Editorial
The question of how the cultural sector should position itself in the widening Russian-Ukrainian war has been a topic of intense debates. From the ban of Russian journalists at the Cannes film festival to the exclusion of Ukrainian documentary filmmaker Sergei Loznitsa from the Ukrainian Film Academy, cultural actors are increasingly scrutinized for their possible...
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Vol. 124 (April 2022)
In his essay on the Polaroids of Andrei Tarkovsky, Gawan Fagard draws parallels between the ontology of the medium and the work of the Russian director.
Daniel Fuller looks at the way a Ukrainian computer game transfigured folkloric processes of remembering, drawing parallels to Andrei Tarkovsky’s Stalker.
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