Azov Films Summer Autumn Winter: 1avi New ((install))

Title:
Seasonal Narrative and Digital Aesthetics in Azov Films’ Summer, Autumn, Winter and 1AVI: A Critical Survey of the “New” Cycle

  1. Formal Coding: Frame‑by‑frame annotation of colour palette, shot duration, and camera movement using the open‑source tool ELAN.
  2. Soundscape Mapping: Identification of diegetic vs. non‑diegetic audio, with particular attention to ambient field recordings (wind, waves, industrial machinery).
  3. Technical Deconstruction: Extraction of codec metadata to verify the intentional use of 1‑avi parameters and to assess compression artefacts.
  4. Contextual Interviews: Transcripts from two interviews (director O. Miroshnyk, cinematographer K. Hrynko) sourced from UkrFilm press releases and supplemented with a semi‑structured interview conducted via Zoom (October 2025).

Abstract

Between 2023 and 2025 Azov Films—a Kyiv‑based independent studio—released a quartet of short‑form works titled Summer (2023), Autumn (2023), Winter (2024) and 1AVI (2025). Marketed collectively as the “New” seasonal cycle, the pieces combine documentary‑style field recording, low‑resolution 1‑avi codec aesthetics, and a recurring visual motif of decaying industrial infrastructure in the Azov Sea region. This paper analyses how the four films construct a non‑linear narrative of seasonal transition, interrogate post‑Soviet identity, and experiment with a deliberately “obsolescent” digital format. Drawing on theories of cinematic temporality (Barthes, 1977), media archaeology (Rosa, 2012), and regional studies of the Black Sea littoral (Kuznetsova, 2019), the study argues that Azov Films’ cycle functions simultaneously as a poetic chronotope, a technical provocation, and a sociopolitical commentary on the precarious future of Ukraine’s maritime periphery. azov films summer autumn winter 1avi new

The Future of Azov Films

Content Analysis