Around the Bloc: Russia’s Supreme Court to Hear Ukrainian Filmmaker’s Appeal
Lawyer for Crimea native Oleg Sentsov, jailed for 20 years on terrorism charges, hopes for reduced sentence.
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Lawyer for Crimea native Oleg Sentsov, jailed for 20 years on terrorism charges, hopes for reduced sentence.
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The beginning of the 21st century gave the Czech reflection on Czechoslovakian culture a new impulse which resulted in many publications and conferences dedicated to this phenomenon. Yet we are still facing an emerging reflection. If we were to disregard singular papers written from the perspective of historical, historico-literary or media studies, the studies of Czechoslovakian popular culture are just starting to develop. In my article, based on conducted research and analyses, I would like to highlight some methodological problems faced by the reflection on the phenomena of Czechoslovakian popular culture which emerges in the Czech Republic, which are the result of the conditions of the communist regime and of – often too overwhelming – Western European and America tradition which offers tools that are not always suited to the specificity of the reign of the centrally planned economy and the Central European space.
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The article presents a silhouette of Konwicki not only in the context of his achievements in Polish prose and film, but also through the roles he assumed at different stages in his career: as a writer supporting the new post-war political system, as a film author seen through a portrait created by critics and future filmmakers of the new French New Wave, and as a commentator on his own work, which led to the creation of the paradoxical image of him as both a well-recognized artist, an emblematic writer-filmmaker, and, at the same time, a historical passer-by, carried along by circumstances
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Set amid stunning mountain scenery, ‘The Eagle Huntress’ follows a teenager’s dream of becoming a master of her craft.
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Author of this article discusses the various ways of the use of the film materials in the project “Invisible city” and their analysis (four short films about the makers of “Invisible city”, four kinograms of the studied places and one scientific film that is a form of self-reflexion of the researchers). Farther he presents a short historical and theoretical introduction to the scientific film and to his specific genre who is sociological film. For conclusion he undertakes the reflexion about the possibility of the next studies based on the film materials from the project “Invisible city”.
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Rozważania podjęte przez autorki tekstów zamieszczonych w niniejszym numerze „Przeglądu Kulturoznawczego” dotyczą różnorodnych zagadnień związanych z obecnością kobiet w kulturze wizualnej Galicji – fotograficznej i filmowej – zarówno jako jej kreatorek, jak i odbiorczyń. Wybór obszaru dawnego zaboru austriackiego podyktowany jest chęcią podjęcia lokalnych badań, ograniczonych do historycznego (i mitycznego) terenu o wyrazistej, choć niejednorodnej, tożsamości kulturowej wynikającej z politycznych, ekonomicznych, społecznych, ale i kulturowych uwarunkowań.
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The movie “Dagger” filmed in 1999 is one of the most popular Serbian movies in the post-war period. The movie narrates the story of baby Iliya Yugovic who happened to be kidnaped by the Muslims ustasa in the night of the Christmas massacre in year 1941 and was raised as Ali Osmanovic. The main notion of the movie is that all the Muslims are Orthodox Christians who accepted Islam for personal material gain. To what extent the movie is significant for Serbian national interest is evident from the fact that it is presented every year on the Christmas Eve by all the private and public broadcasters in Republic of Srpska and in Serbia.
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the aim of this article is to identify characteristics of a ndy Warhol’s ‘philosophy of love’, the elements of which were described in the Philosophy of Andy warhol (From A to B and Back Again), and an analysis in this context of Warhol’s films Blow Job (1963) and My Hustler (1965). Warhol’s films are treated as an opportunity to discuss his attitude to love and sex, as they contain the key elements of his unusual ‘philosophy of love’. The artist’s biography is referenced, as are the concept of ‘impersonal narcissism’, put forth by Leo Bersani and Adam Phillips, Slavoj Žižek’s theories on the role of fantasy in a relationship, and some reflections of Susan Sontag and Esther Perel.
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The aim of this paper is to examine the validity and utility of the category of artistic thinking through applying it to the description of an aesthetic situation as given by Roman Ingarden. The authors are referring to the common understanding of the concept as well as Ingarden’s works, such as: Wykład XI and Przeżycie estetyczne. In this paper they discuss the components of an aesthetic situation, at the same time attempting to characterise the category of artistic thinking.
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The article is devoted to the interpretation of cultural elements in the audiovisual translation of Wesele by Andrzej Wajda and their reception by the French viewer. The choice of the film was dictated by its strong rootedness in Polish culture. The analysis of the film translation makes it possible to group the cultural elements into several categories. In each case, we try to clarify how the analyzed scenes are understood by the French viewer. This analysis leads to the conclusion, that most of the cultural elements in Wesele remain incomprehensible. Although the role of non-verbal code (picture, music) is to explain and to complete verbal code (subtitles), this function is not completely fulfilled in the case of Wajda’s movie. Many scenes, especially images lacking words, do not induce any cultural associations amongst French viewers, which may be caused by their lack of contact with Polish culture. The film may, however, provide a lot of information about Polishness, which is its advantage.
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In the present article, the author discusses the ideology in some Spanish horror movies made between 1968 and 1976, during the last years of the dictatorship of Francisco Franco. The Spanish horror production, also called fantaterror, seems to be an indicator of the problematics of Spanish society. Indeed, it seems that the outbreaks of violence and eroticism of these films relate to the double face of the last years of the dictatorship, that of hedonism and of the repression of desires. By examining the specific aesthetic of the fantaterror and its narrative duality between Good and Evil, we want to show that behind the apparent entertainment these movies are inherently shaped by Franco’s regime. They deserve to be evaluated in terms of political, economic and cultural conditions in which they were created.
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The present article discusses a motif of horror fiction, the “Evil transfer”, that remained unnoticed until now. The key idea of this motif is that, because evil is eternal and indestructible, it cannot be annihilated but only transferred. Four books and movies of the second half of the 20th c. have retained our attention: “Thinner” by Stephen King, “The Exorcist” by William Peter Blatty, “It Follows” by David R. Mitchell and the “Ring” trilogy by Kôji Suzuki. However, these rather recent examples must not hide the diachronic depth of such a motif: Renaissance humanists or biblical texts also present a similar idea.
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Kognitívna disonancia je psychologickým javom známym každému človeku: psychologické pnutie, pocit napätia, ktoré vzniká, keď sa dozvieme informáciu, ktorá je v ostrom rozpore s našimi predstavami či svetonázorom.
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Based on the authors own research, the study Noise in Slovak Animated Cinema aims to provide characterization of sound design and noise in particular in Slovak animated films from the 1940`s to 2000 and if possible, define the stages of its development. The author first mentiones the fact that sound has aesthetic value of character nature. She defines the key terms in correlation to brief analysis of the films or in correlation to their categorization. The terms „ stylized „ and „ realistic „ create the basic reference frame that allows the author to define the changing sound trends in the examined films. The two terms take into account the relationship of film animation to reality as well as to the conventions of other film genres. Using the semiotic paradigm analysis and communication test, the author determines how the choice of particular sound affects the scenario of film interpretation. The conclusions of the study refer to the importance of 1989, that brought beside the restructuralization of film production also aesthetic changes in the understanding of sound design, resulting from the different requirements of the animated film genre and the spread of new technologies. With the support of their teachers, these changes were promoted by the fresh graduates from Academy of Performing Arts in Bratislava.
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In his paper, the author deals with the issues of acting in the context of the theatre company Teatro Tatro poetics. He focuses on the nature and typology of acting in its theoretical and generalizing form and is interested in unique variability of expression in acting, highly heterogeneous, flexible and wide-ranging. The author functionally categorizes acting primarily in terms of spatial dimension as well as thematic categories of character and directing. He pays attention to its entertaining nature in broader horizon.
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This study attempts to trace the elements of self-critique that are connected with reflections on film by the film makers themselves. The first example alludes to the transition from critical thinking as the negation of the past to a new self-critical creative work that should no longer repeat the mistakes from the past, which is something film makers want to avoid in the future. The second example has to do with the functioning of a self-critical reflection of the film maker, who judges his own work after a certain period of time. Finally, the third example describes a self critical situation that the film maker tried to translate to the audience through a communication medium that he knows best.
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This study examines the creative position and role of the music composer and conductor Ennio Morricone in the socio-cultural and industrial context of Italian film industry in the period of the 1960s and 1970s. Using an interdisciplinary approach to this theme, the text in particular explores the link between popular genres of Italian cinema in this historical period and Morricone’s film music and soundtracks. This study analyzes music styles, genres and levels that the composer used in his compositions for popular genres such as western all’italiana (western in the Italian style), spionaggio all’italiana (spy film in the Italian style), guerra all’italiana (war film in the Italian style), giallo all’italiana (detective film in the Italian style) or poliziesco all’italiana (police film in the Italian style). These and also other genre categories of Italian cinema represented new models and variations of popular spectacle that were meant for international distribution. This industrial factor was one of the reasons for the growing global popularity of Morricone’s soundtracks because most Italian popular films produced in this period had a great success with the audience
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The author of this study deals with the reception of animated films by child viewers. She attempts to clarify the process of how animated stories are understood with regard to the cognitive and emotional skills of children of preschool (4–6) and early school age (7–9). She confirms the theoretical propositions of developmental psychology and supplements them with a qualitative testing of selected age groups. The study aims to outline how children think and apply this knowledge in analyzing the process of how they watch animated films, children’s most favourite film genre. The results not only point to the problems of child viewers, but also of films intended for them.
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This text is a chapter from a more extensive work about the portrayal or narrative of the Slovak State as it was presented by domestic feature films. Despite the fact that a portrayal of the past was almost impossible due to ideological restrictions, several films attempted a more realistic portrayal of the war situation which, however, did not concern the past’s look at its past or geographical-historical awareness. The considerable absence of historical and geopolitical context in the films under survey might have been related not only to the regime under which they were made, but also to authors’ self-censorship, which restricted the opening of real historical and geostrategic links. This text presents fragmentary or hidden motifs of the wider and deeper historical and political ties of the then past as they were portrayed in some films (especially in Private War [Súkromná vojna] and Path Across the Danube [Chodník cez Dunaj]). These are put in contrast with ideologically limited portrayals of the period’s historical one-dimensionality.
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Review of: Andrea Slovakova- Mária Ferenčuhová (ed). Dokumentárny film v krajinách V4. Bratislava: FTF VŠMU, 2014. 231 s.
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