Azov Films Summer Autumn Winter 1avi New (HIGH-QUALITY ◉)

Founded in 2015 by a group of film school graduates from the National University of Kyiv-Mohyla Academy, Azov Films has built its reputation on two pillars:

| Pillar | Description | |--------|-------------| | Local Authenticity | The studio works with regional crews, locations, and talent, giving its output an unmistakable Ukrainian flavor—whether it’s the buzzing markets of Odesa’s promenade or the quiet pine forests of the Carpathians. | | Experimental Form | From 8‑mm grainy experiments to VR‑ready documentaries, Azov never shies away from testing new formats. Their previous work, “Echoes of the Dnipro” (2020), won the “Best Experimental Narrative” prize at the Kyiv International Film Festival. | azov films summer autumn winter 1avi new

Given this background, it’s no surprise that “Summer → Autumn → Winter – 1AVI New” is both a love letter to the Ukrainian landscape and a technical showcase. Founded in 2015 by a group of film

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Rosa (2012) argues that “deliberate use of obsolete media” functions as a critique of digital ephemerality. In the context of Eastern European cinema, this has been explored by Šišković (2020) in his analysis of “VHS revivalism” in Balkan underground film. The 1‑avi format, originally designed for early Windows video playback, has been largely abandoned since the mid‑2000s. Its re‑appropriation by Azov Films thus aligns with a broader “archival turn” (Graham, 2021). Rosa (2012) argues that “deliberate use of obsolete

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.

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