"Suszyć, skruszyć, zmielić, zważyć". Kino gatunków a filmy z Panem Kleksem

Author(s): Radoslaw Pisula / Language(s): Polish / Issue: 15 (22)/2016

Polish genre cinema in the time of Polish People’s Republic was in stagnation due to the sociopolitical situation. Limited access to the thriving foreign film industry suppressed a natural evolution within the genre cinema. However, the liberalization of stagnant and overly politicized rules in the communist film industry brought change in the 1980s.The government used to saw movies as a way to sell propaganda in the country. This cultural revolution was marked by the appearance of a new generation of directors, similar in some ways to American New Hollywood; rise of a VCR market and laxity of political restrictions.One of the best representatives of this progression is the Mr. Kleks movie trilogy. Adaptations of Jan Brzechwa’s cult book series: Academy of Mr. Kleks (1983), The Travels of Mr. Kleks (1985), Mr. Kleks in Space (1988). All of theme were directed by Krzysztof Gradowski. The series is a perfect example of a genre-melting pot. Something unprecedented in the Polish cinema.Although there are many radically different conventions in the story, the narrative is very coherent. The release of the first installment clearly marks the beginning of the transformation in the Polish film industry.In the article, I will present the ways in which the film genres are functioning in the Mr. Kleks movies and analyze how these highly original productions were part of a turbulent period of transformational change in communist Poland.

"Verujem u Boga i u Sudnji dan" – Hayrun Yahya i savremena kontekstualizacija apokaliptičnih hadisa

Author(s): Marko Pišev / Language(s): Serbian / Issue: 1/2013

The motif of the apocalypse has fascinated mankind from the very beginnings of oral history and is present in various myths and religious traditions, finding its expression in the art of all time periods. Even today it hasn't lost its grip on human imagination. In modern Islamic contexts, the phenomenon of the apocalypse incorporates anti-western ideologies, which reflect, to a large extent the socio-cultural heritage of former anti-colonialist struggles, as well as the anti-imperialist attitudes which are present in a large number of contemporary Muslim societies. When paired with apocalyptic narratives, these notions can lead to negative essentializations of so-called "western morals and ethics", which are subsequently interpreted as a clear sign of the End times. Aside from the wider consideration of the symbolism of Islamic apocalyptic narratives, the paper will deal with a critical analysis of the visualizations of the Signs of the Last Day books by religious author Hayrun Yahya, who considers the topic of the apocalypse, as presented in the Koran and hadiths, in an affirmative light. We will attempt to puzzle out why the textual version of Signs utilizes certain quotes from the hadiths, while other, equally relevant quotes are avoided. We will rely on the so-called "interdiscursive" aspect of the enclosed quasi– documentary film, or rather, the heterogeneous elements which make up its audio-visual "text". This analysis should uncover the ideological notions behind this specific instrumentalization of scripture for the aim of religious, cultural and moral critique of contemporary (both Muslim and non-Muslim) societies; however, we will also attempt to point out the multifunctional idea – suggested to the viewing/reading audience of apocalyptic narratives – that Judgment day is near, and can come around at any moment.

"Wieczór" Edwarda Żebrowskiego - autorska kopia

Author(s): Andrzej Szpulak / Language(s): Polish / Issue: 19/2012

The aim of this article is interpretation of the short film directed in 1964 by Edward Żebrowski, student of Film School in Łódź. Author is considering the many aspects of the relationships between study film and two years earlier debut of Roman Polanski, the famous Knife in the Water. He shows that by using the concept of feature of more experienced colleague, Żebrowski at the same time creates the foundations for his own film language and manifests its own perception of the world, as well as interpersonal problems, developed in further work.

"Without One Tree, a Forest Will Stay a Forest" by Dagmara Drzazga As a Religious and Historical Documentary

Author(s): Katarzyna Citko / Language(s): English / Issue: 24/2014

Katarzyna Citkos article is an analysis of Dagmara Drzazga’s film Bez jednego drzewa las lasem zostanie (Without One Tree, a Forest Will Stay a Forest, 2012), an example of a religious and historical documentary. The article describes the film’s depiction of the tragic fate of Jan Macha, a priest who during the Nazi occupation of Poland organized help for victims of German oppression as a co-founder of the Scout organization Konwalia (Lilly). For his work, he was arrested and executed in a prison in Katowice by means of a guillotine that was installed there in 1941. The article also analyses film-making techniques characteristic to documentaries, as well as the specific forms of expression which situate Drzazga’s work in the realm of religious cinema. These documentary techniques include combining photos and archival documentaries, interviews with people who knew Macha, and the opinions of experts, such as historians, clergymen and journalists. Other interesting techniques employed by the director make it possible to describe the film as belonging to religious cinema of the transcendental style, as described by Paul Schrader, which abandons unnecessary suspense in favor of poetic images; focuses on the dynamics and drama of the events rather than an in-depth psychological analysis of characters’ motivations; interweaves first and third person narration, which is carried out by means of both voice over and by people speaking in the film; uses suggestive image editing combined with music which employs the theme of Agnus Dei. All of these features helped Drzazga’s interesting and thought-provoking film win a number of awards at international Catholic film festivals.

"Анна Каренина. История Вронского" на Карен Шахназаров - граници на киноинтерпретацията

Author(s): Nataliya Nyagolova / Language(s): Bulgarian / Publication Year: 0

The article outlines the aesthetic and culturological context of the inception and functioning of the series “Anna Karenina. The History of Vronsky” (2017) by Karen Shakhnazarov. It describes the transformations of the original narrative model of L.N.Tolstoy’s novel and its relation to the structure of the parable (Gabdullina) and the parallel story structure (Nabokov). It also interprets the novel’s narrative assembly with the documentary prose of V. V. Veresaev as a model of presenting Russian history of the end of the XIX – early XX century.

"КУРСАЏИЈЕ"- ТЕРАПЕУТСКА УСПАВАНКА? АНАЛИЗА ПОПУЛАРНЕ ДОМАЋЕ ХУМОРИСТИЧКЕ СЕРИЈЕ

Author(s): Marija Krstic / Language(s): Serbian / Issue: 1/2009

This paper analyzes Serbian television comedy series "Kursadzije" and its popularity with Serbian audience. The kursadzije are representatives of nations of former Socialist Federative Republic of Yugoslavia and participants of the course for "Special Balkan Forces" - all are nationally stereotyped, while the Serb is also socially defined, as "Peasant Serb" (Srbin-Seljak). The series demonstrates the effort to define Serb identity through stereotypes and humiliation of other members of former SFRY. I analyzed the contents of the DVD edition of "Kursadzije 1-5", and used the results of interviews with fans and viewers of the series, and an interview with Sasa Pantic, actor and screenplay writer of "Kursadzije". Despite poor quality of the series which is mostly based on use of ethnic humor, this sitcom is very popular among various social, educational and age groups in Serbia. Therefore, aim of the research was to reexamine reasons why is such (re)construction of Others important to the audience, and is "Yugo-nostalgia", viewed as craving for better times, one of the reasons for huge acceptance and popularity of the series.

"Лигите на дявола": Теория на присъстващия

Author(s): Vanya Georgieva / Language(s): Bulgarian / Publication Year: 0

The present text focuses on the question of the "ultimate" observing authority in the "The drool of the devil". This is an attempt to study who is the biggest, the highest, the most real viewer that is present? Who is the "true master" of the story? The narrative, the author, the heroes, the reader, the one in the center of the sphere? The answer is to be sought in “The drool of the devil” or “The Devil's Drool”, also commonly known as “Blow-up” – after Antonioni’s film which it inspired.

"Музикалната естрада продължава да живее в културната памет на българите"

Интервю с Розмари Стателова за новата й книга 'Естрада и социализъм: проблясъци'

Author(s): Zhana Popova / Language(s): Bulgarian / Issue: 5/2019

Interview with Rosemary Statelova about her new book „Estrada and Socialism: Glimpses“

"Руси долазе, Руси долазе" - апологија детанта“

Author(s): Ivan Kovacevic,Vladimir Ribic / Language(s): Serbian / Issue: 2/2014

The 1966 film The Russians are coming, the Russians are coming is a film which promotes the politics of detente in America. After cold war era films in which the Soviets are exclusively portrayed as spies endangering America, this is the first film to portray them as positive characters, while ridiculing those who propagate war and confrontation. After the Cuban crisis and the process of stopping the spread of nuclear weapons it was necessary to show the American public the funny face of detente. In the comedy about sailors from a stranded Soviet submarine confrontation is always possible but us avoided through solidarity and communal efforts. This apology of detente, intended to calm the cold war situation and anti-war lobbies in America is one-sided, because there weren’t any such films on the other side. What happened over there during the detente period is evident by the following decade in which the largest number of military interventions by the Soviet and Cuban armies around the world occurred.

#problemypierwszegoswiata Gdy długie filmy trwają jeszcze dłużej

Author(s): Wiliam Brown / Language(s): Polish / Issue: 19 (26)/2018

The aim of this essay is to identify the ways in which long films might be seen to constitute a challenge to the capitalist ideology that underwrites much of contemporary life. I shall do this not by identifying what makes a long film long, but by working with the very relativity of the term (it is not that all movies over, say, three hours in length are ‘long’). That is, I shall argue that a film becomes ‘long’ when it contradicts the demands of contemporary life under capitalism. I shall then explore to what extent this contradiction always holds if all films are, regardless of running time, spectacles of a sort, and thus not a challenge to, but a critical component of life under capitalism. Finally, I shall suggest that it is when films are unnecessarily longer than they should be, e.g. when the internet is not working for online film viewing, that we have perhaps the most powerful challenge to the ‘busy’ ideology of life under capitalism.

(Im)purity in the media on the basis of the films 50 shades of Grey and Caroline

Author(s): Malgorzata Laskowska,Krzysztof Marcynski / Language(s): English / Issue: 3/2016

Issues related to the eroticism frequently appear in the media and this is the context in which the authors of the following text concentrated on a closely related and yet opposing matter. They decided to ask about the broadly defined chastity and the purity of heart, mind and body (the terms chastity and purity,as well as unchastity and impurity, shall be used interchangeably). How is this topic presented by the contemporary media? Simultaneously, they ask how the issues related to the lack of such purity, e.g. in the physical context, are treated by the media.The authors made an attempt to explain this by presenting a comparative analysis of two films they chose as serving best for their purpose. The first is 50 Shades of Grey, directed by Sam Taylor-Johnson, and the other Caroline,directed by Dariusz Regucki. During the first stage of this research of notions and chastity and unchastity have been defined, on the basis of the proper reference books. Next, the chosen movies were analysed thoroughly, in order to define the true look of the purity and impurity noticeable in both movies – in their activities, as well as in the behavior and dialogues of the main protagonists. The third stage of the research assumed creating a synthesis of the material achieved on the basis of analyzing the two pictures. At this moment it became possible to present the conclusions, pointing out, first of all, that the media are rather poorly interested in the subject of chastity. However, this inspired the authors to drawing other conclusions in the form of the postulates, concerning how the media presents the subjects of purity and impurity

(Inter)faces, or how to think faces in the era of cyberfaces

Author(s): Tomáš Jirsa,Rebecca Rosenberg / Language(s): English / Issue: 4/2019

(Nie)chronologie choroby. Punktowa obecność obrazu-bólu w Miłości Michaela Hanekego

Author(s): Sebastian Porzuczek / Language(s): Polish / Issue: 1/2018

Focusing on Michael Haneke’s Amour, Porzuczek examines the mechanisms of visual (non-linguistic) representations of pain and illness in the realm of the film medium. In the Austrian film director’s work the problem of suffering is inscribed in the order of emotional tensions in family relationships. It is against this backdrop that the question of social (cultural) exclusion emerges. Porzuczek draws on notions such as Roland Barthes’s punctum and Gilles Deleuze’s time-image. Relevant issues are: a) the process of the materialization of time (through slowness) in the representation of daily struggles with illness and b) the specificity of the violent, punctual appearance of a paroxysm – analysed in terms of Porzuczek’s concept of the pain-image, which initiates an ethical (affective) encounter with the image experienced by the viewer.

(Nie)święte ciało: socjologiczny i filozoficzny wymiar okrucieństwa w sztuce na przykładzie trzech wybranych dzieł filmowych

Author(s): Markus Lipowicz / Language(s): Polish / Issue: 1/2015

The aim of the present article is an attempt to analyse and interpret cinematic cruelty from a sociological and philosophical perspective. Contrary to the received wisdom, where film violence results on the viewers’ side from the destructive aspects of human nature and on the producers’ side from the desire for material profit, the author presents an alternative approach to this social phenomenon. the main thesis is that gore in movies poses a more or less fulfilling artistic commentary on actual social relationships and contemporary cultural conditions. The line of the argument is divided into three parts: in the first part, the author describes the modern transition from a transcendental to a transgressive understanding of the body and of corporeality; in the second part, the author presents the issue of cultural fascination with cruelty, from a sociological and also from a historical perspective; in the third and last part, the author analyses and interprets the respective aspects of three selected violent movies, pointing out their sociological and philosophical implications. the main methodological premise is posed by the concept of the ‘productive viewer’ from rainer Winter, according to which the viewer is not a passive perceiver of art, but is an active and interpretive subject of the pictures on the basis of their contemporary cultural meanings and content.

(Re)Designing Human. Genetics in Cinema. The Dialectics of Past, Present and Future

Author(s): Aneta Jalocha / Language(s): English / Issue: 04/2013

The aim of the article is to analyse representations of genetic engineering in chosen science fiction films: GATTACA (1997), The Island (2005) and Never Let Me Go (2010). In the first section of the article, the author delineates the emergence of the concept of ‘biotechnology’ and the moment of its identification with genetics and molecular biology. In the following, she draws attention to sociocultural functions of genetics and the dynamics of forming public understanding of the scientific subdiscipline. In film interpretations, the author focuses on genetic engineering technologies depicted and the ethical issues raised by the depiction. She argues that science fiction creates images of the future immersed in the past and the present; and that science fiction should be recognized as an important space of negotiating the meanings and roles of genetic engineering; both reflecting and shaping the public concerns on the rapidly expanding domain of biotechnology.

(Re)konstrukcja rodzinnej historii. Fotograficzny błąd w funkcji triku

Author(s): Justyna Hanna Budzik / Language(s): Polish / Issue: 99/2017

The author considers the trick character of two photographic images that accidentally overlap, and therefore do not belong to the category of recreational or spiritual photography. Interpretation of photographs from the family archive is inscribed in the broader context of the philosophy of photography with references to the theories of Roland Barthes, François Soulages, Pierre Bourdieu and Marianna Michałowska. Budzik also touches on the relation between photographs and family narration, wondering how unintentional imagery influences the construction of a fantasy genealogy (a term coined by Joanna Bator)

12 Eylül Sineması ve Parçalanmış Kişilikler

Sen Türkülerini Söyle Filminin Travma Teorisi Çerçevesinde Analizi

Author(s): Gökhan Ugur / Language(s): Turkish / Issue: 2/2016

This article focuses on Sen Türkülerini Söyle that deals with consequences of September 12 military coup in Turkey. Trauma theory is used to carry out an analysis of 12 September films that has never been made before in Turkish academic field. The hypothesis is that the events before and after September 12 military coup caused people in Turkey to have shuttered personality, and afterwards they held the state responsible for such a pain/a trauma. State, as a superior FATHER in Turkish people’s subconscious, (Devlet Baba/Father State is the term to define state in Turkey) caused many ruined lives and the state became a hated figure for them. In the eyes of the children, their fathers disappeared arbitrarily, which created fury and distrust; however, it takes time to realize that their fathers disappeared not because of their own will but because of the unchallengeable arbitrary state power; put it in other words, by Omnipotent Father.

15 Minutes: Belarus!

Author(s): Aleh Dashkevich,Volha Dashuk,Beata Dzianowicz,Jolanta Kilian,Iryna Volakh,Jan Zamojski / Language(s): Polish / Issue: 24/2014

Student project

1500 stron o 120 latach polskiego dokumentu

Author(s): Tadeusz Szczepanski / Language(s): Polish / Issue: 97-98/2017

Review of two thematically related publications devoted to the Polish documentary film: Małgorzata Hendrykowska’s monograph “Historia polskiego filmu dokumentalnego (1896-1944)” [“The History of Polish Documentary Film (1896-1944)”] published in 2015 and the collected volume “Historia polskiego filmu dokumentalnego (1945-2014)” [“The History of Polish Documentary Film (1945-2014)”] also edited and published by Małgorzata Hendrykowska in 2015. Szczepański reviews the content of both books, points out the titanic work that Małgorzata Hendrykowska has put into the preparation of these volumes as an author and editor. In his summary, the reviewer notes that this two-volume edition is a project of a difficult-to-overestimate encyclopaedic value – it impresses with the concept and workmanship, while restoring documentary filmmaking to its rank in post-war national culture.

1914 – 1951 YILLARI ARASINDA TÜRK MÜZİĞİ’NİN TÜRK SİNEMASI’NA KATKILARI

Author(s): Sefer Karabük / Language(s): Turkish / Issue: 42/2018

In this article, music used in the films that were shot between the years 1914 and 1951, in the history of the Turkish Cinema which have now outdistanced a century are examined. The developing film industry in Turkey was influenced by other film genres of different countries, and films in which music played an important role in the Turkish Cinema were shot. With the courtesy of the composers who composed new works with the important vocal artists and i instrumentalists of the period, these films became a new curiosity and entertainment source of the people with the influence of the conditions of the period on the nation. It has been determined that there has been no study involving Turkish Cinema and Turkish Music, so it is aimed to pin down unknown data about this subject. While working, Turkish Cinema, films, and Turkish Music were diverged to periods in terms of relation. After briefly addressing the Initial Period (1914 - 1939) in order to narrow down the scope of the research, the Development Period (1939-1951) is studied in detail and chronological order. With the literature review method the film archives, movie posters, newspapers, magazines and books were examined; and as a result, the names of the musical directors of 53 films out of 138 that were shot from 1914 until 1951 and the names of the artists who did vocalization in 32 films were found.