The purpose of the article is to examine veteran dramaturgy as a specific form of artistic engagement with wartime experience and to trace the historical logic of its emergence and development within European theatrical tradition. The article focuses on the transformation of theatrical approaches to representing war from antiquity to the XX century, with particular attention to dramaturgy created by authors with direct military experience. The methodology of the research is based on historical theatre studies and cultural analysis, combined with a comparative approach. The study also draws on concepts related to cultural memory and artistic testimony in order to analyze theatrical texts as forms of public reflection on war and its consequences. The results of the study demonstrate that veteran dramaturgy constitutes a distinct artistic practice that differs from heroic and mythologized representations of war. From ancient tragedy to the dramaturgy of veterans of the world wars, a gradual shift can be observed toward fragmented narrative structures, ethical ambiguity, and the articulation of trauma and moral rupture. The research shows that dramaturgy written by veterans plays a key role in redefining theatre as a space for confronting mass violence and the crisis of humanist values in modern culture. The scientific novelty of the research lies in the systematic cultural-historical analysis of veteran dramaturgy as a continuous cultural phenomenon rather than a series of isolated responses to specific wars. The article conceptualizes veteran dramaturgy as a form of artistic testimony that anticipates later documentary and postdramatic theatrical practices. The practical significance of the article consists in providing a cultural, historical and theoretical framework for further research on contemporary veteran theatre and dramaturgy, including works shaped by late XX and early XXI century conflicts. The findings may be used in theatre studies, cultural memory studies, and interdisciplinary research on war and representation.

The relevance of the research topic. Today, video advertising is one of the most effective tools for the interaction of higher education institutions with prospective students. Digitalization of society and shift in communication priorities necessitate the adaptation of educational institutions to competitive conditions. Innovative technologies foster a dynamic, interactive, and emotionally engaging emphasis in video advertising, helping build trust among the target audience in the educational institution. Research on this topic is crucial for improving advertising strategies, recognizing the role of cutting-edge technologies in expanding access to education, shaping a positive image of higher education institutions, and fostering public trust in them. The purpose of the article is to analyze the features of the use of innovative technologies in video advertising of higher education institutions in Ukraine. The methodology of the scientific justification is based on an interdisciplinary, comprehensive approach grounded in the content and sequence of resolving the defined objectives. In the course of reviewing and analyzing scientific research, the methods of analysis and synthesis, along with systematic and abstract-logical techniques, were applied. The content analysis method made it possible to identify which innovative video advertising technologies are most commonly used by Ukrainian higher education institutions. The results. Innovative technologies used in video advertising are analyzed based on the examples of specific higher education institutions in Ukraine, arranged chronologically by the year of implementing innovative advertising from 2017 to 2024. These examples represent institutions from different regions of Ukraine (Kyiv, Kharkiv, Lviv, Kherson, Dnipro, Odesa, Chernivtsi) and encompass a variety of specialties — technical, humanities, arts, and interdisciplinary ones. The scientific novelty. For the first time, an analysis has been conducted of innovative technologies in video advertising currently employed by Ukrainian higher education institutions. The practical significance. The analysis of the main innovative technologies used in video advertising on the example of specific higher education institutions can be used by other Ukrainian educational institutions to develop their own effective video advertisements. Conclusions. An essential tool for adapting higher education institutions to the contemporary information environment is the integration of innovative technologies into their advertising activities. Innovative technologies in video advertising support effective engagement with prospective applicants, foster trust between the institution and its target audience, and shape a positive institutional image, thereby enhancing its standing in the educational sphere. In combination with other strategies, these innovative technologies enable higher education institutions to address the realities of the digital environment and reinforce trust in their educational offerings.

Temporal organization is one of the fundamental dimensions of cinematic narration, defining how events are ordered, perceived, and emotionally experienced by the viewer. This study examines the varieties of narrative order in storytelling and the specific features of temporal organization in Ukrainian audiovisual narratives of the independence period, focusing on the distinction between “story” (diegesis) and “plot” as a spatio-temporal and dramaturgical structure. The purpose of the article is to identify and classify the principal temporal mechanisms of Ukrainian audiovisual narratives and to analyze how they function in constructing meaning within cinematic time and space. The study applies narratological analysis, viewing the audiovisual work as a structured text with its own internal temporality, and systemic and art studies methods, which allow considering the film as an integral artistic whole. The methodological framework combines classical narratology (G. Genette, S. Chatman, D. Bordwell) with postclassical and cognitive approaches (M.-L. Ryan, M. Fludernik, D. Herman), enabling analysis of temporal structures as formal and perceptual phenomena. The structural-semiotic method is applied to study the organization of narrative time through order, duration, and frequency of events, while the comparative-historical and art studies methods situate Ukrainian audiovisual narratives within broader European and post-Soviet cultural contexts, interpreting film as a unified artistic and communicative whole. The results. The research identifies the key temporal narrative categories — present tense of the story, analepsis, prolepsis, flashback, flashforward, and syllepsis — and classifies them as diegetic and non-diegetic, verbal and non-verbal. The study further analyzes the role of non-verbal means such as editing, sound, color, lighting, camera angle, subtitles, and graphic inserts in marking temporal transitions. The findings demonstrate that Ukrainian audiovisual art of the independence period predominantly employs a linear plot structure with flashbacks connected to the story’s present, while prolepses and future-oriented temporal shifts are largely absent or marginal, appearing mainly in certain works of the science fiction genre. The scientific novelty. The article presents the first systematic narratological analysis of the temporal organization of Ukrainian audiovisual narrative, introducing a typology of temporal shifts and expressive techniques that reveal the connection between narrative temporality and Ukrainian national identity. Conclusions. Contemporary Ukrainian audiovisual narratives mostly rely on linear storytelling and the present tense of narration, which often extends into the past through flashbacks. Traumatic historical experiences generate anisochronies that serve as a tool for reinterpreting collective memory and reconfiguring cultural meanings within the national context.

This article examines cinematography including feature films and series dedicated to armed conflicts. Its primary goal is to identify the main approaches used to represent survival strategies in film production from the second half of the XX to the early XXI century. The methodology. The defined objective necessitated the use of a comparative methodology, which allows for the identification and comparison of the main approaches to representing survival strategies in the war cinematography of the second half of the XX — early XXI centuries across different countries. In the research we applied methods of systematization, comparative analysis, figurative-stylistic analysis, and content analysis. The source base consists of English-language foreign scholarly works pertaining to film theory and military-themed research. The results presented in the article make it possible to identify diverse survival strategies of characters (ranging from servicemen of elite special forces to adolescents without real self-defense skills) under the conditions of both active combat and demobilized/post-war life. The results highlight key methods of depicting adaptation to extreme conditions and psychological trauma through comradely interaction, mentorship, and individual moral resilience. Artistic images based on both real individuals and hypothetical representations are analyzed. The scientific novelty and relevance of the article. The novelty and relevance of this work lie in the fact that, for the first time in Ukrainian academic discourse, it illuminates the connection between artistic imagery, sociocultural conditions, and psychological mechanisms of adaptation. This allows for a new perspective on the role of cinematography in shaping modern perception of war as a complex and multidimensional phenomenon that extends beyond traditional battle narratives. The practical significance of the article lies in the potential application of its findings within film studies and comparative research. Specifically, the results can be utilized when examining the portrayal of survival in military-specific combat situations. This analysis is conducted from the perspective of providing a potential viewer with maximally useful information for ensuring personal and collective safety, as well as for acquiring fundamental knowledge about behaviour in emergency situations.

The purpose of the article is to explore the ways in which scents can be integrated into cinema, to analyze contemporary technologies in the field of olfactory cinema, and to describe the artistic methods through which directors and cinematographers attempt to reproduce or evoke viewers’ associations with specific aromas without the use of special technical devices. The objective is to outline the limits of audiovisual techniques that make it possible to compensate for the inability to transmit scents directly in cinemas. The methodology. The study employs an interdisciplinary approach that combines historical-cultural and comparative analyses in order to trace the evolution of “olfactory cinema” from the earliest experiments of the early twentieth century to present-day technological developments (Smell-O-Vision, Odorama, Aroma Shooter, VR devices). The descriptive method made it possible to identify specific artistic tools (acting, cinematographic techniques, editing, music, lighting) used by filmmakers to simulate scents on screen. The comparative method was applied to juxtapose technical experiments with odors and artistic practices of synesthesia. In addition, elements of semiotic analysis were used to reveal the symbolic functions of scent in cinema. The scientific novelty. The scientific novelty of the study lies in its comprehensive consideration of scent as a cinematic phenomenon encompassing both technical innovations and artistic practices. For the first time, it is argued that the key factor in the transmission of scent in cinema is not so much technical devices, but audiovisual strategies capable of evoking unique and individual associations in the viewer. Conclusions. The article demonstrates that cinema has developed a wide arsenal of artistic techniques that compensate for the absence of real scent (acting, cinematography, editing strategies, visual metaphors, music). These evoke personal associations and sensations in viewers, appealing to memory and imagination. It is precisely through synesthetic mechanisms that the “effect of presence” of scent is created, even though it is not directly reproduced.

The purpose of the article is to investigate the chronological and geographical features of the memorialization of the figure of M. Mikhnovskyi in Ukraine during the independence period. The methodology of the theoretical analysis. In the research we applied an analytical method, as well as methods of description and generalization. The results. The results of the study revealed: the processes of memorialization of the memory of Mikhnovskyi during the independence period of Ukraine began with the installation of a memorial plaque in 2003 in Kharkiv, and in total for 2003–2024. 15 facts of memorialization were established; the largest number of commemorations of the memory of Mikhnovskyi: four — on the left bank of Ukraine (two — in Kharkiv, Poltava, Lubny and Kryvyi Rih), three — in the west of Ukraine (Lviv, Vynnyky, Rivne), two in Kyiv and Kyiv region (Kyiv, Brovary), two in the north (Pryluky and Turivka), one in central Ukraine (Kropyvnytskyi); only 7 regional centers out of 26 and the Autonomous Republic of Crimea honored the “apostle of Ukrainian statehood”: Kharkiv, Poltava, Chernihiv, Kyiv, Rivne, Kropyvnytskyi, Lviv; there are no state authorities among the initiators of the memorialization, which indicates the absence of a purposeful state policy regarding a specific historical figure. The scientific novelty of the research. The memo-rialization of the leading ideologist of revolutionary nationalism Mykhailo Mikhnovskyi during the independence period of Ukraine has been studied for the first time. The practical significance of the article. The results of the study will be useful in further honoring the main figures of Ukrainian nationalism D. Dontsov, E. Konovalets, S. Bandera, A. Melnyk, S. Petliura, R. Shukhevych, O. Teliha, etc.

The purpose of the article is to reveal semantic connections between anime about Momotaro, created during 1930–1940s and shonen-anime “One piece” as the tools of reactualization and popularization of traditional Japanese culture and nationalistic ideology in a space of visual culture of contemporary Japan. Problem statement. The article covers an underexplored problem of reactualization of cultural meanings promoted in propagandistic anime during 1930s–1940s in the cultural space of Japan in the XXI century. In particular, it concerns a potential semantic continuity between anime about Momotaro and “One Piece” — one of the most popular shonen anime of 2000s — 2020s. Despite an obvious contrast in visual design and the degree of detailing of the plot lines, the selected works have certain points of intersection. “One Piece” is a unique case, which not only reflects the figurative and symbolic range of anime of the first half of the XX century, but also recreates their internal structure, functions, as well as the values and worldviews that they represented. The chosen focus of research will allow us to deepen existing cultural knowledge about the functions of modern art forms, as well as contribute to the awareness of their significance for the reactualization and representation of the cultural memory and identity of Japanese people. The results. As a result of the comparative analysis of storylines, image semantics, values and ideological constructions of anime about Momotaro and “One Piece” series, numerous common features were identified. These anime share the same cultural root (Momotaro fairy tale), recurring images (demonological, animalistic and pirate), core values (collective good) and ideological foundations (arahitogami, kokutai). The methodology. The purpose of the article is achieved by using a comparative approach. It was used to a comparison of storylines, image semantics, values and ideological constructions of the anime. An internal specificity of every mentioned component necessitated the combination of comparative analysis with other methods of culturological researches. In particular, the study of figurative semantics and ideological basis of selected anime was carried out by synchronizing the methods of comparative and structural-semiotic analysis. At the same time, within the framework of the study of the value basis of anime, the method of comparative-axiological analysis was used. The novelty of the research. This study explores how Japanese nationalistic ideology previously used in the anime of the 1930s and 1940s is represented in popular contemporary anime series “One Piece”. For the first time, the similarity of storylines, figurative semantics, values and ideological foundations of the anime about Momotaro and “One Piece” is substantiated. The practical significance. The materials of the research can be used in such research areas as culturology, Oriental Studies and Cinema Studies specialists for a further understanding of anime and manga impact on Japanese cultural landscape, national memory, identity and self-representation in the age of globalization.

The purpose of the article is to analyze the global crisis of modern culture, its state and prospects. The methodology of theoretical analysis. The following scientific approaches were applied during the study: theoretical analysis and synthesis, generalization and interpretation of scientific sources. The results. The key manifestations of modern global culture are identified, overcoming which, in our opinion, is a priority task in the process of humanity entering a new stage of cultural history: The excessively rapid development of the technological structure of social life, compared to its humanization, leads to a rupture of cultural integrity, polarizing material and spiritual values in it, with the former gaining priority, although it is the latter that express the true essence of culture. After all, material manifestations of culture are only an external embodiment of a person’s spiritual attitude to the world around them and acquire social value far from always in direct dependence on the degree of spirituality embodied in them. The conditional “devaluation” of the humanistic content of the economic development of civilization leads to a crisis of its “material progress” — primarily due to the limited natural resources and the rapid growth of indicators of technogenic impact on the ecological balance. The scientific novelty of the study lies in the fact that the problem of the globalization crisis of modern culture is investigated in a culturological aspect using the principles and methods of cultural studies, which makes it possible to comprehensively cover the topic, which is so important for the spiritual development of not only the current, but also the future globalizing society. The practical significance of the article lies in the fact that the research carried out can be used as an important theoretical basis for developing a new strategy for overcoming the cultural global crisis and eliminating the threat of the disappearance of civilization as such.

The relevance of the article. The performing activities of the outstanding Romanian pianist Radu Lupu aroused considerable interest in the music community during his lifetime. His stage presence and philosophy-focused depth of performance gave the musician a unique mystique and even charm. After the pianist’s death, this interest continues, as evidenced by the release of a CD series entitled “Radu Lupu Live” and a number of academic studies devoted to the study of his creative work. The purpose of the article is to identify the distinc-tive features of R. Lupu’s interpretation of G. Gershwin’s works and to reveal the performance approaches to this music. Because understanding how the pianist represents music that goes beyond the classical-romantic era contributes to a more detailed study and revelation of new aspects of his performing style. The methodology is based on an integrative approach. The following approaches proved to be key ones: inductive, deductive, comparative, analytical, and structural-functional. The results. In interpreting Gershwin’s Rhapsody in Blue and Concerto in F, the pianist strives to accurately convey the peculiarities of their style, figurative and substantive content. This is facilitated by both strict adherence to all the author’s remarks indicated in the score and minor adjustments to the original musical text in the solo fragments of the works in consideration. This creative approach, combined with flexible agogics and dynamics, allows for adding an element of quasi-improvisation to the development of the thematic material of the works, which is appropriate in the context of jazz stylistics. Conclusions. The analyzed interpretation of Rhapsody in Blue and Concerto in F demonstrate R. Lupu’s mastery as an ensemble participant. He uses all the solo episodes as a chance for some bright creative self-expression, and in the tutti sections R. Lupu clearly follows the overall logic of how the performance dramaturgy develops. As a result, the piano part does not come to the fore here, but is perceived only as one of the voices of the orchestra. It is also worth noting the pianist’s masterful use of the piano’s sound palette, which allows him to emphasize the peculiarities of the timbral coloring of different registers and differentiate the layers of polyphonic texture. The practical significance. The material of the article can be used in subsequent studies of the characteristics of R. Lupu’s individual performing style, as well as in courses that examine issues of performance interpretation and contemporary trends in piano performance art.

The relevance of the article. Creative industries are a leading sector of the global economy, covering art, media, design, theatre, cinema, music, performance, and emerging technologies. Success depends on effective interaction between the artist, who creates unique content, and the producer, who organizes, finances, and promotes it. Amid digital transformation, changing audiences, globalization, and martial law, rethinking the symbiosis of creativity and management is urgent, as it shapes quality cultural content, policy, and new markets. The purpose of the article. This article analyzes the interaction between artist and producer as a symbiosis of creative potential and managerial strategies in creative industries. Tasks include identifying roles, analyzing conflicts and alignment mechanisms, studying new technologies’ influence on cooperation, and offering practical recommendations. The methodology. An interdisciplinary approach combines cultural studies, sociology, management, psychology, and art history. Methods include content analysis of literature, comparative-historical analysis of cooperation models, case studies of production practices, and expert observation of theatrical, musical, and multimedia projects in Ukraine. The results. Roles of the producer (strategist, administrator, innovator, mentor, marketer, psychologist, lawyer, diplomat) and artist (creator, public figure, image-bearer, ambassador) are systematized. Three interaction models emerge: partnership, hierarchical, and autonomous. Successful collaborations in theatre, music, and film are analyzed, including conflict factors and resolutions. Producer functions’ transformation in the digital era is examined, especially regarding algorithms, platforms, audiences, and digital environments. An algorithm for effective interaction based on trust, clear roles, flexibility, and open dialogue is proposed. The scientific novelty. This study provides the first systematic analysis of the “producer–artist” symbiosis in contemporary Ukrainian and global cultural practices. It highlights digital technologies’ role in reshaping communication and roles, develops conflict typology and management strategies, and identifies ethical and psychological parameters for effective partnerships in crises. The practical significance. Findings support training cultural management specialists, developing arts education programs, and formulating strategies for cultural institutions and independent production groups. The conclusions guide creative industry practitioners in building effective cooperation between managers and creators. Conclusions. The producer-artist symbiosis drives creative industries. Partnership quality influences both project success and cultural development. The producer’s role as interface between vision and reality grows more complex, requiring competence, ethics, and innovation. Together, artists and competent producers can realize and scale cultural phenomena.