367Keywords:
Davyd Cherkas’kyi, Ukraine, Kyivnaukfilm, animation, adventure literature, postcolonialism, postmodernism, cultural appropriationAbstract
Upon their release, the series Prikliucheniia kapitana Vrungelia / Pryhody kapitana Vrunhelia / The Adventures of Captain Wrongel (1976-1979, Ukrainian Soviet Socialist Republic), Doktor Aibolit / Likar Aibolyt’ / Dr Aibolit (1984-1985, Ukrainian Soviet Socialist Republic), and Ostrov sokrovishch / Ostriv skarbiv / Treasure Island (1986-1988, Ukrainian Soviet Socialist Republic) directed by Davyd Cherkas’kyi at the Ukrainian studio Kyivnaukfilm became instant Soviet animation classics. These three series were commissioned by the Creative Association “Ekran" for All-Union television broadcasting. They are adaptations of books about overseas adventures – a popular genre in the literature of colonial powers. Yet, by using multi-layered intermedial imagery, as well as fragmented narratives that change the mode of the literary works from romantic adventure to physical comedy, Cherkas’kyi creates a postmodernist hybrid site that invites multiple interpretations.
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Copyright (c) 2024 Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe
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