„Świat, który przezwyciężamy i pozostawiamy za sobą”. Import, rozpowszechnianie i widownia filmów z krajów kapitalistycznych w Polsce Ludowej w latach 1949-1956 w świetle badań archiwalnych

Author(s): Konrad Klejsa / Language(s): Polish Issue: 108/2019

The article deals with the repertoire policy in Poland (import of films and the arrangement of titles in the cinema programme) towards productions originating from capitalist countries during the Stalinist period. The author analyses the decision-making processes taking place at that time in the institutions responsible for film culture, trying to answer four related questions. Firstly, to what extent have films from Western countries been included in film distribution? Secondly, what elements did the process of qualifying foreign films for cinema screens consist of? Thirdly, how did the film distribution system combine political assumptions with economic aspects? Fourthly, how were the audience's preferences and responses monitored? The article is based on an in-depth source query in the documentation of the Polish Film Enterprise, Central Office of Cinematography and the Film Committee of the Central Committee of the Polish United Workers’ Party, as well as statistical data on the distribution of foreign films in Poland.

„Widzieć jasno w zachwyceniu”

Author(s): Tadeusz Szczepański / Language(s): Polish Issue: 113/2021

A Memory of Professor Wiesław Juszczak (1932-2021).

„Zamknij drzwi”, czyli wykorzystanie przestrzeni filmowej do uobecnienia sacrum na przykładzie filmu Sieranevada Cristi Puiu

Author(s): Krystian Przybylski / Language(s): Polish Issue: 36/2020

The article analyzes how the main representative of the Romanian New Wave – Cristi Puiu – uses the visual space of an apartment for staging and presenting the visible and hidden spheres of reality. His film Sieranevada, focusing on a family meeting on the occasion of religious ceremonies commemorating recently deceased senior family member, shows the possibilities of using the language of realism to appeal to the spirituality present in everyday life and to unveil Transcendence.

„Zaprawdę powiadam ci, poetą się jest…”. Wojaczek Lecha Majewskiego z 1999 roku

Author(s): Iwona Grodź / Language(s): Polish Issue: 34/2018

The theme of the text is the connection between the inspiration of the artists, for example poets, and their emotional states. The purpose of the text is to indicate the role of emotions in creative work. The subject of the analysis is the film Wojaczek made by Lech Majewski from 1999, about the young Polish poet – Rafał Wojaczek (1945-1971).

„Złoty wiek” – arcydzieło prowokacji

Author(s): Marcin Giżycki / Language(s): Polish Issue: 109/2020

Ninety years ago, on 31st June 1930, a private screening of Luis Buñuel’s film "L’âge d’or" took place in a Parisian mansion of Marie-Laure and Charles de Noailles. At the end of November of the same year, the film officially premiered at Studio 28 in Paris. A few days later, on 3rd December, inkwells and other dangerous objects were thrown at the screen, and one of the biggest brawls in the history of cinema started. Everything in the movie, including the music carefully chosen by the director, was provocative, and the resulting tumult was well planned and it pleased André Breton and other surrealists enormously. Giżycki recalls these facts and deliberates whether this act of provocation still resonates in present-day world.

„Алцек и българите в средновековна Италия“

Author(s): Kalina Peeva / Language(s): Bulgarian Issue: 1-2/2020

A presentation of the documentary "Alcek and the Bulgarians in Medieval Italy", author and producer Rositsa Lazarova-Sbaralia, director Ivo Ivanov, cameraman Kamen Rozov.

„Да бъдеш свободен през 1968 означава да вземеш участие“. Aкцията “Tap and Touch Cinema” на Вали Експорт и идеите на Ги Дебор като провокиращ акт на освобождение на публиката чрез участие

Author(s): Denitsa Milusheva / Language(s): Bulgarian Issue: 2/2019

The desire to participate in the 1960s was symptomatic of this period.Through the “Tap and Touch Cinema” action of Valie Export and “Society of Spectacle” a movie of Guy Debord, attempts have been made to present two methods for making the audience an active participant. What connects two authors is their struggle against alienation and passivity.

„Комплексната” телевизионна драма и нейните герои

Author(s): Elitza Gotzeva / Language(s): English,Bulgarian Issue: 2/2020

The article makes a historical and theoretical overview of the “regular”, “quality” and “complex” TV dramas of the television Golden Age from the 1950s until now. The author argues that the main difference between the three forms of TV drama is in their different commercial objectives for American broadcast and cable television. The “regular” TV drama is the one that served expanding interests and was created and produced to maximize audience size. In contrast, the “quality” and later the “complex” TV dramas were developed first to satisfy an increasing network interest in the commercial value of the audience and later, in response of the cable networks’ need to offer more valuable content to a highly educated and financially sound public, contrasting to the values of the conventional, traditional American family-oriented broadcast TV. In line with its content, the main protagonist of the “complex” TV drama becomes the antihero: the loner, the outsider, the intelligent, powerful, attractive gangster/gambler/outlaw, etc., obeying a personal code, but opposed to the long-established positive values of the society. Thus, using a challenging narrative, on one hand, the creators of “complex” TV dramas manipulate the public to feel sympathy for a morally conflicted protagonist, but on the other, to question the ground of his actions and eventually dislike him too. The author expresses the conviction that the creation of complex characters, their characterization, true character and dimensions, requires a deep knowledge of psychology, human nature and logic that the public is encouraged to explore. In conclusion, the author studies the difference between the concept of TV series and TV serials in the context of the present form of TV/multiplatform expression.

„Нашият труд е песента“

(народната музика в българските радиопрограми от първите години на социализма и нейната „мека власт“)

Author(s): Dimov Ventsislav / Language(s): Bulgarian Issue: 3/2018

peoples music, state socialism, people's democracy, Bulgarian radio, soft powerThe article describes the main power concepts and practices, related to music in Bulgarian radio during the first years of socialist Bulgaria – the Fatherland front period (1944-1947), when the authorities start to take possession of state radio, under the guise of “people’s democracy”; and the totalitarian period (1948-1956) – a period of “classical Stalinism”, a time of the completed control of radio and media music by the communist power. The focus is on the so called folk music in radio, which turns out to be one of the main conduits of “soft power” in the first years of Bulgarian national socialism. Its presence in the narratives of communist power, its place in radio programs, its main figures and formats, its power uses as “music for the people” and some discourses as “correct” and “incorrect” music, according to authorities, are examined.

„Орфизмът” на Кокто: „Орфей” (Orphée), 1950

Author(s): Vanya Lozanova-Stantcheva / Language(s): English,Bulgarian Issue: 2/2020

The article seeks to analyse Jean Cocteau’s Orpheus (Orphée, 1950), the second film of his Orphic Trilogy: The Blood of a Poet (Le Sang d’un Poète, 1930); Orpheus (Orphée, 1950) and The Testament of Orpheus (Le Testament d’Orphée, 1959), featuring a mystical character, clearly associated and synonymous with himself. The work addresses the sources of his ’Orphic’ inspiration and artistic challenges at several levels. At the first level, the genesis of his dramatic work, associated with the mythology of ancient tragedy and concentrated between the 1920s and 1930s, is traced. Reverting to ancient myths in the field of drama in Europe became particularly tangible in the 1920s, explained by critics as a kind of reaction to the existential problems caused by WWI and its aftermath. Cocteau’s approach to ancient tragedy sought to reduce its ancient dimensions, to modernise Antiquity by demythologising it and to decrease its high values to the mainstream. After Antiquity, Orphism resurfaced in at least three major stages in the development of the European civilization, on the traditions of which Cocteau drew his images, symbols and notions. The first significant to the peculiar interpolation of Orphic ideas into the Modern World period was the one during the Renaissance with Florence and the figure of Marsilio Ficino as its spiritual epicentre. The image of Orpheus and his works were of particular importance to those Renaissance thinkers who sought to bring Christianity into line with ancient classical traditions. Orpheus became once again a significant figure to German and French Romantic poets. The next significant period of the ‘resurrection’ of Orphism came with the French fin de siecle, when Symbolist poets and artists turned to the tradition of Orphism, set between the Platonism of the Renaissance and modernist interpretations, mainly in the ideas of Stéphane Mallarmé, Rainer Maria Rilke, etc., about Orphism as art for art’s sake dematerialising reality. The new ‘Orphic religion’ of Cocteau was neither a figment of his imagination nor a result of random and unsystematic eccentric experiments, nor of mechanical borrowing and superficial imitation. This concept broke with the literary tradition of the ancient mythological narrative of Orpheus and Eurydice through the prism of modernism to give rise to a remarkable avant-garde experiment. With all the multiplicity of sources of ‘orphic’ inspiration over time and authority, Jean Cocteau was doomed to create his own, personal mythology, focused rather on himself. Orpheus is the ideal matrix for exploring the poet in his relations with love and death, as is the mirror for the nature of artistic creativity, respectively poetry, reflecting reality in an ideal, intangible image.

„Оценка на Шоу“ или Judging Shaw

Филм и изложба за великия писател Джордж Бърнард Шоу в Националната библиотека

Author(s): Author Not Specified / Language(s): Bulgarian Issue: 6/2019

The Irish Embassy in Bulgaria and the National Library “St. St. Cyril and Methodius” presented a different perspective on the life and work of the renowned Irish writer Bernard Shaw – with a movie and an exhibition.

„Потъването на Созопол“ – от страницата към екрана

Author(s): Ingeborg Bratoeva-Daraktchieva / Language(s): Bulgarian Issue: 2/2019

This paper explores the process of transformation of the literary text of Bulgarian novel The Sinking of Sozopol by Ina Valchanova (winner of the European Union Prize for Literature, 2017) into a film adaptation directed by Kostadin Bonev. The conception that adaptation is not only a formal entity but also a process (Linda Hutcheon) provides the structure of an extended case study of cinematic transposition of literature. The text is focused on collaboration between Valchanova (the writer) and Bonev (the film director) in creation of the script. Writing a screenplay based on a novel is a hard work of interpretation since a film must convey its message by images and relatively few words. Thus, the analysis reveals the dialogic relations among texts and how different media can deal with various elements like point of view, time, voice over, actions of the characters, metaphors, and symbols.

„Храмот“ на обратната загадочност: Хиперкриминолошките и биополитичките димензии во „Малцински извештај“

Author(s): M. Kubilay Akman / Language(s): Macedonian Issue: 1-2/2008

Steven Spielberg’s Minority Report (2002), like many other Hollywood movies (Mercury Rising, Conspiracy Theory, etc.), can be viewed as a sample of paranoid exaggeration intrigued/seduced by the limits, or “limitlessness” of human consciousness. If we look at the movie from this point of view, there is nothing much to say about it, except just another sample of the same “genre.”

Європейська рецепція японської філософії (на прикладі кіно матеріалів др. пол. ХХ ст. – поч. ХХІ ст.)

Author(s): Alina Tymofeyenko / Language(s): Ukrainian Issue: 1/2019

The aim of the paper is to identify the features of the European reception of Japanese philosophy in feature films, to identify characteristic plot complexes and principles of representation. The methodological basis of the research is a cultural approach that made it possible to use the phenomenological, hermeneutic, semiotic methods, which allow to reveal the basic principles of the Japan‘s image explication through philosophical practices, which is reflected in European cinema. The scientific novelty of the study is to increase the heuristic potential of the image of Japan in European popular culture. Findings. European perception of Japanese philosophy, which is depicted in feature films, is interpreted through two main themes: samurai and monastic service. The general principles of extrapolating the images of a samurai and a monk are the idealization and romanticisation of the characters, the disclosure of the basic principles of the worldview, the relation of European stereotypes and the realities of the Japanese tradition.

Інститут телебачення, кіно і театру КиМУ: історія та специфіка навчального процесу

Author(s): Oleksandr Viktorovich Bezruchko / Language(s): Ukrainian Issue: 26/2011

In article is analysed and investigational of history of creation, specific of educational process and prospect of development of Institute of television, cinema and theater of the Kyiv international university.

Інтермедіальні виміри метадраматичності: дитячий кінематограф 1960–1980-х років

Author(s): Eugene Vasyliev / Language(s): Ukrainian Issue: 98/2018

The article attempts to apply the common concept of metadrama and metatheatrality, developed by L. Abel, J. Calderwood, J. Schlüter, P. Hornby, S. Sviontek, K. Vieweg-Marks, and others related to dramaturgy, to the phenomena of cinema. The problem of theatricality in cinema aesthetics and the history of world cinema is touched upon. The research material is the work of the national cinema for children of the 1960s–1980s, primarily Rolan Bykov’s films (“Seven Nannies”, “Aibolit-66”, “Automobile, Violin and Blot the Dog”). Various manifestations of metatheatrality are analyzed in the films for children: “Mama” (“Rock'n'Roll Wolf»), “The Adventures of Buratino”, “New Adventures of Captain Vrungel”, “A Merry Dream, or Laughter and Tears”, film dilogy about Petrov and Vasechkin, etc. The phenomena of metacharacter (a character who is aware of himself as a character) in children's films are also explored. Characters of Rolan Bykov's films can be categorized as metacharacters: they also perceive themselves as actors, not human beings, articulate their “artificiality”, are aware of their fictional character. Manifestations of metadrama diversify film text, bring a bright game element, create an atmosphere of theatricality, carnival, festivity. Metadramatism makes the viewer think about aesthetic problems, in particular, artistic convention, the boundaries between art (“screen”) and reality (“audience”), their expansion and even destruction. Metadrama techniques contribute to the convergence of the aesthetics of cinema and theatre.

Інтермедіальність як жанротворчий фактор (кіносценарна специфіка “Київських фресок” Сергія Параджанова)

Author(s): Natalia Nikoryak / Language(s): Ukrainian Issue: 88/2013

The purpose of this research is to study intermediality as one of the dominant concepts of literary practice in recent years (N. Tishunina, L. Khaida, O. Profe, N. Mocherniuk, V. Prosalova etc.) by the example of Sergii Parajanov’s “Kyiv Frescoes” (“Kyivs’ky Fresky”) script text. The topicality of this theme emanates from the need to analyze screenplay intermedial codes, including intermedial nature of text architectonic and composition organization, personal sphere and chronotope intermediality, as well as screenplay ekphractic elements and constructive palimpsest. In the text of this screenplay, intermediality appears to be a genre-specific factor. Research methodology is based on complex tools of modern approaches to the separation and analysis of new literary forms for which the state of intermedial contextuality (set of structural and semantic principles, genre studies discourse, and receptive poetics practice).Use of intermediality markers is stipulated by the film author’s desire to return to the art’s original syncretism. In addition, the text intermedial dimension represents the screenwriter’s aesthetic modus, specifically, the Spanish context of the screenplay, as well as the artist’s own receptive and productive needs and the productivity of his impressions of other artists’ works. Intermedial discourse constitutes a specific hermeneutic resource that can not be ignored. Intermedial codes of S. Parajanov’s screenplay reflect the general practice of screenplay text creating. This is the usage of this component that extremely enriches the literary text, thus involving it in an active dialogue with other art forms. “Decoding” of the text intermedial dimension has prime importance for the author's conception disclosure and adequate understanding of the implications. In addition, the role intermedial markers are called for is to awaken creative, associative reader-viewer’s thinking, encourage him/her to adequate creative reflections.

Ю.М. Терещенко: режисер документального кіно і педагог екранних мистецтв

Author(s): Bezruchko Alexander Viktorovich / Language(s): Ukrainian Issue: 23/2013

In this article investigational creation and pedagogical activity of the modern Ukrainian film director of documentary films, Honoured worker of arts of Ukraine, professor, real member (academician) of Eurasian Academy of television and broadcast Yriy M. Tereschenko.

Юбилей. Александър Янакиев

Author(s): Author Not Specified / Language(s): Bulgarian Issue: 1/2005

Як у магічному кристалі… Авангард і гламур у дзеркалі екрану

Author(s): Nataliya B. Musienko / Language(s): Ukrainian Issue: 2/2010

The article is dedicated to the art tendencies of avant-garde and glamour, their mutual interference, and the reflection of this process by cinema.