Leni Riefenstahltól Kelly Reichardtig. Cannes-i fesztiválnapló 2022
An essey about Cannes Film Festival 2022.
More...We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
An essey about Cannes Film Festival 2022.
More...
Gergely Csiky State Hungarian Theater in Timisoara, May 22–29, 2022. The 13th TEST – Timisoara Euroregional Theater Meeting showed the exciting, path-finding face of today's European theater. After watching seventeen theatrical productions and other events, I can say that this festival was an aesthetic luxury, because it offered not only consolidated theatrical value, but also a wide range of productions according to the tastes of the audience, so it actually “fit” into this field TESTING. , which didn’t necessarily fit into my own viewer “profile,” for example.
More...
Auf Einladung des Sebastian-Hann-Vereins für heimische Kunstbestrebungen (gegründet 1904) stellte der Tiermaler Otto Fikentscher aus Grötzingen bei Karlsruhe vom 30. Mai bis zum 9. Juni 1914 im Eislaufpavillon in Hermannstadt grafische Arbeiten und Ölbilder aus. Vor 1914 hatte der Maler wiederholte Male Siebenbürgen besucht, um in den Karpaten Wildtiere zu malen. Fikentscher pflegte einen realistischen, fast fotografischen Stil und zeichnete sich durch eine sichere Linienführung aus. In der Ölmalerei hielt er mit großer Meisterschaft atmosphärische Erscheinungen fest.
More...
The princely court in Požarevac was built suddenly in just two months in early 1825 when Prince Miloš recognised that he had to visualise his presence and reaffirm his authority within the rebellious group of Serbian people who were at the strategic location both for the Principality of Serbia and the commercial affairs of the Prince. With the konaks and the church built, Požarevac started developing into the second capital of the Principality of Serbia, attracting many domestic people and foreign visitors. Shaped as typical konak, a residence of elite members of the Ottoman society, the court in Požarevac reveals Prince Miloš’s representative strategy. The interior of both konaks outlines awareness of European trends in shaping the seat of the head of the state. The closeness of the church and frequent attendance of the members of the royal family and their official guests to the services point to the close and interconnected relationship between the state and the church in 19th-century Serbia.
More...
Vulnerable groups were the subject of studies, most often from the perspective of social exclusion generated by deprivation (economic, educational, skills, etc.) and the need for social protection. Looking at them from the perspective of access to well-being is a positive attitude in the theoretical and practical framework, as well as an encouragement of this category to access/ aspire to a better life. In the intervention specific to social assistance, through the intervention plan, actions are designed to contribute to the social integration/ reintegration of those in difficulty. One way to take action is to encourage participation in existing cultural activities in the community and to diversify leisure options. The study aims to argue the need to use (consume) these community resources to improve the lives of disadvantaged people and to get involved as active actors in the production of cultural goods but also signaling the consideration of these two indicators for measuring subjective well-being by specialists with reference to disadvantaged groups and their inclusion in statistics on social welfare or quality of life.
More...
The scientific study presents a survey of the outcomes and research results obtained through a research tool by a questionnaire from the teachers of the basic art schools in Slovakia. Interpretation of research data in the form of categories - characters and determinants of artistic talent and talent of children and pupils has a representative function. Results of the mentioned group of respondents will be further compared with groups of teachers to different levels of schools.
More...
The cinema language has adopted a few simple practices from the aesthetics of the Italian Neo realism, namely, the use of real events, without them being significant; going into the street with a camera against the artificially beautiful; shooting in a natural environment without the use of decors; casting both professional and amateur actors, so that to break the stereotype – they had ‘to live’, not to act; invisible directing, without bright metaphorical means of expressions, i.e. to resemble voyeurism; and an active protagonist, a member of the lower classes. One of the finest artworks of the movement is Vittorio de Sica’s film Ladri di biciclette. Comparing it to the Bulgarian film Това се случи на улицата by Yanko Yankov, in terms of the above mentioned practices, one can claim that all they have been adequately applied in the Bulgarian production too regardless of the different levels of development of the cinema industry and, moreover, despite of the ideological differences in the dominant then socialist realism in Bulgaria. What we see on the screen in both cases is an authentic copy of reality.
More...
The practices of mural arts have a reverse influence on the rejection of the illusory spatial representation in paintings in the exhibition halls. In this case, just as in other artistic fields since the 1960s, it has turned out that (socialist) realism is not connected with a specifically defined form but with the “significant social content”, suggested through the figurative imagery. What is important is the unformulated non-artistic requirement for loyalty to the official power. Theartistic practices de-validate the doctrine of socialist realism, its postulates and terms. The incompatibility of the notions of synthesis and (socialist) realism in the language of the official art criticism is evidence in support of this statement. The focus on the interest in French visual culture in our country in the 1960s is conditional. The case of the synthesis and / or realism relates to wide cultural territories and, without doubt, to the countries with communist rule. However, the French visual culture, especially in the years of the left rule, is an important reference for the artistic practices East of the Iron Curtain.
More...
The paper studies the artistic work of the photographer Boris Mihaylov symptomatically in relation to the problematic of realism in the photographic art. Along with this, the so defined problematic is viewed worth debatable in the medium of photography as ‘a message without a code’ (Barthes). The study focuses on the problem of amateur photography, both as specifics of media settings and as a peculiar alibi for technical (instead of ideological) inexperience. The expose differentiates the two main periods in the works of Mihaylov, by discerning the play of un-intentionality and detachment until 1990 and his orientation towards social stereotypes, behaviours and codex of view (Sontag) in the years after the crash of the USSR until the present day. It presents how conceptual intentionality of the realistic orientation is able to reach extreme implications of the grotesque. Two contemporary socio-cultural ideas are put into play as a context for the analysis of the photographic series in the text, namely, the view about the resisting collective body to the process of its privatization (М. Riklin) and the rhetorical rhetorics of the ‘double after’[after the revolution – the crash of the USSR] (М. Tupitsina).
More...
In the beginning of the paper, I define my understanding of authenticity in cinema, whose realisation I accept as a fundamental task of the director’s work. I support the thesis that authenticity does not always depend on the stylistic decision of the film and does not always correspond to the true and realistic representation of reality. In my view, authenticity is connected predominantly with the personal truth of the director. The choice to study the film ‘A Face under a Mask’ (1970) by Rangel Valchanov is an attempt to prove this statement. At the beginning of the 1970s, the Bulgarian director is given the opportunity to shoot a film after his own script in Prague. The past decade, prior to the Prague Spring in 1968, is a golden period in the Czech cinema, known as the Czech New Wave, or the Czech Miracle. Rangel Valchanov was deeply impressed by the achievements of the Czech cinematographers. He himself had already experimented with the possibilities of the cinema truths and neo realism in his first films and was on the lookout for new ways of self-expression. He was more and more interested in the accomplishment of a conditional cinema narrative, which, in the director’s point of view, could successfully show the subjective universe of the artist in its entirety. The paper analyses the new approach of directing in the film ‘A Face under a Mask’ and its outcomes with regards to the topic of authenticity. With this film, Rangel Valchanov enters organically the process of ‘the artist’s individualisation’ in cinema, which defines the spirit of the European cinematographer in the 1960s.
More...Radnóti Zsuzsa Megmozdult irodalom című kötetéről
Radnóti Zsuzsa, Megmozdult irodalom Budapest: Kossuth Kiadó, 2021, 432 oldal, 4800 Ft
More...
This paper aims to showcase contemporary manifestations of traditional folklore hero Nasreddin Hodja, a figure that has withstood the passage of time and remained relevant in the Turkish culture, partly assisted by media and technology. As we enter the digital era, I believe that we stand witnesses to a new cultural revolution, drawing on Marshall McLuhan’s description of the paradigm change that dawned with the invention of the printing press. I will use the adaptation theory to exemplify how the figure of Nasreddin Hodja has remained broadly the same throughout the past centuries, but how the context and media used for storytelling his tales have changed.
More...
Starting from the mapping of the methods by which the static image uses time as a parameter for the representation of movement, this work aims to analyse how a part of contemporary photography overcomes its status of singular image, of “decisive moment” and rather addresses an extended narrative dimension based on the futurist approach in order to represent reality as a dynamic phenomenon.This approach of organizing and representing reality in flow is justified by the new context in which the image is omnipresent in contemporary existence and by the way the modern man adapted to these new conditions becoming much better “equipped” to gather, integrate and make analogies based on multiple images.In this context, using the Urban Flow series of images, I propose a double exploration, temporal and spatial, whose finality is the redefinition of recorded reality. Starting from technical premises and ending with aesthetic intentions at the base of the images in this series, I analyse the ways in which the obtained photographic image gets a new narrative value.
More...
The following article tries to highlight the cinematic dimension in Gregory Crewdson’s photographical series. The author argues that Gregory Crewdson, on many occasions, acts as a film director, and not an ordinary one, but an ’auteur’ filmmaker (a comparison with Jean Luc-Godard or David Lynch would not be so far-fetched in this situation as many would think). Consequently the ‘Auteur Theory’, usually used in film studies and in the stylistic analysis of different filmmakers, in order to analyse in a nuanced manner how the personality, the personal ideas and life experiences of a particular film director are manifested in his films, will be used in this article as an instrument in order to more profoundly understand the vision and art of Gregory Crewdson. The author will also present a cultural and historical context in which the conceptual photography originated and thrived in, which served as basis for Crewdson’s art. Also, the focal point of the applied analysis will be on the Hover series (1996-1997) because, even though it was the second series created by the American artist (after Natural Wonder), it represents the foundation for all of his later photographic creations, in terms of “directing” a photographical image, of using the narrative ambiguity or in the use of serialism.
More...
Review of: Kai Stahl. Ainulaadne sõsarkond. Õed Kristine, Lydia ja Natalie Mei. Tallinn: Eesti Kunstimuuseum, 2020. 192 lk, 120 ill.
More...
The subject of this review is the connection between theater and education. An empirical basis for reflection is the performance 'One Bulgarian Woman' - ‘Azaryan’ Theater, National Palace of Culture. The means of critical analysis present the essence of the show, the tasks and goals set by the director Desislava Shpatova and the actress Snezhina Petrova, as well as the team of experts - participants in the project of 'Legal Art Center' - author and engine of a set of activities, dedicated to the work of Ivan Vazov. The review tries to introduce us to the energy of the show, to reveal its specifics, to raise a debate about the need for a new approach in teaching seventh graders in Bulgarian language and literature at their first meeting with the story 'One Bulgarian Woman' by Ivan Vazov. The subject of this review is the connection between theater and education. An empirical basis for reflection is the performance 'One Bulgarian Woman' - ‘Azaryan’ Theater, National Palace of Culture. The means of critical analysis present the essence of the show, the tasks and goals set by the director Desislava Shpatova and the actress Snezhina Petrova, as well as the team of experts - participants in the project of 'Legal Art Center' - author and engine of a set of activities, dedicated to the work of Ivan Vazov. The review tries to introduce us to the energy of the show, to reveal its specifics, to raise a debate about the need for a new approach in teaching seventh graders in Bulgarian language and literature at their first meeting with the story 'One Bulgarian Woman' by Ivan Vazov.
More...
The icon on the wooden panel is characterised by a stylistic and technological development over time, being in an interdependence with the social environment. Thus, the manner of representation is correlated with the social side and with the fashion of the time, as well as with man’s way of perception and understanding. As we move towards the nineteenth century we can witness an increase in demand, production, but also a decrease in quality, technique and iconographic manner of representation.
More...