World Trends in Modern Popular Culture: Ukrainian Context (2022–2025)

Abstract

The study aims to provide a comprehensive analysis of the transformation of global popular culture trends within the Ukrainian information space during the full-scale Russian invasion (2022–2025). The primary objective is to explicate the mechanisms through which digital entertainment formats (memes, viral videos, music trends) acquire ontologically new functions – acting as instruments of cultural resistance, documentation of war, and the construction of a resilient national identity. Methodology. The research relies on an interdisciplinary approach synthesising the toolkit of cultural studies, media theory, and digital ethnography. The theoretical foundation is built upon H. Jenkins’ concept of participatory culture, M. de Certeau’s theory of ‘textual poaching’, and L. Manovich’s concept of algorithmic culture. The empirical analysis was conducted using Multimodal Critical Discourse Analysis (MCDA), which allowed for the interpretation of the interaction between visual, auditory, and textual layers of content on platforms such as TikTok, X (Twitter), and Instagram. A comparative method was applied to contrast the functioning of global trends (Barbenheimer, Phonk, Cottagecore) in the global (peaceful) and Ukrainian (wartime) contexts. Scientific novelty. The article represents the first conceptualisation of Ukrainian digital culture during the war period not as ‘mass culture’ (a system of passive consumption) but as ‘popular culture’ (a system of active ‘bottom-up’ meaning-making). The research substantiates the new role of popular culture as a mediator that ensures the ‘remediation’ of high culture and historical heritage (specifically, the works of the Executed Renaissance) through modern digital formats, making them relevant to a youth audience. It is proven that digital creativity in wartime acts as a form of ‘vernacular hermeneutics’, allowing society to interpret existential threats through understandable cultural codes. Conclusions. The conducted research established that the globalisation of cultural codes in the Ukrainian context does not lead to a loss of identity, but conversely, becomes a tool for its affirmation through mechanisms of glocalisation. A powerful therapeutic function of popular culture was identified: humour (carnivalisation), the visualisation of vitality, and aggressive musical aesthetics (appropriation of the Phonk genre) form specific ‘emotional regimes’ that transform collective trauma and fear into active rage and social solidarity. It is concluded that a unique model of participatory culture has formed in Ukraine, which integrates global technological tools with national narratives, functioning as a decentralised system of informational and psychological security.