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![A Tiny Boat Lost at Sea: Trauma and Ethics in Havarie [Collision] by Philip Scheffner (Germany, 2016)](/api/image/getissuecoverimage?id=picture_2020_55215.jpg)
A distant image of a boat adrift in the Mediterranean Sea, with thirteen refugees on board. Taken from a YouTube clip, the image is dealt with and stretched in slow motion. The unsynchronized soundtrack is composed of faceless voices of migrants and refugees. The fragmented soundtrack and the“processed” still frame repetitive image underscore that Havarie [Collision] is a documentary which engages not only with the refugee question. It also reflexively questions the conventions governing the representation of suffering in the media. While the visual image is undermined, the voice assumes a significant role. Thus one’ attention is drawn to listening to voices expressing their traumatic experiences of migration. The human voice is perceived as an inner expression of trauma, a vehicle that embodies ethical significance (Caruth, “TheWound” 8-9; Dolar 86) Jacques Derrida talks of specters that haunt Europe, spirits whose evasive presence cannot be controlled nor silenced (xix). Hamid Naficy shows that exile cinema emphasizes the voice, different languages, and accents (18-38). It undermines the hegemony of the picture and modernity, and moves towards the acoustics of exile that mixes the pre-modern and post-modern. I would like to argue that the divide between image and voice has ties with Jean-François Lyotard’s concept of le différend – a term relating to languages that never meet and are untranslatable, as long as one language enforces itself on and silences the other (13). In addition, I would like to connect the film’s faceless voices with the ethical concepts of Emmanuel Levinas: he intertwines the term “face” (le visage) with “the said” (le dit) and seeks a moment of epiphany through face or language (that are not necessarily visual or verbal), a moment which impels us to listen and arouses our ethical responsibility toward the Other (Totality; “The Saying” 5-7). I suggest that the film’s faceless world, where thirteen men wait for a rescue that never arrives, forces one to reflect on one’s blindness and deafness while watching the Other.
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Review of: Abraham Teitelbaum: Warschauer Innenhöfe. Jüdisches Leben um 1900. Erinnerungen. Aus dem Jiddischen von Daniel Wartenberg . Hrsg. von Frank Beer. Wallstein Verlag. Göttingen 2017. 234 S., Ill. ISBN 978-3-8353-3138-9. (€ 24,90.). Reviewed by Stephanie Kowitz-Harms.
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Acta Universitatis Sapientiae, series Film & Media Studies publishes only original, previously unpublished articles in English in various fields of Film and Media Studies. All papers are peer reviewed. The series is published in 1-2 volumes annually.
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The films by the Polish director Patryk Vega: PitBull (2005), Pitbull. Nowe porządki (2016) and Pitbull. Niebezpieczne kobiety (2016) provoke a reflection on the devulgarization of the language spoken by movie characters. It appears that the profanities formulated by the protagonists can replace numerous verbs. While the analyzed material fits into the rouge cinema, most of the curse words used do not apply to the sphere of criminal offenses. Instead, the obscenities primarily describe everyday activities, such as moving around or eating. The verbal aggression featured in the movies of the Polish director thus puts the audience at risk of adopting bad language habits.
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The French-Japanese movie Ai no corrida is one of the most controversial movies in the history of cinematography. Nagisa Oshima found inspiration in a famous true story from 1936 imperialist Japan and then his movie about a destructive passion without limits was presented at Cannes in 1976. L’Empire des sens, as the translation of the title in French referring to Barthes’s L’Empire des signes, is the story of a destiny and of a psychic structure. In the end of the movie there is a powerful scene with an open air theatre and the image of a young girl who plays hide and seek with an old man and keeps asking him if he is ready or not, the old man saying not yet and then vanishing: here the eternized use of the object can be understood in the framework of what French psychoanalyst Jacques Lacan called forclusion. In the case of the psychotic structure there has never been an extraction of object a due to which the reality field could find its frame. And thus, the destiny of Sada Abe finds itself bounded to an object without cession and to its fulfillment in the Japanese kareiakana, that is clear open sky. Yet, since the phantasm is the writing of the non-sexual relation, as the subject’s entrance to the real, Oshima’s movie is not only about the phantasm, it is about the real.
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Review of: Alina Laura Tiews: Fluchtpunkt Film. Integration von Flüchtlingen und Vertriebenen durch den deutschen Nachkriegsfilm 1945-1990. (Diktatur und Demokratie im 20. Jahrhundert, Bd. 6.) be.bra wissenschaft verlag. Berlin 2017. 368 S., Ill. ISBN 978-3-95410- 092-7 (€ 32,–.). Reviewed by Magdalena Saryusz-Wolska.
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The aim of this article is to analyze and discuss the factors impacting the process of the implementation of crowdfunding by the Polish film industry. The presented study is based on the qualitative approach: unstructured or semi-structured interviews, questionnaires and the analysis of case studies. The respondents enumerated and evaluated a wide spectrum of factors facilitating and hindering the adoption rate: from general barriers (e.g. legal regulation of crowdfunding) to very specific aspects for filmmaking (e.g. the unprofessional promotional video of the crowdfunding project). The findings highlighted the significance of the following factors: the existing strong filmmakers’ attitude that ‘crowdfunding is for film beginners’, the complexity of team management (film crew) during the process of crowdfunding campaigns, and the cultural aspects of seeking financial support from friends.
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L’idea di questo articolo nasce dalle lettere inviate a Andrzej Wajda, e conservate nell’Archivio del regista, attraverso le quali i mittenti gli sottopongono sceneggiature o suggeriscono temi e problemi per la produzione cinematografica.
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Ikone su, verovalo se, »verodostojni portreti« porodice svetaca i u njima nema poteza ljudske ruke: »autentičnost uzora« potvrđuje njihovu lekovitu, magičnu moć.
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In 1967 at the Expo 67 in Montreal a new film was introduced entitled Kinoautomat (subtitled: One Man and his House). Kinoautomat was conceived by Radúz Činčera and it was shown in a specially adapted cinema screening room where each chair had been equipped with two control buttons - one red and one green. During the screening, the film was interrupted several times and a moderator on stage asked the audience to cast their votes and choose between two alternative scenarios for each scene. Subsequently, the scenario that received more votes was played. Regardless of what scene the audience chose, it didn’t affect the films ending. Can this be considered the first ever use of artificial intelligence in the media, in which the recipient was given the opportunity to modify the content according to his own personal perception? How do we perceive the link between artificial intelligence and the media today? To what extent has it become a subconscious perception?
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The article discusses factors determining the production process of the TV series Artists by Monika Strzępka and Paweł Demirski. Using production culture methodology, the author of the article demonstrates how the production background can be used to understand the message of the series. The article shows that numerous factors influence this outcome message, including decisions within the production team, structural and organizational changes in Telewizja Polska, financial limitations, artistic compromises or even political changes in the country.
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The review of: Anna Estera Mrozewicz, Beyond Eastern Noir: Reimaging Russia and Eastern Europe in Nordic Cinemas; Edinburgh University Press, 2019; 240p.
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Interview with Eero Epner, Paul Aguraiuja and Tarmo Jüristo by Alessandro Nanì, Ulrike Rohn and Andres Kõnno
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MIXER, Dubravka Đurić: Mapiranje pesničkog polja; CEMENT, Dragoljub Stanković: Prijavi rodbinu radi ubistva; ŠTRAFTA, Dušan Pržulj: Srpski film, Tomislav Marković: Rečnik paraknjiževnih termina; VREME SMRTI I RAZONODE, Predrag Lucić: Sonet za Kosmet; BULEVAR ZVEZDA; AĆIMOVIĆ IVKOV, Mileta; BLOK BR. V, Lazar Bodroža: Avanture zeca Milorada (7)
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MIXER, Saša Ilić: Crni univerziteti; CEMENT, Aleksandar Novaković: Stvar pameti; ŠTRAFTA, Tomislav Marković: Rečnik paraknjiževnih termina; VREME SMRTI I RAZONODE, Tomislav Marković: Ne mogu da se setim jedne prepečenice, Marjan Čakarević: Nebolomstvo, Saša Ćirić: Saboranija, Miloš Živanović: Vizija Šerloka Ćerača; BULEVAR ZVEZDA, POPOVIĆ, Danko; BLOK BR. V, Kosmoplovci: A šta će reći ljudi
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