"Руси долазе, Руси долазе" - апологија детанта“

Author(s): Ivan Kovačević,Vladimir Ribić / 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.

(De)Humanized Androids as Monsters in Garland’s Ex Machina

Author(s): Mustafa Fatih Dalyan,Nilsen Gökçen / Language(s): English Issue: 02/2022

Ex Machina (2015) is a postmodern Gothic sci-fi movie by Alex Garland, implicitly illustrating the workings of humanization, dehumanization, and marginalization through its android character Ava. Ava’s interaction with people reveals humanity’s biased perspectives and problems. She enables the audience to see that inorganic anthropomorphic bodies mimicking human behaviors and cognitive skills converge on humans and become strangely humanized. Yet creating uncanny sensations in humans, these bodies become a new group of “others” who belong outside the boundaries of humanness so much so that they exist on the threshold of monstrosity. Furthermore, due to their anthropomorphic appearance, they cannot avoid human hierarchies of race and gender. However, once they become perceived as humans, they learn to use human methods to survive including the wicked ones. Ex Machina thus demonstrates that the process of dehumanization not only creates injustices to dehumanized groups but results in the dehumanization of those that apply it to Others, for it is they that become “less than human” by their inhumane acts

(Hi)Story for the Youngest.

Adaptations of Children’s Literature Made by Polish Female Directors

Author(s): Magdalena Walo / Language(s): English,Polish Issue: 23 (30)/2020

A graduate of painting and graphic arts at the Higher School of Arts and Crafts in Brno, Ester Krumbachová became known in her professional life as a costume designer, set designer, scriptwriter, author and finally a director. However, she was often pushed to the margins of authorship with the label of “inspiration and just a muse”. There are at least a few basic themes that organize the specificity of Ester’s artistic discourse. There are costumes, and props for which she was responsible: hats, shawls, black umbrellas, silk shirts, camp coats or overalls made out of newspaper and twine. But the whole galaxy of food, meal preparation, feeding and gluttony demands describing. The films Ester was involved in, as a writer or director, are woven from it. The specificity of the interior, often adjacent to the “metaphorical and mental” map of the artist’s apartment, becomes an important background for the platform of culinary images. The recorded registers seem to speak of food and clothes, typically female areas of interest and activity. The main aim of this article will be to treat them as semantically important mechanisms of communication, mostly visual and non-verbal.

(Ne)istorinis istorinio Atgimimo laikotarpio tyrimas

Author(s): Tomas Vaitelė / Language(s): Lithuanian Issue: 46/2020

Review of: Tomas Vaitelė - Rec.: Anna Mikonis-Railienė, Renata Šukaitytė, Mantas Martišius, Renata Stonytė, Politinis lūžis ekrane: (po)komunistinė transformacija Lietuvos dokumentiniame kine, videokronikoje ir televizijoje, Vilnius: Vilniaus universiteto leidykla, 2020.

(Ne)premostivi jaz između bogatih i siromašnih, volja za životom i sloboda – Parazit i Joker

Author(s): Goran Gavrić / Language(s): Croatian Issue: 04/160/2020

The consequences of chasm between the rich and the poor vary, depending on whether or not it is suffered by an individual or a larger group of people. Although in the case of various social groups it encompasses a larger area of effect, especially if it amasses as a protest, the consequences can be worse for an individual because the individual feels it stronger. In this paper, considered is the notion of existence in two aspects, socio-economic and philosophical, following examples from the films Parasite (2019) and Joker (2019). The focus is placed on the problem of poverty.

(Nie)wygodna starość. O demencji w programach telewizyjnych i filmach

Author(s): Hanna Grzesiak / Language(s): Polish Issue: 2 (16)/2020

The number of elderly people not only in Poland but also around the world is growing rapidly. Due to this fact, more and more attention is paid to the aging process and old age itself. Although the elderly are becoming more and more visible in the media, as evidenced by the increasing number of television programs with their participation, the issue of dementia is still a topic that is rarely discussed in public discourse and in movies.The aim of the article is to analyze television programs and movies that have been broadcast in recent years and to trace the contexts in which dementia is presented, which today is a significant problem not only for the patient's family but also for the entire society.

(Nie)żywe obrazy. Widmowość i cielesność filmowych zwierząt

Author(s): Michał Matuszewski / Language(s): Polish Issue: 111/2020

The author analyses the film medium as an effective tool in animal studies, focusing on the issues of death and ability to re-animate dead bodies. Based on the analysis of several films ("Un animal, des animaux", dir. Nicolas Philibert, 1996; "Sirius Remembered", dir. Stan Brakhage, 1959; "Kala Azar", dir. Janis Rafa, 2020), the author shows how reflection on animal bodies and animal death brings out a paradoxical feature of cinema – its simultaneous corporeality and spectrality. Referring to the historical connections between cinema and natural history museums, the author proposes the category of a “taxidermic cinema”. This allows him to point to the role of cinema in recognizing human “vulnerability”, shared in the face of death with other animals.

(Re)orientări, (re)educări/ Identități de gen incomode

Author(s): Cristina Chevereșan,Adina Baya / Language(s): Romanian Issue: 7/2020

(UN)TRANSLATABILITY IN TELEVISION DRAMA SERIES. A BRIEF OVERVIEW

Author(s): Bianca Dabu / Language(s): English Issue: 29/2021

AVT is connected to the advent of the cinema the production, distribution and consumption of information among people who may speak different languages. Nowadays, one type of audiovisual productions that seize the attention of the public all over the world is television drama series. Historical forms of TV Drama, start with teleplay as an early form of this genre, continuing with serial dramas, in general and focusing on the feuilleton, in particular. Such productions may be considered as “cultural products, constituted by media practices, and subject to ongoing change and redefinition”. Issues of translation and language difference have been a recurrent concern across a number of very different film categories. Considering the feaures of television drama series it is obvious that subtitling, as translation process has to be performed within the framework of approaching translability vs untranslability considering the content and emotion that reach the audience of such television genre.

(Un)übersetzbarkeit von Vulgarismen ins Deutsche am Beispiel der Untertitelung der heimischen Serie Kosti

Author(s): Melsada Zec Zejnić / Language(s): German Publication Year: 0

The essay is a corpus analysis of swear words and vulgarisms and their meaning in the television series Kosti. On the one hand it shows the translation of swear words and vulgarisms from Serbian language into German and on the other hand are possible interpretations of the vulgar Serbian expressions into German analysed, which are used for the subtitles of the series. The hypothesis whether swear words and vulgarisms in the target language German can be attenuate or, depending on the situation, even completely left out, is examined by using interlingual subtitles and quantitative reduction.

(Не)видимите в българското кино – към темата за ромите и екранните репрезентации

Author(s): Andronika Martonova / Language(s): Bulgarian Issue: 3/2022

Film panoramas and specialized lectures related to the topic of Roma representation in the screen arts are of particular importance to the Bulgarian cultural field and society, but unfortunately they are rarely realized. The visual language’s instrumentarium could be different when try to articulate the image of the largest ethnic group in the Balkans. All autours must touch carefully the Roma filmtopics and sub-narratives in the frame area: on the one hand, they must achieve authentic representations and to demonstrate clear understanding, but on the other hand the risk of drowning in well knows stereotypes still exist. This article makes the first approach to the wide field of inisibility/ visibility of Roma in the field of Bulgarian screen arts. In our post-totalitarian cinema, the Gypsy Ethnicity affects the various types of films, their formats and genres. In the beginning (just after 1989 until the Millennium), there was a saturation and domination in documentary cinema, followed by the outflow of the subject. In that in recent years there has been an activation of the feature forms (long – and shortlength), made by new, young directors, who are trying to construct positive messages and images. An important focus is that Roma representatives (directors, screenwriters, actors etc.) are timidly included in the national cinema process. In general, however, the picture of presence is somehow marginal unfortunately.Bulgarian new cinema can fully reveal ethno-cultural differences and similarities, bring to the fore both the accordance and contrasts in the intercultural meeting. And in particular – properly and credible to paint the colorful, peculiar and distinctive world of the Roma ethnicity. Last but not least, the audiovisual arts could provoke a social change in the perception of the Other. The image of the Gypsies as a "internal foreigner", however, is gradually transformed. The research texts from the large humanity and social disciplines, and especially Film Studies, appropriatelly focusses on the diverse discussion fields in which cinema artifacts function: social anxiety, poverty, marginalization, sexualization, trauma and victimization during the Holocaust, children’s worlds and Roma childhood problems.

,,Idiotul’’. O actualizare în cinematografie

Author(s): Andreea Bajenaru / Language(s): Romanian Issue: 1/2017

The title suggests that the method used for the preparation of the essay is comparative analysis between a well-known literary work, „The Fool” written by Dostoievsky and a cinematic work launched quite recently, „The Fool” („Durak” in Russian) by Yuriy Bykov. The purpose of the analysis is to present in a measure more or less emphasized the prototype of the „christian hero” embodied by both of the protagonists, to emphasize the disagreements with which they inevitably struggle and to underline the importance of the role played by this type of character all over the age and society.

120 km/h. O „Dopędzili prom” Carla Theodora Dreyera

Author(s): Adam Trwoga / Language(s): Polish Issue: 107/2019

The article describes the short film by Carl Theodor Dreyer "They Caught the Ferry" (1948), based on the novella by Danish Nobel Prize winner Johannes V. Jensen. Using biographical information and the context of the uprising, Trwoga analyses the uniqueness of this work in relation to the then documentary productions of Dansk Kulturflm from the 1940s and 1950s of the 20th century. The article shows how propaganda themes (postulated on the British model by Danish documentary film-makers) were supplemented with elements from the supernatural sphere and religion, as was the case in earlier films by this director (the role of the "Vampire" was particularly prominent). In addition, the author draws attention to the symbolism of death and vanitative elements that make this short road movie a critique of the society of the country in which it was made. Trwoga also pointed to the inspiration of the director, as well as later possible influences of the "They Caught the Ferry" on other film-makers.

2000 Sonrası Türk Sinemasında Ailenin Belleğine Yolculuk: Pandora’nın Kutusu ve Kelebekler Filmleri

Author(s): Gökhan Evecen / Language(s): Turkish Issue: Sp. Iss/2020

The changing / transforming society in today's complex and speed world creates traumatic effects on family members. Traumatic past has an impact that imposes on both personal and social memory. In this sense, narration as a way of reckoning with the traumatic past and its kind, cinema, functions as a memory space and a means of memory. Turkey's host family in particular suffered structural transformation, taking its share of social change and this is reflected in cinema. In our country, where the family is seen as a sacred structure, the reasons leading to the shaking of the institution were generally searched abroad until 2000 in Turkish cinema. After 2000, the factors that caused the family institution to be shaken begin to be searched in the family. After 2000 the cinema represents the core of Turkey's traumatic past in the family is seen as continuing, albeit in different ways. In the study, the journey to the family's traumatic memory is discussed through the films of Pandora's Box (2008), one of the founding directors of the new Turkish cinema, which is addressing the same issues, and Tolga Karaçelik's Butterfly (2018), a second generation director. In this sense, the films were analyzed and compared with each other under the themes of family, memory and travel with descriptive analysis method. As a result of the analysis, common intersection points of these themes in terms of content were captured in many ways, and it was also seen that the personal memories of the directors were reflected in their films. Although the narrative structures differ due to the differences in the styles of the directors, it can be determined that cinema is used effectively in the reckoning of today's people with the traumatic past. In both films, it is possible to talk about the family members' reckoning with each other, the journeys they have begun to continue, and the past they have touched, even if the desired past is not reached.

2021: Filmodüsszeia, avagy Dácia legyőzi a járványt

Author(s): Attila Zsolt Papp / Language(s): Hungarian Issue: 823/2021

30 de ani de la destrămarea R.S.F. Iugoslavia. Despre politică, societate şi „cultură de masă” – consideraţii

Author(s): Daniel Lazăr / Language(s): Romanian Issue: 67/2021

The Yugorock of the 70s-90s was not rejected a priori by the regime, as it occurred in the other socialist countries. The Communist Party believed that it was harmless as long as the authorities monitored it closely. The outbreak of the civil war in 1991 coincided with the “cultural” debut of turbofolk in Serbia and Serbian territories throughout Yugoslavia. It was characterized as a suburban culture movement, “tasted” by uneducated supporters of Slobodan Milošević’s style and that abounds in elements of kitsch by promoting peripheral messages such as “war glamour”, “greedy is cool”, “get rich quickly”, able to fascinate a decomposing society. In the last decade of the 20th Century, the hostile historical context turned Serbia of Slobodan Milošević into the victim of a predominant cultural “narcissism”, where certainties were eliminated and where the infallibility of the new Leader tended to become immanent.

30 éves a Román Televízió kolozsvári területi stúdiója (TVR Cluj)

Author(s): Katalin Orbán / Language(s): Hungarian Issue: 1/2020

This research is a summary of what we calltoday the history of the Romanian Television’s Cluj territorial studio (TVR Cluj). The process of the research was slowed down somewhatby the fact that there was nowhere to be found a relevant bibliography concerning the life and work of the Cluj studio, considered thecase study of the paper. There are far too few studies to even mention this studio, no matter how superfi cially. Therefore, I can saythat I am the fi rst researcher to be preoccupied by the subject of the television studio from Cluj, and that is why I had to face all thechallenges and diffi culties of such a pioneering and uncharted task. In the eff orts of gathering the necessary data, I was assisted bythe collaborators from the studio’s administrative department, but in the chronologies of diff erent events in the life of the institution,I had to rely on the anniversary programs and personal interviews based on which I could fi nally draw up a relevant statistic for theestablishing, development and further orientation of this TV studio in Cluj. I think this chronology is in fact an absolute premiere,because these data summing up almost 30 years of activity have never been collected and processed in this form of synthesis before.

4 EPOCI, 4 CINEMATOGRAFE. O ANALIZĂ COMPARATIVĂ A 4 CINEMATOGRAFE DIN CLUJ-NAPOCA

Author(s): Razvan Poting / Language(s): Romanian Issue: 1-2/2019

Cinema, although it is one of the newest architecture programs (appeared in the early twentieth century), has seen a rapid and continuous evolution of unexpected complexity. The history of cinemas, albeit relatively short, becomes a true story of glory, decadence and reinvention, somehow similar to the scenarios of films projected on its screens. The complexity of this history has been determined by a wide variety of factors: the development of technology, the evolution of architectural styles, the changes in the public’s way of life and taste and, finally, the cinema’s commercial side.In the city of Cluj, since 1910, there have been 14 historically documented cinemas. Of these, 7 are still working today and the 8th one is near the end of a rehabilitation and reopening process. The large number of functional cinemas make Cluj a special and happy case among the other cities in the country, which are suffering from the lack of functional halls.Of the 8 functional cinemas, four examples were selected for this study, each of them relevant for a different era: Arta Cinema - the pre-war period; Victoria Cinema - the interwar period; Cinema Florin Piersic (Republica) - the communist period and Cinema City Iulius Mall - the contemporary period. The opportunity to study 4 cinemas from different epochs, operating in the same city and sharing the same cultural sphere and the same public, enables us to do analyzes and comparisons with a significant degree of relevance.The history of the four examples will be briefly presented, highlighting the most important moments from opening to the present. Their current situation will be analyzed by highlighting the way they function and are being managed, the networks they are part of, the problems they are facing and their degree of adaptation to the requirements of the current public.The comparative analyzes will be made from a variety of points of view: architectural, urbanistic, social, operational, and cost-effective. These comparisons will also be based on a series of analysis sheets done by the author in the last two years of study at various screenings and events hosted by the four cinemas.

50°31’29.7”N 22°46’39.1”E 50°30’56.2”N 22°46’01.0”E 50°30’41.0”N 22°45’49.5”E

Author(s): Dominika Macocha / Language(s): English Issue: 9/2020

This richly illustrated text is a descriptive introduction to Dominika Macocha’s video-sculptural installation, detailing the idea behind the work, the process of its creation, and its suggested interpretations. The file is concluded with a link to the film The Mystery of Forest Lakelet.