Research Report No. 58 Alexander Dovzhenko A Guide to Published Sources Compiled and introduced by Bohdan Y. Nebesio Canadian Institute of Ukrainian Studies Press University of Alberta Edmonton 1995 Occasional Research Reports Copies of CIUS Press research reports may be ordered from the Canadian Institute of Ukrainian Studies Press, 352 Athabasca Hall, University of Alberta, Edmonton, Alberta, Canada T6G 2E8. The name of the publication series and the substantive material in each issue (unless otherwise noted) are copyrighted by the Canadian Institute of Ukrainian Studies Press. This publication was funded by a grant from the Stephania Bukachevska- Pastushenko Archival Endowment Fund. PRINTED IN CANADA Occasional Research Reports Alexander Dovzhenko A Guide to Published Sources Compiled and introduced by Bohdan Y. Nebesio Research Report No. 58 Canadian Institute of Ukrainian Studies Press University of Alberta Edmonton 1995 CONTENTS Preface v How to Use This Guide vii Notes on Transliteration vii I. Dovzhenko’s Writings 1 II. Films Directed by Dovzhenko 18 1. Vasia the Reformer 18 2. Love's Berry 19 3. Diplomatic Pouch 20 4. Zvenyhora 21 5. Arsenal 24 6. Earth 28 7. Ivan 32 8. Aerograd 34 9. Shchors 37 10. Liberation 43 11. The Battle for Our Soviet Ukraine 44 12. Victory in Right-Bank Ukraine 46 13. Michurin 47 III. Scripts and Plays by Dovzhenko 50 1 . Poem of an Inland Sea 50 2. The Enchanted Desna 53 3. The Descendants of Zaporozhian Cossacks 55 4. Chronicle of Flaming Years 56 IV. Dissertations on Dovzhenko 58 V. Publications on Dovzhenko and His Works 59 Index 93 Digitized by the Internet Archive in 2016 https://archive.org/details/alexanderdovzhen58nebe PREFACE Alexander Dovzhenko (1894-1956) is the Ukrainian film director best known around the world. In Western film scholarship he is associated with the Soviet montage tradition of the 1920s. Together with Sergei Eisenstein and Vsevolod Pudovkin, Dovzhenko has long been considered one of the masters who evolved from this tradition. Furthermore, Dovzhenko’s work has often been linked to a "poetic tradition" in the cinema of which he has been acclaimed one of the first masters. Despite having secured a permanent place for the director in film history, Dovzhenko’s films remain largely unknown to students of cinema, particularly in the West. This research guide to published sources on Dovzhenko aims to provide Western scholars with the tools required for extensive research and necessary for an understanding of Dovzhenko’s films. The publication of this research guide, as well as a special issue of the Journal of Ukrainian Studies, scheduled for publication this year, are a small tribute to this great artist on his 100th birthday. This project began as a simple bibliography to accompany my doctoral dissertation. The process of compilation revealed that many interesting critical works on Dovzhenko had been omitted, for various reasons, from existing bibliographies. I have also found many inaccuracies that have made research on Dovzhenko an extremely difficult task. The need for a more complete, up-to-date and user-friendly guide to the published sources on Dovzhenko became evident. The present bibliography draws on previous compilations by Iuliia Rubinshtein and Marco Carynnyk. Whenever possible I have consulted original sources, provided exact citations and corrected inaccuracies. Moreover, I have attempted to cite publications in their original languages instead of the usual translations into Russian. In isolated instances, when I was unable to consult the original publications, I have cited Russian translations and indicated the language of the original in parentheses, e.g. (*Ukr.). This bibliography is most comprehensive for the period preceding the dissolution of the Soviet Union at the end of 1991. More recent publications, issued by the end of 1993, have been included, but completeness of coverage cannot be guaranteed for this period. Although this bibliography strives to be comprehensive, it has its stronger and weaker points. Its strength lies in Ukrainian, Russian and English-language sources. It also includes sources in a dozen or so other, mostly European, languages, but does not claim to be exhaustive in these areas. I have chosen not to include a substantial number of poems devoted to Dovzhenko and written on various occasions by poets in favour with the Soviet authorities. Also omitted are Dovzhenko’s drawings and caricatures published in the early 1920s in the Kharkiv newspaper Visti and in the emigre publication Molot (New York). Most of them have been reprinted in numerous publications listed here. Although I have made every effort to examine de visu as many of the materials included in this bibliography as possible, quite often the task was beyond my means. This is especially true of items that appeared in regional Soviet newspapers of the 1920s and 30s. In those instances, I have decided to rely on citations in other sources for the sake of the completeness of the bibliography. I am, of course, responsible for all inaccuracies resulting from this approach. I have prepared this bibliography with Western, more precisely North American, scholars in mind. For that reason the entries are transliterated into Latin script according to the Library of Congress system of transliteration employed in many library catalogues. Because Dovzhenko is best known as a filmmaker, I have attempted to organize materials around his films. Works by Dovzhenko are listed according to their dates of publication. Translations and reprints of his works, often heavily edited and abbreviated, are listed as separate entries so as to prevent them from being construed as equivalent to the originals. All those working with Soviet and East European source materials know that the quality of publications v coming from that part of the world often depends on their date of publication and the amount of freedom allowed at a particular time in history. Dovzhenko’s fortunes changed quite often in Soviet historiography. He was sometimes celebrated as one of the greatest living Soviet artists, only to be passed over in silence during other lengthy periods. Dovzhenko’s complicated fate as an artist in a totalitarian society did not change following his death. His legacy has always been subject to political manipulation. This is especially evident from the number of publications issued in celebration of Dovzhenko’s anniversaries. Some anniversaries were almost completely forgotten, while others were marked by dozens of articles of a necessarily panegyrical character. I decided to include them all (often reprinted under different titles) in order to demonstrate how Dovzhenko’s life and legacy were shaped by the society in which he lived. There are numerous institutions and individuals who contributed to this work. The Department of Slavic and East European Studies at the University of Alberta and my supervisor, Professor Oleh S. Ilnytzkyj, supported me throughout this project and provided me with a good working environment. A Doctoral Fellowship awarded by the Social Sciences and Humanities Research Council of Canada allowed me to pursue my research uninterrupted. The Exchange programme between the University of Alberta and Lviv State University made my stay in Ukraine very fruitful, despite a difficult period in that country’s history. Finally, my participation in the 1991 Summer Research Laboratory on Russia and Eastern Europe at the University of Illinois at Urbana-Champaign gave me an opportunity to use one of the best Slavic library collections in North America. The staff of numerous academic libraries helped me find required materials. I am particularly indebted to those often anonymous individuals at the following libraries: the Humanities and Social Sciences Library, University of Alberta (especially its Interlibrary Loan Department); Robarts Library, University of Toronto; the Libraries of the University of Illinois at Urbana-Champaign; the V. Stefanyk Library of the Ukrainian Academy of Sciences in Lviv; the Central Scientific Library of the Ukrainian Academy of Sciences in Kyiv; and the Libraries of the Taras Shevchenko Kyiv University. I am most grateful to the Dovzhenko Museum at the Kyiv Dovzhenko Film Studio and its director, Tetiana Derevianko, for allowing me to consult their valuable sources and catalogues. My special thanks go to fellow graduate students at the Department of Slavic and East European Studies, University of Alberta, Benoit Briere, John-Paul Piovesan, Milos Hajek, Zoya Valkova, Zoran Starcevic and Alice Nash, all of whom helped me with various languages used in this bibliography. My wife, Ania Andrusieczko, assisted me with many technical aspects of the manuscript and provided constant support and understanding. B.Y.N. vi HOW TO USE THIS GUIDE This guide is intended for advanced scholars with a knowledge of Ukrainian and Russian, as well as for beginning students of Dovzhenko. For the latter I have marked in boldface a number of basic works in English and the most important publications in other languages. These marked entries are also, in my opinion, the most informative and significant publications on the subject. Boldface also replaces the lengthy annotations that would otherwise be required to distinguish these works from other, mostly repetitious and highly uncritical Soviet-era writings. Since Dovzhenko is best known as a filmmaker, this bibliography is organized around his films and the criticism they generated. Each chapter in Part II includes articles dealing with the films. Additional information on the films can be found in Part V, in works treating Dovzhenko more generally. For example, reviews of Dovzhenko’s Zemlia (Earth) will be found in Chapter II, Part 6, but also in Part V, as chapters in books listed there. I use the Modern Language Association style of bibliographic citation with a few minor modifications. Most Ukrainian and Russian "thick journals" are published on a monthly basis and are not assigned the usual volume and issue numbers, but are identified by year and issue number.