A magyar film nagykönyve
Hungarian films 1896–2021. Hungarian Academy of Arts, 2021. Editors: Gábor Gelencsér, András Murai, Zsolt Pápai, Zoltán Varga.
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Hungarian films 1896–2021. Hungarian Academy of Arts, 2021. Editors: Gábor Gelencsér, András Murai, Zsolt Pápai, Zoltán Varga.
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In the series Twin Peaks, Mark Frost, David Lynch and others create a mythological framework structured by and filtered through Shakespeare in a postsecular exploration of the posthuman. Twin Peaks exemplifies a cultural postsecular turn in its treatment of the posthuman, taking the religious and spiritual perspectives to new —and often extreme—heights in its use of Kabbalah and other traditions. Twin Peaks involves spiritual dimensions that tap into other planes of existence in which struggles between benign and destructive entities or forces, multiple universes, and extradimensional, nonhuman spirits question the centrality of the human and radically challenge traditional Western notions of being. Twin Peaks draws from Shakespeare’s expansive imagination to explore these dimensions of reality that include nonhuman entities—demons, angels, and other spirits—existing beyond and outside of fabricated, human-centered worlds, with the dybbuk functioning as the embodiment of the postsecular religious posthuman.
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The convergence of textuality and multimedia in the twenty-first century signals a profound shift in early modern scholarship as Shakespeare’s text is no longer separable from the diffuse presence of Shakespeare on film. Such transformative abstractions of Shakespearean linearity materialize throughout the perpetual remediations of Shakespeare on screen, and the theoretical frameworks of posthumanism, I argue, afford us the lens necessary to examine the interplay between film and text. Elaborating on André Bazin’s germinal essay “The Myth of Total Cinema,” which asserts that the original goal of film was to create “a total and complete representation of reality,” this article substantiates the posthuman potentiality of film to affect both humanity and textuality, and the tangible effects of such an encompassing cinema evince themselves across a myriad of Shakespearean appropriations in the twenty-first century (20). I propose that the textual discourses surrounding Shakespeare’s life and works are reconstructed through posthuman interventions in the cinematic representation of Shakespeare and his contemporaries. Couched in both film theory and cybernetics, the surfacing of posthuman interventions in Shakespearean appropriation urges the reconsideration of what it means to engage with Shakespeare on film and television. Challenging the notion of a static, new historicist reading of Shakespeare on screen, the introduction of posthumanist theory forces us to recognize the alternative ontologies shaping Shakespearean appropriation. Thus, the filmic representation of Shakespeare, in its mimetic and portentous embodiment, emerges as a tertiary actant alongside humanity and textuality as a form of posthuman collaboration.
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The challenges that society has to face require the analysis of whether or not dance and choreography can still develop a linear relationship and thus, the need to define new concepts and methodologies. This article examines how the choreographic act is separated from the historical context of dance, insisting on the perspective in which it is generated by the creative activity of arranging the conditions for something to happen.
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The sculptor Lazar Dubinovsky (1910-1982) received his first skills in the field of anatomy of the head at the School of Fine Arts in Bucharest, where he studied in the class of teachers as Dimitri Pachurya and Oscar Khan. A short trip to Paris had a significant impact on his work, where he continued his studies at the workshop of Antoine Bourdelle, at the Academia Grand Chaumiere. In 1930 he graduated from the School of Fine Arts in Bucharest. In 1951-1953 Lazar Dubinovsky worked in the studio of the famous monumental sculptor Eugenie Vuchetich. Anatomical constructions in the portraits created by Lazar Dubinovsky have a special place in demonstration the character and individual peculiarities of the nature. In different periods, the documentary, romanticism and humanism of the images, created by him became an example of a sculptural portrait for the viewer, and for colleagues in the workshop. The knowledge acquired by the sculptor in the field of anatomy of head allowed him to create significant works on the national and international level.
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We study in this article some elements of the tragic of love which is present in Ingmar Bergman’s work: the changing character of human being and his desire of an impossible stability; the love relation as a representation; the impossibility of understanding and of being understood; the impossibility of going out of oneself; the impossibility of being happy alone as well as being two; and the refuse to have a child. We remind in our Conclusion that Bergman manages nevertheless to go beyond the tragic of love in a movie like Wild Strawberries.
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Nous nous intéresserons, dans cet article, à la question du vide qui structure l'ensemble de l’œuvre de Sofia Coppola. Thématique centrale des films de la réalisatrice de Lost in translation, le vide est aussi un élément esthétique important. Nous aborderons, dans un premier temps, cette problématique sous un angle essentiellement thématique avant de nous intéresser au traitement de l'espace comme métaphore des troubles émotionnels des personnages. Il s'agira ici de montrer qu'il y a, chez la cinéaste, une véritable forme-sens, que la représentation des états d'âme des individus ou de la vacuité du monde est intrinsèquement liée à l'espace.
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The present study aims to make a brief analysis of festivals as events in general, and film festivals in particular, and consists of two distinct parts: the complexity of the impact factors of festivals on the phenomenon of tourism and a case study attention ClujShorts Film Festival. The first part is a theoretical introspection on the fields / directions of impact deriving from this type of human activity and we will refer, successively, to the financial side, the tourist side (strictly from the point of view of the destination) and the socio-cultural side, trying thus to completely cover the main angles of the approach. We have tried to focus on each the three sectors in order to highlight the benefits deriving from the development of this type of activity. The second part of the article makes a brief foray into the main film festivals in Romania, and is continued with the analysis of the results of a questionnaire survey, applied within the Cluj Shorts film festival, 2019 edition, and 2020 online. The questionnaire was constructed so that the results are relevant in order to be able to draw the profile of the participating tourist, as well as to emphasize the main elements of the tourist infrastructure that are preferred by the participants. Even if the data on the tourist flow in Cluj Napoca in April (the month in which the festival usually takes place) cannot be separated in terms of exact origin, the analysis of the trend in recent years shows that this international film event has an undoubted contribution in consolidating the city as a complex cultural tourist destination.
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This text discusses three documentary films (a fake documentary, an episode of a scientific documentary series and a documentary on flat-Earthers) to discuss the limits of knowledge and belief for scientific discourse, and how psychoanalysis enters this debate by insisting in the presence of a subject (a subject of the signifier, not the psychological subjectivity). This, in turn, reflects on a political task for documentary cinema: to assume a subjective position, insofar as they are not films that are true or manipulative, but films about the structural place of Truth, and as such, they reflect on the gap between knowledge and belief.
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“Evolution is a beautiful thing. To witness something grow, change, and move forward—is sacred,” says Patty Stonefish in her introduction to Deer Woman: An Anthology, a 2017 comic book edited by Elizabeth LaPensée and Weshoyot Alvitre. The Native works discussed in this article re-contextualize Deer Woman, a spirit found in the oral traditions of many Native American nations. They use literature and “sequential art” (Lee Francis IV) as vehicles for retelling old stories in a contemporary setting, have myth live on, and keep tradition alive and valid, rather than lodged in the past, “adding new layers of growth […] just as living trees do” (Bruchac 8). Non-Native cultural products continue to display the tension between “fixity” and “repeatability” (Bhabha 94-95) in the monstrous representation of the “Indian,” a product of the “wétiko” (cannibalistic) impulse of colonialism and patriarchy (Forbes 22). Multiple Native voices “revision”/“re-vision” (Osborn 261) Deer Woman to articulate criticism of the colonially-rooted construction of the Indigenous and employ her tricksterism to subvert static meaning and reclaim sovereignty.
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The article explores how artificial intelligence is constructed in a female body and showcases the boundaries between human and technological traits, as well as the relationship between human beings and technology. The article defines the notion of artificial intelligence and discusses how artificial intelligence is portrayed in science fiction films. The article does not attempt to provide new theoretical insights into artificial intelligence but, instead, to show how artificial intelligence is characterised in the context of modern science fiction films. Two contemporary science fiction films, which focus on the artificial intelligence in the female body, are analysed: Alex Garland’s Ex Machina (2014) and Spike Jonze’s Her (2013). The analysis of the films showcases the blurred lines between being a human and being a robot: AI in the female body is portrayed as having adequate cognitive abilities and an ability to experience or to realistically imitate various mental states. The AI embodiment found in the films explores different narratives: the anthropomorphic body (Ex Machina) motivates to get to know the world and thus expands one’s experience, while the partial embodiment (Her) “programs” intellectual actions and development beyond the human body. Ex Machina highlights the anti-humanity of the female robot: another (human) life is devalued in order to pursue a goal. On the contrary, Her highlights the hyper-humanity of the operating system: continuous improvements exceed the boundaries of communication with other people.
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Euphoria, a color American TV series, 2019–2022. Director: Sam Levinson. Screenwriter: Daphna Levin, Ron Leshem, Sam Levinson. Cast: Zendaya, Hunter Schafer, Jacob Elordi, Sydney Sweeney, Angus Cloud. Cinematography: Rév Marcell. Editor: Julio Perez IV. Zene: Labrinth. Producer: Philipp A. Barnett. Manufacturer: HBO.
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The study focuses on the question if and how it is possible to balance the freedom of developing artist’s individual creative idea and the societal demand for art defined in a concrete political context. The theoretical basis for the article is formed by research approaches grounded on sociology of creativity and social psychology. The object of the case study is film directors who had obtained funding for the production and dissemination of their films within the funding program ‘Latvian Films for Latvia’s Centenary’ (2016–2018). The experience of film directors (N 16) was examined by using in-depth interviews and transcriptions analysed in accordance with qualitative methodology. The study identified two contingent levels of creativity inspiration – the individual and the societal or collective level. The authors identify several development models of the film directors’ creative ideas, three of which are dominant: the independent outsider who stresses individual, seed-incident based creativity factors independent of the Latvian Centenary program; the independent idealist who stresses both individual and collective factors, independent of the Latvian Centenary program; the conforming patriot who stresses collective creativity factors that stem from the Latvian Centenary program. The view represented in the film directors’ interviews has in common the assumption that the Latvian Centenary call had a positive influence on the film ideas, allowing the development of the artistic vision and conceptualising the framework for the expression of their ideas. The directors emphasise that there was no intentional configuration of the film creative ideas by formally adjusting them to the demand, thus circumventing the barriers of social field’s gatekeepers. In many cases the idea had been developed long before the film idea call. Most directors admitted that the goal of the Centenary call appeared important to them both in terms of the state, and on the social and personal level.
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Modern cognitive and experimental science is increasingly working to explore the meaning and importance of forgetting. Forgetting is one of the most important mental functions on an individual level, but also on a social and national level, since it enables healing, purifies the mind of difficult memories, prevents obsession with problems, and eliminates the possibility of psychosomatic illnesses. The famous British TV series Black Mirror, which has become a symbol of the challenges that modern and futuristic technology brings to man, deals with the problems that arise due to the obsession of the gadget culture with abolishing forgetting through technological enhancement. Several episodes are based on gadgets that expand the potential of memory and make it constantly available to other subjects, in the way that data from a person’s entire history become available. In a dialogue with Brooker’s ideas, the author re–examines the problems spawned by this future society without forgetting, and searches for possible solutions
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Sustainable fashion is socially and environmentally responsible fashion, economically successful and ethical in relation to nature, other living beings and people. The results of the research of Croatian designers’ attitudes regarding the concept of sustainable fashion have shown that most of the respondents get acquainted with this concept through documentaries (Holy & Borčić, 2018), which is not surprising because there are many attractive documentaries on the topic of fast fashion unsustainability and promotion of sustainable concepts in the fashion industry. The paper explores how six documentary films frame the concept of sustainable fashion and the concept of fast/cheap fashion, which emotional appeals are used in films, how narrative is constructed and how fashion in general is presented. Content analysis was conducted on the following documentaries: True Cost, The Next Black, Slow Down Fast Fashion, Unravel, River Blue and Do we change it? Ethical fashion documentary. Research has shown that documentaries about the fashion industry use manipulative persuasion techniques but insufficiently integrate audiences, which can affect their effectiveness.
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The largest and most luxurious passenger ship in the Adriatic was the steamship “Queen Mary”, that initially held constant 12-days line from Sušak, via Split and Dubrovnik to Greece. Later, that line was extended to Palestine and Egypt, and has attracted the attention of members of the Zagreb elite. Among the first ones who have travelled that line, from September 13th until October 7th, 1933, was the prominent Zagreb’s entrepreneurial family Deutsch-Maceljski. Their experience and atmosphere from the cruise and places they visited were recorded by the film camera. They recorded footage and descriptions of Istanbul, the Bosphorus, Rhodes, Beirut, Lebanon and Damascus, and the most fascinating images and descriptions were the family visits to Jaffa, Jerusalem, the Dead Sea, Bethlehem, Tel Aviv and Cairo. In this article, we will analyze this rare film that has been preserved in the Cinematheque of the Croatian State Archives in Zagreb.
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The text is about the foley profession, an important specialty performed as part of film sound design, at the post-production stage. What’s important here is both, the foley artist’s body, which becomes an instrument, and the ontology of created sounds, which are inserted into the finished film and synchronized with the picture. The author wonders if there is still a place for foley artists in the digital reality and common computerization of work. But the most important issue concerns the nature of sounds themselves, in the context of their production, acousmatics and the ubiquitous sound design.What is the sound implemented into the picture, does the picture give credence to the sound, even though the sound is “substituted” because it is produced in the studio? The situation is debatable, in the context of acousmatic listening (i.e. without the context of the source), because the picture provides a substitute context for the sound, and the viewer (listener) accepts this audio-visual relationship without reservation (as long as the sound is prepared well). Especially since by going to the cinema, the viewer agrees to a form of manipulation in the name of entertainment. Usually he or she is not aware of the mystification in the field of sound, which - within the oculocentric perception ‒ for him or her is only a complement to the picture, although, in fact, it plays a fundamental role in understanding what is happening on the screen. Other topics discussed in the text concern the communicativeness of sound and the historical background of the foley profession. Also important are the interrelations between foley and sound design and other areas of sound activity, as part of the preparation of all the audio layers of a film.
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This study presents pre-service science teachers’ views about implementing a case study and which skills they improved as a result of using the method. Sixteen participants in a chemistry class were the subjects in the 2013 summer school term. In the teaching about the properties of chromium, students watched selected parts of the movie Erin Brockovich in four sections. Each part of the movie was followed with a question, and students were then given about 15-20 minutes to find out the answer to the question by using Internet-based resources in the classroom environment. Qualitative data were collected by having participants respond in writing to open-ended questions and through semi-structured interviews. Overall, students’ reactions to the method were positive. The results showed that students found it to be an effective instructional method, despite having some difficulties with the expectations of the method and this method has provided many benefits for pre-service teachers.
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In the paper the crucial speculative, epistemological and ontological, determinants of film work and cinema are presented, those that could orient empirical research. (1) Film work is a delimited material object in the human environment, it can be manipulated, and people can form different life relationships to it. (2) Film work is an artifact technologically produced, entailing differential development of the productionally needed technique. (3) Film work is produced in order to stimulate a mental, experiential reaction, it is the main purpose of the artifact. (4) Technological control over the details of production process enables controlled modeling of possible experiences afforded by the film artifact; a film is epistemological modeling artifact. The film process is also a communicational process; epistemological modeling implies the two types of communicational sharing: the makers of the artifact are addressing by film work potential or actual spectators, and, further, spectators share experiences offered by film work among themselves. (5) All previously mentioned characteristics of film work and film process are social-cultural act as well. The film relies on the surrounding cultural resources, and is a cultural recourse in its own right. (6) Being a technological, communicational and cultural phenomenon, by implication social, film work and film process are also socially organized, institutionally sustained.
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Satan and the origins of Evil have fascinated mankind since the dawn of time. Therefore, this article attempts to answer the question who is Satan and why is he often identified with Lucifer? We will then follow his fate written on the pages of the Holy Bible and apocryphal literature, and finally compare Satan with the title character of the popular TV series Lucifer. Thus it will be possible to answer the next question - to what extent the protagonist of the series, the personification of the common ideas about Satan rooted in popular culture, resembles his biblical prototype.
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