Списание „Кино“ – наследникът на „Киноизкуство“ след 1991 година

Author(s): Rosen Spasov / Language(s): Bulgarian Issue: 3/2015

The first issue of Kino i Photo (Film and Photo) journal was released on 20 February 1946. In its early years, the journal has been renamed on more than one occasion: Kino i Photo (1946–1951), Kino/Film (1951–1955) and Kinoizkustvo/Cinematic Art (1955–1991). The vision, editorial offices, and the staff also changed over time. A number of editors- in-chief working with different teams succeded each other. Following the political changes of 1989, a period similar to that of its early years commenced: indistinct editorial policies and financial instability, frequent reshuffles of editors and editorial boards. In 1991 the journal readopted its name of 1951. The rationales for that was a quest of authenticity in an attempt the new name to reflect the changes and gradually shake ideologization off its content. This article traces out the dynamics within the journal following 1991. The study focuses on the fact that Kino is for the time being the sole independent journal specialised in film in Bulgaria. In 2006 the journal, enjoying academic status celebrated its 60th anniversary, which is the longest-running publication of its kind in Bulgaria. Over the recent decade it has continued searching for fresh audiences and meeting adequately the market demand, remaining at the same time true to its vision and content.

Table of Contents - 10/2015 Issue, Volume II

Author(s): Author Not Specified / Language(s): English,Bulgarian Issue: 2/2015

ToC: 2015, Issue 10, Volume II i​n Bulgarian and English

ВЕЩИ, КОТОРЫЕ МЫ ХРАНИМ: БУМАГА, ПОЧТА, НОСТАЛЬГИЯ

Author(s): Olga Shaburova / Language(s): Russian Issue: 4/2012

The article focuses on the phenomenon "the death of paper" caused by the digital technological revolution. In this article the post and it's representations become an example for analysis of the past and future of the mass communications with its' paper postal artifacts. The main material of analysis - the soviet postcard. This analysis gives opportunity to develop the issue of commercialization of nostalgia. The last part of the article analyses the phenomenon of post crossing that embodies the model of modern social horizontal mobility and that combines digit and paper.

Гръцки надписи от църквата „Св. Параскева” („Св. Петка стара”, „Живоносен източник”) в Пловдив

Author(s): Alexandra Triphonova / Language(s): Bulgarian Issue: 3/2016

In this paper eight greek inscriptions of the St Parasceve (St Petka The Old, Zoodohos Pigi) church in Plovdiv (Philipoppolis) (1836) are discussed. They date back to the ΧVIII – last quarter of the ΧΙΧ c. and give valubale information about historical persons, which include a metropolitan, donors, painters, members of a craft guild and deceased persons. The ecclesiastical circle is presented by a Metropolitan of Philippopolis, named Chrysanthos of Lesbos (Mytilene) (1850-1857), who ordered and paid for the painting of the icon St Three Hierarchs (1853). Among the donnors, whо date back the second and the last quarter of the ΧΙΧ c., there are mentioned Athanassios Georgiou, who gave money for the icon Synaxis of the Archangels (1825), the Greek Community of Philippopolis, which sponsored the building of the chucrh of St Parasceve (St Petka The Old, Zooohos Pigi) (1836), the memebres of the tinker’s quild and their families, who assistanced the painting of the icon St Spyridon with four life scenes (1856), and Vassilios Ferias, who gave the resources for the icon Christ Great Priest (1889), although it originates from another church in the region. The mentioned painters, who are three, date back to the ΧΙΧ c. The first one is Melchizedek who was from Ephesus and was a monk and Ex-Hegumenos (Prohegumenos) in the Monastery of Vatopaidi, and painted the icon of Synaxis of the Archangels (1825). The second painter is Demetrios from Enos who is the same person with the painter, who noted his name by the initials DM, and who painted the icon of St Spyridon with four life scenes (1856). The third one is Philippos A drianopoulitis (third quarter of ΧΙΧ c.), who is the author of the icon of Ascension of the prophet Elias (1857). It comes out information about the tinker’s craftsmen guild from the third quarter of the ΧΙΧ c., members of which, along with their families, contributed to the painting of the icon of st Spyridon with four life scenes (1856). Finally, the inscriptions inform about two deceased persons from ΧVIIΙ – third quart of the ΧΙΧ c., Anastassia Georgi (ΧVIIΙ-ΧΙΧ c.) and Demetrios Petkou Tachtzis (†1869).

Fotografia pogrzebowa w polskiej obyczajowości funeralnej wczoraj i dziś

Author(s): Anna Pietrzyk / Language(s): Polish Issue: 5/2015

In this paper the author analyzes the tradition of post-mortem photography in Poland. The analysis is based on her own research conducted in the city of Lodz, as well as on articles written by other authors in Poland. Post-mortem photography is the practice of photographing the recently deceased. Photographing corpses of family members was an important, if not common, occurrence in the lower classes of polish society (especially in rural populations) in the 19th and the early 20th century. And it still exists today. The memorial images - now often deemed macabre or morbid - are actually artifacts which document an unspoken part of our social history and can be seen as icons of love and loss as well as the history of funeral customs traditions.

ПРОБЛЕМЫ ИЗУЧЕНИЯ ФОТОДОКУМЕНТА КАК ОБЪЕКТА АРХИВОВЕДЕНИЯ В РОССИЙСКОЙ ИСТОРИОГРАФИИ (2000-Е ГОДЫ)

Author(s): Ramima Olegovna Abilova / Language(s): Russian Issue: 3/2015

The paper considers the problems of photography for archival science in the Russian historiography: acquisition of the archives of documentary photographs; organization of their accounting, storage, and use. Special attention is paid to the archeographic design of documentary photographs for publication.

PRESENT-DAY AUTONOMOUS CULTURAL TENDENCIES IN VISUAL ART WORLDWIDE

Author(s): Mariana Tîrnăuceanu / Language(s): English Issue: 35/2016

Even if contemporary arts evolve towards abstractions, a realistic representation is still the choice of many visual art, artists, artistic trends and genres. All these categories are defined by both typical common traits and individual avant-garde tendencies as long as talent and creativity are encouraged.

Book Reviews and Photo Gallery

Author(s): Nicolae Marcel Cristea,Dorin-Gabriel Pop,Ionela Bogdan,Călin-Andrei Olariu,Diana Alexandra Nistor / Language(s): English Issue: XVI/2015

„Gdyby to był tylko głos nieba i chmur”. O (nie)banalności tła. Z fotograficznego albumu Karla Höckera

Author(s): Magdalena Szczypiorska-Mutor / Language(s): Polish Issue: 2/2016

This text is an attempt at interpreting the photographs depicting SS officers captured in the moments of holiday relax. After fulfilling their everyday duties in Auschwitz, the SS men – in Höcker’s pictures from his album – rest, walk, joke, sing, feast and flirt with women; they are cheerful, smiling and carefree. The study of the album – revealed only in 2007, consisting of 116 pictures taken between June and December 1944 – is an impossible study, a study of silence, of commenting voices, a study spread between black and white, photography and the world, words and aphonia, hell and its background. It is the account of helplessness – of the gaze, language and understanding.

Simulakrá v kontexte hyperkonzumu: zvádzanie k zážitku a konzumu ako inovovaná funkcia nových médií a fotografie

Author(s): Zuzana Slušná / Language(s): Slovak Issue: 2/2013

In an age of mass production, it has become increasingly difficult to distinguish the consumption from perception, especially in realm of culture. As this paper demonstrates, consumption can no longer be consi- dered simply as an object of analysis, because, in contemporary world,it is process in which we participate. Selected ceremonies of consumption are chosen as representative. As representation they become identity markers to both individual (person) and particular social groups. In all processes, the bearer of infor- mation has become an irreplaceable photograph. The study focuses on selected links between photography and consumes daily behavior present in a person‘s life during the hyper-mo- dernity / hypermodern.

Veliki rat – velike promjene: čitanje promjena slike vojne uniforme

Author(s): Ante Tonči Vladislavić / Language(s): Croatian Issue: 28/2016

This paper deals with the appearance and representation of military uniforms, which became an inevitable and standardized wartime feature during WWI. Uniforms became an important part not only for wartime, but also as an overall clothing appearance. The changes in the military uniform style displaced the previous vision of the uniform and its encoding, thus saturating the semantic space with new codes, which can be read on the level of the uniform as an object, but even more so on the basis of the photographic image rhetoric. The progress of industrialization and mass production of standardized military uniforms coincided with the emergence of the industry of creating and reproducing images (i.e. photography) in the printed media, so all information about the changes in uniform styles can be read as the changes in the encoding of the photographic representation. The paper aims to shed light on the changes that took place in the development of the military uniform as an object and the changes of its encoding within the representation of the photographic image, and it is a part of a broader research, which is still underway, focused on military uniform, appearance, meaning as forms of clothing and representational image. The Centre for fashion and clothing research is doing research under the project “Male manifest: Construction of stereotypes and representations of ‘male fantasies’ – clothing, appearance, typology, and forms of social impact of male power during socialist Yugoslavia”. The project researches and problematizes the relationship between fashion and clothing and a significant part of it is dedicated to the establishment and representation of the male military uniform – with special focus on the visual rhetoric of a photographic image.

Mockumentality: From hyperfaces to deepfakes

Author(s): Pietro Conte / Language(s): English Issue: 4/2019

Hyperrealistic replicas of the human face owe their documentary value to the belief that they result from mechanical reproduction. The idea that a picture is automatically produced through a process of imprint taking is often enough to convince the viewer of its truthfulness and reliability, thus contributing to giving images an aura of authenticity and to creating the myth of pure objectivity. But what happens when the link between hyperrealism, mechanicalness, and truthfulness is disentangled? In 2017, French artist Raphaël Fabre successfully applied for an ID card using a computer-generated picture where the real face was, in fact, an artificial, synthetic mask. Starting from this case study, the essay tackles the issue of the increasing overlapping of actual reality and digital (un)reality, particularly focusing on the concerns raised by the confusion between faces and masks caused by the rapid spread of so-called deepfakes in a world that speeds from documentality towards what I propose to call mockumentality.

Post mortem performances: On Duchenne de Boulogne, or physiognomy in the age of technical media

Author(s): Bernhard Siegert / Language(s): English Issue: 4/2019

This essay reconstructs the genealogy of the electro-physiognomic experiments which Guillaume-Benjamin Duchenne conducted in the second half of the 19th century, and highlights their impact on the media dispositif of the early 20th century. The photographs in Duchenne’s Mécanisme de la physionomie humaine (1862) are discussed as part of an epistemological shift from the semiotic regime of expression to the medial regime of switching by which they are indissolubly connected to the history of galvanism and electromagnetism on the one hand, and to the history of hypnotism and Expressionist film on the other. Due to this perspective, a main focus of this article is the archaeology of Duchenne ’s special feature of the gliding cardboards that introduces the on/off operation of switching into both photography and “the body”, and its echo in films such as The Cabinet of Doctor Caligari (1919/20) or Frankenstein (1931).

Construction of the Ethnographic Visual Image of Komi-Zyrians in the “Artistic Ethnology” of the Late 19th – 20th Centuries

Author(s): Valery E. Sharapov / Language(s): English Issue: 3/2020

The article discusses the history of construing and representing the ethnographic image of Komi-Zyrians in popular and academic literature of 19th and 20th centuries by analysing painted, porcelain and postcard images of Komi-Zyrians of the 19th – early 20th century. Special attention is paid to how Komi ethnicity was visualized on the basis of reproducing stereotypically the “Depicted Zyrian” images. On the basis of these images, the topic of the possible influence of retrospective ethnographic research on the popular beliefs of how a Komi-Zyrian should look like is raised and discussed. It is suggested that both Russian and Western scholars followed the ideology of “Finno-Ugric authenticity” in the ethnographic visual images of Komi they constructed: all the artefacts, which could be associated with Russian or other not Finno-Ugric cultures were literally or symbolically removed from the images or downgraded to “insignificant texts”. Finally the possibility of a correct translation of the ethno-cultural heritage by the means of the modern media technologies – the ones that promote ethnic images into virtual images of the cyberspace – is critically discussed.

Madonna. Dolores popkultury

Author(s): Sebastian Latocha / Language(s): Polish Issue: 1-2/2024

The subject of the text are two subversive photographic series with the Madonna in the main role: in the first one, the artist suffers in the manner of Mater Dolorosa, and in the second one, she organizes the Last Supper. The author examines subversive photos of Madonna as an example of a discourse of the weak, using Foucault’s concept of counter-history as a tool of analysis and interpretation. What story does Madonna tell us as she comes out of the shadows? Why does a pop culture icon interfere with the great themes of Christian art and iconographic types that consolidate and organize our knowledge about what happened between Holy Thursday and the Descent from the Cross and the entombment of Christ.

Czas (nie)zatrzymany. Fotografia protestu a doświadczenie oparte na ruchu pamięci

Author(s): Aleksandra Sołtysik / Language(s): Polish Issue: 4/2024

In Poland the years 2020–2021 were marked by protests – the Polish Women’s Strike, Youth for Climate, Black Lives Matter, demonstrations of the LGBT+ community as well as numerous demonstrations organised by other smaller communities. One of the factors linking those events were accompanying photographs – both “professional” and amateur; situated between political activity, space of appearance and personal narrations, as well as reality dominated by technology and symbolic practices they composed an ambiguous form of taking part in protests, a demonstration medium. The author attempts to follow the way in which protest photography becomes in time linked with the document, testimony, souvenir, and already forgotten images, while simultaneously expanding the very act of protest. The presented reflections were based on observations of street events, accompanying media coverage, conversations with participants, and photographs documenting demonstrations.

Převýchova pod dohledem německé říše. Pracovně-výchovný tábor Hradištko na fotografiích

Author(s): Tomáš Zouzal / Language(s): Czech Issue: 04/2024

In 1943, renowned Czech filmmaker and photographer Jiří Jeníček was commissioned to document the labor-education camps in the Protectorate of Bohemia and Moravia, capturing the harsh realities faced by over 4,000 Czechs punished for "labor offenses" at Hradištko camp. These camps, managed by the Protectorate's non-uniformed police, were designed to re-educate individuals who violated work discipline, often young men conscripted for forced labor in Germany. The Hradištko camp, one of the oldest, operated from late 1942 to November 1943, before becoming a subcamp of the Flossenbürg concentration camp. Jeníček's photographs, preserved in the National Archives, offer a rare glimpse into the daily lives and struggles of the internees, highlighting the severe conditions, including inadequate food, clothing, and medical care. Despite the propagandistic nature of the images, they remain a unique historical record of the period. Jeníček's work, influenced by his background in photojournalism and film, provides a critical visual account of the internment system under Nazi occupation.

ИЛУМИНАЦИЈЕ

Author(s): E.M. Sioran,Trevor Kverk,Žan-Filip Ucel,Salman Rushdie / Language(s): Serbian Issue: 551/2025

Emil Sioran: SVESKE; Trevor Kverk: SVOD NEBESKI: BEG OD NIHILIZMA DžONA BARTA; Žan-Filip Ucel: KANT I DRUŠTVENI KARAKTER UKUSA; Salman Rušdi: O FOTOGRAFISANjU

DENIS SKOPIN. PHOTOGRAPHY AND POLITICAL REPRESSIONS IN STALIN’S RUSSIA: DEFACING THE ENEMY

Author(s): Julia Zelikova / Language(s): Russian Issue: 3/2024

Review of: Denis Skopin. Photography and Political Repressions in Stalin’s Russia: Defacing the Enemy. New York: Routledge, 2022. 156 pp. ISBN 9781032027050.

Художественная критика в «Гражданине» Достоевского 1873 г.

Author(s): Daria D. Buchneva / Language(s): Russian Issue: 3/2024

Dostoevsky’s interest in art is undeniable. Painting, music, and theater were reflected in his works of art. Dostoevsky’s wife, Anna Grigorievna, regularly mentioned in her memoirs the couple’s visits to museums and galleries during their stay in Europe. Certain works of art had a strong impact on the writer. Such an effect was produced on Dostoevsky by Hans Holbein the Younger’s painting “The Dead Christ.” In “Grazhdanin” of 1873, when the writer served as the editor of the publication, notes and articles appeared devoted to reviews of exhibitions, paintings, and photographs from the Hermitage collection. The authors published in “Grazhdanin” — A. N. Maikov, V. P. Meshchersky, and I. Yu. Nekrasov — addressed painting in their publications. Dostoevsky devoted the ninth chapter of “The Writer’s Diary” to the St. Petersburg exhibition, prepared for display in Vienna. He was interested in issues related to the misunderstanding of Russian art by other cultures. Art criticism in the weekly “Grazhdanin” took various forms. The authors of “Grazhdanin” published both general reviews and topical articles. Expressing paintings and photo reproductions through words is a difficult task even for experienced art critics with specialized art history training. A. N. Maikov acted as a scrupulous reviewer, noticing small but vital details in understanding a painting. The critic turned to the historical context to expand the image. In their examination of the latest events in Moscow and St. Petersburg, I. Yu. Nekrasov and V. P. Meshchersky respectively focused on art news. In Dostoevsky’s verbal description, paintings came to life and became dynamic. Writers were often unconcerned with the image details; they sought to convey strong and vivid artistic impressions in words.