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The article presents sequences from the life and the theatrical and cinematographic work of the great artist Victor Ciutac, who would have celebrated his 80th anniversary. The librarian dedicated an online exhibition "I would like to have a name, and an address ..." Victor Ciutac - 80 years from birth (12 January 1938 - 18 January 2009).
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Dogtooth is perhaps the most interesting film of Yorgos Lanthimos receiving in 2009 the Prix Un Certain Regard at the Cannes Film Festival. By portraying the peculiar relationships of a family in which parents deprive their children of genuine contact with the coordinates of objective reality, the Greek director creates in his film a frightening dystopia about how the perception of the individuals is a natural consequence of their relationship with their own language. Without being an exhaustive analysis, this paper briefly outlines some observations about Yorgos Lanthimos's strategy, following some of the theoretical coordinates whereby the director guides in the process of designing his film.
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The term “translation” is particularly used to define the process of transposition of textual meaning from the source language into the target language. This is a case of "interlingual" translation, but there are also two other forms of translation viewed more as interpretation forms: intralingual translation and intersemiotic translation. Starting from the idea that the adaptation of a novel to the screen is a intersemiotic / intersystemic translation, this paper shows, based on the principles of textuality, the interpretation relationship the original text – Giuseppe Tomasi di Lampedusa’s novel The Leopard and the target text – Luchino Visconti’s movie The Leopard. The comparative analysis of the two texts in this article, based on two important textual configurations for the formation of meaning (the event configuration and the spatio-temporal configuration), highlights the commonalities as well as the discrepancies, omissions and compensations the director uses in order to give his film the cohesion and coherence that the new textual object needs.
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The article investigates representations of sexual violence in cinema of the independent Slovenia, drawing on the psychoanalytic cinema apparatus theory of the spectatorial gaze, which is constituted as masculine and condones sexual violence. We believe the national institution for financing of film production, the Slovenian Film Fund (1994–2010), functions as a gatekeeper that indirectly influences the content of the films that are made, while cinema itself functions as an ideological state apparatus. Analysis of the film texts shows the ubiquitous motives of rape and sexual violence against women in the cinema of the independent Slovenia function as punishment for promiscuity or other ways of disrespecting the patriarchal order.
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The article critically reflects on Soviet cinema of ‘the Thaw’ through the female gaze of Larisa Shepitko and Kira Muratova. The image and role of a woman torn between the official discourse (upheld by the state ideology) and one created in the intimacy of the home are analysed. Moreover, the article rethinks the role of feminism in the context of Russian thought, created on a specific background as imposed in the communist idea. Unlike in the West, it is based on the essentialist idea of a binary separation of differences between the sexes, which appears schizophrenic under the pressure of the state ideology. We search for these contradictory lapses in the images of the woman as created in the specific female film language of Shepitko’s Wings (Krylya, 1966) and Muratova’s Brief Encounters (Korotkie vstrechi, 1967) and Long Farewells (Dolgie provody, 1971).
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Cinematography of perestroika (and the early post-Soviet period) entails mixed terrain, often described as a socially-critical “black wave” – chernukha; the period saw an unprecedented number of works by female directors, which remain to be addressed by film scholarship. This article examines the cinematic opus of Olga Zhukova (1954-) who produced five feature films in the period 1990–1994. This article discusses her films, which were not well received by critics and accused of being pretentious and artificial, alongside another Soviet director, Iskra Babich (1938–2001). I re-examine the formation of Zhukova’s cinematic speech, focusing on the interplay of the audio-visual and corporeal, to argue that her works create specific timespaces which defy the immediate socio-political references provided by the seemingly formative linear narratives, and bypass the patriarchal dichotomies underpinning the latter.
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In the article, I tackle the »low« movie genre of feminist pornography through deleuzian film theory in a way that legitimises and affirms its viewing. By considering Swedish producer Mia Engberg’s collection of short films Dirty Diaries (2009), I revise the early psychoanalytic feminist film theory and try to dismiss its analytic distance and replace it with the »new image of viewing«, which is based on proximity and touch. I do not attempt to find a paradigmatic feminist pornographic film; instead, I embrace the diversity. But this is not a further hijacking of the affects to create ever new niche markets. By viewing them together, one can find new lines of flight towards anti-oedipal possibilities of pleasure beyond sexual difference.
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The Hollywood system is a result of the process of transforming film production into industry. Here the film is product of streaming production and the studio is an entertainment factory that guarantees quantity relevant to audience’s tastes. This leads to standardizing and patterns in story writing, directing, editing; the genre becomes a marketing tool and censorship – audience protecting rules. This text is devoted to the Studio years.
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O udziale Ludowego Wojska Polskiego w inwazji i okupacji Czechosłowacji pisaliśmy już w „Karcie ” 6. Wśród wypowiedzi kadry dowódczej zebranych przez Lecha Kowalskiego (Wejście generałów) znalazła się wzmianka o tragicznym zdarzeniu 7 września 1968 w Jiczynie — gdzie mieścił się wówczas jeden z polskich garnizonów okupacyjnych. Teraz wracamy do tego bodaj najbardziej drastycznego epizodu tamtej kampanii LWP. Główna część publikowanego tu tekstu jest zapisem fragmentów ścieżki dźwiękowej filmu dokumentalnego Droga do skrzyżowania (Cesta ke kriżo watce), który w 1994 roku zrealizowany został dla Telewizji Czeskiej przez: Sebastiana Miłaszewskiego (pomysłodawcę i autora zdjęć), Piotra Szymę (organizatora dokumentacji i produkcji), Grzegorza Brauna (scenarzystę i reżysera). Zapis został uzupełniony o fragmenty pochodzące z pierwszej wersji montażowej filmu.
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Trzyczęściowy film dokumentalny Miasto z wyrokiem w reżyserii Wojciecha Maciejewskiego powstał w latach 1996-97 w STUDIO-CONTRA w Łodzi (dla I Programu TVP S.A.). Producent — Jacek Gwizdała, autor scenariusza — Jacek Indelak, autor zdjęć — Igor Kropat. Radomski Czerwiec 1976 nie doczekał się całościowego opracowania. Film Miasto z wyrokiem jest jak dotąd jedyną taką próbą. Nie zachowały się żadne archiwalne zapisy filmowe tych wydarzeń. Niniejszy tekst opracowaliśmy na podstawie ścieżki dźwiękowej filmu oraz obszernej dokumentacji zebranej w trakcie pracy nad nim. Część materiałów dotarła do twórców drogą nieoficjalną, niemożliwe jest więc oznaczenie sygnaturami wszystkich wykorzystanych tu dokumentów. Niektórzy rozmówcy zastrzegli sobie anonimowość. Obecnie film Miasto z wyrokiem objęty jest zakazem emisji. Sąd Wojewódzki w Warszawie uznał racje b. I sekretarza KW PZPR (obecnie przedsiębiorcy budowlanego) Janusza Prokopiaka, który złożył pozew przeciwko TVP, że wykorzystując w filmie jego twarz i wypowiedzi, naruszono jego dobre imię.
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Jak dalej żyć z kimś, kto miał być skałą, a okazał się trzciną? Skoro zawiódł w jednym momencie, czy będzie wierny w innych? Z tymi pytaniami muszą mierzyć się bohaterki w Najsamotniejszej z planet Julii Loktev oraz Turyście Rubena Östlunda.
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This paper examines the case of the Radio Television of Serbia commercial bumper “Welcome Home”, with the purpose of showing how new media are being used as mechanism of sending strong national message to viewers in front of a television screen.Nowadays, more and more people find themselves witnessing how old-fashioned,traditional way of life is being transformed into a new form of representation. With regard to promoting national identity and affirming collective memory reflected in cultural heritage, the national television has made considerate progress, by using new forms of design and applied art. The new visual identity of the RTS (Radio Televison of Serbia) logo design is an illustrative example, through which traditional Serbian costume is being promoted as a symbol of national identity, thus inspiring future generations to take a more active role in its preservation.Cultural heritage in this brief video is of material nature (tangible culture), but looking further we gain insights into other layers of meaning. Intangible culture is likewise sustained in the process of making these costumes that can be perceived as works of art. Handmade with special technique, material and purpose, these costumes testify about customs and practices,aesthetic and spiritual beliefs, artistic expression and others aspects of human activity. Also,these works of art are objects of collective and personal remembrance, items attesting to one’s national history, but likewise to his/her individual, subjective memory.
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The paper demonstrates the prominence of network narratives (films with several autonomous sto¬rylines, globally popular since the mid-1990s) in post-Yugoslav, particularly Croatian, cinema, with examples such as Metastases (2009), The Reaper (2014), You Carry Me (2015), The Constitution (2016), The Trampoline (2017), etc. Unlike network narratives elsewhere, these films often thematize history, with parallel stories typically set during World War II and the Yugoslav Wars of the 1990s. This has been said to suggest as a circular, synchronic vision of history, a “transhistorical dance macabre” as a leitmotif of Balkan cinema. The films Witnesses (2003) and The High Sun (2015), together with a group of multi-narrative plays, i.e. The Last Link (1994), 3 Winters (2014) and Men of Wax (2016), are analysed as vehicles of counter-memory to such self-Balkanizing representations.
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Genre production is often easily localised in various cultures, but localisations of science fiction seem particularly interesting, due to the technological sources of the genre imagery and typical narrative structures. Localisation to a less technologically-oriented society, such as post-yugoslav Croatia and Serbia, are a very good example, since in such films as The Show Must Go On (by Nevio Marasovic) and Technotise - Edit & I (by Aleksa Gajic and Nebojsa Andric) allegorical science fiction deals directly with local problems and narrations, such as Croatia’s obsession with modernisation and West- ern-European identity (in Marasovic’s film) and Serbia’s traumatic relation with Slobodan Milosevic’s regime and national pride (in Gajic’s and Andric’s animated feature film). The experimental concept of Unknown Energies, Unidentified Feelings (by Dalibor Baric and Tomislav Babic) provides another model of dealing with genre structures in a local context, since it directly develops the early-1970s model of connecting experimental cinema with the technological obsessions of the era (important for entire Yugoslavia through the GEFF festival) into a contemporary experimental animated dystopia.
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This paper focuses on the diverse stylistic heritage and various tendencies in Croatian cinema of the 1990s and 2000s. Since many film scholars accentuate the discontinuity between contemporary Croatian cinema and that from the Yugoslav period, the paper points to continuities in the stylistic trends of both periods. The paper also analyzes two major stylistic configurations ‒ classical and modernist ‒ focusing on different variants of both aesthetic orientations. Variants of cinematic classicism (reduced and excessive classical style) are exemplified by the films of Krešo Golik and Fadil Hadžić, and by the films of Dalibor Matanić and Zrinko Ogresta from the contemporary period. On the other hand, variants of cinematic modernism (realist and psychological) are exemplified by thefilms of Vatroslav Mimica and Ante Peterlić from the 1960s, and in the contemporary period by the films of Zrinko Ogresta and Lukas Nola.
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Exploitation films are one of the main trends of the Serbian cinema of the beginning of the 21st century, when Serbia enters the second phase of systemic transformation, striving to neutralize the effects of the crisis in the first phase of transformation – towards the end of the 20th century – due to the authoritarian policy of Slobodan Milošević and Yugoslav wars. This non-film context allows better understanding of the phenomenon of these films, which in many respects are a continuation of the cinema of self-balkanization cultivated in the 1990s, and at the same time differ from it, because they do not offer a compromise with difficult transformational reality, but express the need to release the social trauma born of experience of political violence in the Milošević era.
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The subject of this paper is a new generation of female directors in former Yugoslav (Croatia, Serbia, Bosnia and Herzegovina) cinematography. It considers the stylistic, narrative and representational strategies in the films Clip (Klip, 2012) by Maja Miloš, Sonja and the Bull (Sonja i bik, 2012) by Vlatka Vorkapić, Our Everyday Life (Naša svakodnevna priča, 2015) by Ines Tanović, Zagreb Cappuccino (2014) by Vanja Sviličić, Trampoline (Trampolin, 2016) by Zrinka Katarina Matijević, You Carry Me (Ti mene nosiš, 2015) by Ivona Juka, and Quit Staring at My Plate (Ne gledaj mi u pijat, 2016) by Hana Jušić. The movies are related through conceptual, thematic and/or stylistic features. They examine the position of female protagonists in a patriarchal society and their daily experiences, wherein they dissect gender, economic and social problems that exist in countries in the territory of former Yugoslavia.
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As the very title of Wojciech Staroń, a cinematographer and film director’s text “Documentary versus fiction – reflections, experiences and work methods of a director of photography” indicates, it is an attempt to analyse his own artistic achievements combined with a theoretical reflection on universal and fundamental issues such as understanding the truth in film, in reference to the distinction between the genres of fiction and documentary, or mentioned towards the end of the text, an issue of constructing a film protagonist and film narration in which the protagonist functions and is immersed. All these issues are analysed in a visual context, in reference to the construction of a film shot – the meaning of its contents and form and their combination which will present the subject matter in a few seconds of screen time. The films being analyzed among others are: Pod ochroną, Nagroda and Argentyńska lekcja (Argentinian Lesson).
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