Transitions Online_Around the Bloc-Movie Cancellations at Armenian Film Festival Spark Controversy Over Gay Rights
Golden Apricot drew criticism after cancelling entire slate of films that included two films on LGBT themes.
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Golden Apricot drew criticism after cancelling entire slate of films that included two films on LGBT themes.
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The article is an attempt to show the Martin’s Luther image which can be found in today's pop culture thanks to narrative films on reformer’s life. In the first part the author tried to present closer the Catholic and Protestant image of Luther, pointing to basic differences and their possible causes. Further, synthetically discussed the history of films presenting the figure of the Father of the Reformation. In the last part of the text to a critical analysis were submitted reformer’s film creations in the light of productions Martin Luther 1953. (Dir. Irving Pichel) and Luther 2003 (Dir. Eric Till).
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The article presents the sources of comicality in “The Intouchables” by Eric Toledano and Oliver Nakache, a box office of French cinema. It suggests that the success of the film lies in choice of the actors, the contrast between them and their backgrounds, and a well-established French motif of relationship between the master and the servant.
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In Czechoslovakia of the 60s, thanks to the unique constellation of many factors a real “film miracle” could have come into being. New Wave brought primarily focus on the human being, man’s living conditions and self-fulfillment. One of the major issues undertaken by the cinema was the question of the truth. Showing the truth of life has become a kind of manifesto especially for directors like Štefan Uher, Jaromil Jireš, Miloš Forman, Ivan Passer, Jaroslav Papoušek. A great individuality was Pavel Juráček. Věra Chytilová however followed the way of the aesthetic revolt.
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This paper focuses on the cultural stereotypes and various ethnic and sexual minorities in Croatian narrative film since 1990. Because 1990 marks a crucial break in the history of the Croatian cultural identity and the ethnicities of former Yugoslavia, the representation of minorities in the context of war and the postwar setting is an important indicator of transformation in the new society, and a gauge for observing its confrontation with a conflicted national heritage. The principal thesis establishes that the new society attempts to articulate its own identity through filmic representation, by negotiating diverse minority identities, which it ultimately conceives as a threat and a non-essential component, unable to be incorporated in the new social order. However, through exploring themes that were silenced prior to 2000, contemporary films give minorities a new voice and a strong visual path to recognition, which goes far beyond the previous stereotyped portrayals. In the period since 1990, a range of Croatian films has dealt with primarily ethnic/national minorities. Two trends are visible in this regard: an ethnic minority (particularly Serbian) that struggles for recognition in the context of war (e.g. in Vinko Brešan’s 2003 film Witnesses) or other ethnic minorities in the postwar context (e.g. an Asian child in Ognjen Sviličić’s 2004 film Sorry for Kung Fu). These two aspects often entwine, like in the film Fine Dead Girls (2002) by Dalibor Matanić, where a lesbian couple fights for recognition in a postwar Zagreb saturated with intolerance and war trauma.
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Jedan od najefektnijih filmova o Endiju Vorholu završava se njegovim višeminutnim neprekidnim pogledom u kameru. Tim upečatljivim krajem, koji se isteklom vremenu opire instinktivnim iskorakom ka izvesnosti početka, neizbežno započinje i podsećanje na ono što mu je neposredno prethodilo. Najpre, umetnikove reči da može netremice dugo da gleda u jednu tačku, a potom njihovo potvrđivanje koje pretpostavlja određeno značenje izrečenog i učinjenog.
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Da je živ u trenutku kad ovaj tekst s prvim napipavanjem po tastaturi stupa u svoj još nesigurni život, harizmatični Endi od Popa imao bi punih 77 godina i ko zna šta bi danas radio, ako bi radio išta. A ovaj njegov pop tumač (jer posle Vorhola svi smo mi pomalo pop, tj. popularni, bar tokom onih 15 minuta svetske slave koje nam je baš Endi, još za svog života, svima obećao, istina ne rekavši kad će nam biti isporučeni i od koga, pa moramo sami da se snalazimo) ima tih, ne-Endijevih, godina skoro 57 i od toga debelo ”popuje” umalo 40, a da još uvek mora da radi, stvara, tumači, izmišlja – hobluje one neravnine smisla i znanja koje su mu/nam još preostale u inače prilično nivelisanom NSM, novom svetskom mišljenju i onom njegovom NSP gde P nam nije, nažalost, slovo za polni organ.
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Dok je bio živ, govorio je da potiče niotkud. Zato su ga nazivali Coca-Cola Cocteau. Rodio se 1928. godine u Pitsburgu, Pensilvanija, SAD. Umro je u istom gradu, 59 godina kasnije. Nije se smrtno zapio. Niti predozirao narkoticima. Mada bi tako htela legenda. Do niotkud, ili do svoje prave domovine doputovao je nekoliko meseci pre smrti. Ali još za života proglašen je za genija XX veka i proroka. Dok su ga tamo, odakle potiče njegova porodica, smatrali debilom, šarlatanom, komedijašem i izdajnikom. Svet ga je znao pod imenom Endi Vorhol (Andy Warhol).
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Neodada je neoavangardni umetnički pokret, tačnije otvoreni i višeznačni kontekst rada različitih individualaca sličnog pro-ili-post-dadaističkog senzibiliteta, nastao u SAD tokom 50-ih godina. Neodada nastaje prenošenjem bitnih dadaističkih, pre svega dišanovskih, procedura u tada aktuelnu američku kulturu i umetnost. Zato, nedodada se vidi kao provokacija i subverzija visokomodernističkih vrednosti u elitnoj umetnosti apstraktnog eskpresionizma, ali i kao provokacija vrednosti masovne potrošnje estetskog u popularnoj kulturi. Za neodadu nije bitno samo stvaranje umetnosti, već pronalaženje i rekreiranje različitih oblika ponašanja u umetnosti urbane kulture.
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Pre, bezmalo, četvrt veka, godine 1981, u januarskom, 263-em broju, objavio sam prve pesme u "Poljima". Čudno sam čekao da se taj primerak časopisa obrete u mojim rukama, da grozničavo preskočim sve va`nije i bolje tekstove, i ugledam svoje ime i prezime unutar korica kultnih "Polja". Jer, objaviti, tamo, tada – iz perspektive pesnika-početnika, napaljenog studenta književnosti.
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Tehran denies training and funding Islamist assassins during Tajik civil war.
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The article discusses several screen adaptations of the drama Dybbuk or Between Two Worlds by Szymon An-ski. Written on the basis of an old Jewish legend, An-ski’s play has provided inspiration for many movies. The four analysed works represent different cultural traditions and film genres and come from different decades of the cinema history. Diverse as they are, these four works emphasize different issues. They are: Dybbuk by M. Waszyński – the best Polish movie in Yiddish exploring the Jewish folklore; A Serious Man by the Coen brothers, with a ‘dybbuk’ prologue that redefines their art towards the Judaic tradition, as well as two other works that are strongly characteristic of the film genres that they represent: The Possession by O. Bornedal, using the poetics of religious horror, and the Polish thriller The Demon by M. Wrona, drawing from the tradition of the national drama as defined by Wesele [The Wedding] by S. Wyspiański and its screen adaptations and travestations.
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The article concerns with still not well-known part of the artistic work of Zdzisław Beksiński (a famous photographer, painter and graphic designer). In the 1960s the artist was occupied with literature as well. He wrote short prose which reflected many modern literary fashions and trends, and even anticipated some of them. In his literary works Beksiński was especially influenced by the suggestive aesthetics of the onirism, geometric architecture, and anti-Utopian novels. Sometimes, his narration refers to modern pop culture: the technique of film or the convention of comic strips; what is more, he applies the style of commercials and propaganda slogans. The artist from Sanokalso adored writing different variations of the same story which let him play with various genres and plots. But, whatever he did, it was all about the construction, the form. His literary texts record their narrator’s consciousness in a minimalist way, without any traditional literary frills. Therefore Beksiński unconsciously realized the idea postulated at the same time by Cortázar: each prose work should not be a “sum”, but rather a kind of “difference”. This prose substantially complements our knowledge of the whole art of Beksiński, a natural genius, and remains another alternative part of his creative activities.
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Još u antičko vreme književno delo je u značajnoj meri smatrano produktom božanske volje koja se putem medijuma (umetnika) objavljuje. Antičko verovanje u postojanje muza (boginja pesništva) koje nadahnjuju pesnika putem zanosa (sacer furor), zagovaralo je ideju o božanskom poreklu i izuzetnosti pesničkog dela. I Platon je verovao da muza nadahnjuje pesnika bo`anskim zanosom, dok je Aristotel isticao pesnikov talenat i potencirao značaj veštine (tehne).
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A film about the love affair between the canonized last czar and a ballerina is finally bound for cinemas after months of debate.
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The paper intends to present only preliminary results of an extensive study. As such, the paper attempts to systematize the aspects of body discourse in the film. The analyses of the presentations of body and the relationship towards them is based on the sample of over 1000 films.The analysis encapsulates all the most significant achievements by covering all the films classified as cult films. Cult films determined the culture of the time in which they originated either as a product of the culture or as direct or indirect modelling of the culture. Films that are not on the official list of cult films of the world's cinematic heritage are also included as being highly ranked by the public. Furthermore, it is evident that such films played a noticeable role in shaping the body's consciousness and the way we perceive the physicality.The results of the analysis point to the existence of relatively clear categories of physical appearance in the film as well as confirmation of the tendency to reflect certain principles, receptions, understanding and physical fitness.
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The author explores main subject of Kaja Silverman’s diverse ouvre. The theoretician combines linguistics, psychoanalysis, feminism, philosophy, art history and film studies to focus on a concept of a subject, with special interest for a feminine subject. Silverman promotes a concept, that signification cannot be in any way separated from a subject and cultural system, which generates it.
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In this essay the author discusses Cinema in the work of Witkacy, particularly its absence. He refers to many of Witkacy’s Western contemporaries as being fascinated by this increasingly dominant 20th Century medium, which Witkacy seems to have ignored despite his interest and participation in a wide range of modern aesthetic practices including painting, photography, mass produced portraits, and theatre. Part of the explanation for this, it is suggested, may lay in the relative underdevelopment of cinema in Poland prior to World War II; most of the local cinema produced was in the form of highly conventional romances, with an avant-garde cinema only developing towards the end of Witkacy’s life. The author continues to present a very succinct account of how Witkacy’s work has been transmuted into the medium of Film and Television.
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The position of Polish film after 1989 has significantly deteriorated. Previously admired and respected, Polish cinematographers are now battling against a profound crisis – a creative one, but also a financial one. In the meantime, American films, i.e. Hollywood films, dominate in European cinemas. And as, according to Lawrence Venuti, a translation strategy concerns also the choice of texts to be translated, this is the point in which translation commences. Therefore, why do the majority of films selected for translation by European distributors come from Hollywood? Since the 1980s, a period of extraordinary prosperity for Hollywood, and a period of crisis for the European cinema, the manner of perceiving of motion pictures has changed, and that, in turn, has changed the balance of power in the world cinema. We shall briefly present those changes and factors that influenced them, and shaped the current situation. In order to better illustrate it, we shall base the presentation on Zohar’s polysystem theory. This situation influences the position of Polish cinema: recognized and appreciated for its artistic value in the period between 1950s and 1980s, despite censorship, and now – a marginal phenomenon, which may seem surprising, even paradoxical. We shall attempt to demonstrate also possible explanations for that situation. At the end of our paper, we shall briefly comment on the status of the television, which is slightly different than that of the cinema.
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The article is devoted to an important aspect of modern aesthetics – intertextuality, which is discussed on the example of film adaptations of Russian classics. Adaptation is considered in the framework of literary-scientific reflection on “translating” verbal text for the audiovisual channel. Procedures connected with intertextuality and game-based technologies are subjected to interpretation in the context of contemporary cinema’s avant-garde artistic searches.
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