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Hybrid Warfare Analytical Group/UCMC. Episode 4, Cinematic Propaganda

Hybrid Warfare Analytical Group/UCMC. Episode 4 Cinematic Propaganda

The Hybrid Warfare Analytical Group’s (UCMC) analysts convene to delve into the realms of Russian disinformation, propaganda, and the influence of hybrid warfare in 2024. In these succinct podcast episodes, the team explores recent observations and analyses, sharing expert opinions and conclusions on the prevailing challenges within the information sphere today.

Host: Matt Wickham, UCMC/HWAG analyst
Expert: Anastasiia Ratieieva, UCMC/HWAG analyst and author of Cinematic propaganda – the Kremlin’s hound on a tight leash

In this episode of the podcast, we delve into the unsettling role of cinema as a tool of aggression wielded by the Kremlin against Ukraine, shaping global perceptions and humanitarian discourse. We explore the pivotal role of cinema within the Russian propaganda machine, dissecting its manipulation of narratives and its impact on public opinion. Additionally, we discuss effective counterstrategies to combat the dissemination of disinformation through state-funded cinematic productions, offering insights for both domestic and international organisations on how to confront and mitigate this pervasive form of propaganda. 

Join us as we uncover the complexities of this cinematic battleground and explore avenues for countering its harmful effects.

  1. How effective is Russia’s cinematic propaganda in shaping public opinion and politics through disinformation narratives?
  1.  In “Donbas Recognised,” how does the Kremlin’s depiction of Donbas residents as “fringe Russians” fit within its narrative of Ukrainian “non-existence,” and what strategic aims does this narrative serve in Eastern Ukraine’s conflict?
  1.  What role do film festivals like the Time of Heroes festival play in disseminating Kremlin-driven disinformation narratives, and how do they influence public opinion domestically and internationally?
  1.  What counterstrategies can be deployed to combat disinformation propagated through state-funded cinematic productions, both domestically and internationally?