"Miejsce urodzenia" Pawła Łozińskiego jako mnemotopos

Author(s): Magdalena Roszczynialska / Language(s): Polish Issue: 2/2017

The author presents the film directed by Paweł Łoziński, Place of Birth (Miejsce Urodzenia,1992), in the categories of a multidimensional memory place, which, as a sort of workdone on the material of the past, can be characterized by definition as an object in action,a performative. She describes the movie using the concepts of affect, trauma culture andcollaborative authorship. The movie is presented as: a comparative place of memory, anarchive, trauma experience catalyst, trauma translator, a performative shaping a non-memoryplace into a mnemotopos – depending on the perspective/status of the author instance.

Opportunities for the Development of Film Tourism in Kraków

Author(s): Anna Kolasińska / Language(s): English Issue: 3/2020

For several years film tourism has been perceived as a new trend in cultural tourism. Following this trend, this work aims to determine which forms of film tourism are currently developing in Kraków. Moreover, it wants to indicate the potential of the city to create a tourism product in this field. In the research, guidebooks, as well as film materials and internet sources, have been used. Moreover, the offer of Kraków travel agencies regarding organised guided tours based on film have been analysed, along with sources such as city council strategic documents and reports. The research has demonstrated that Kraków is a city with high tourist potential in those terms. It regards both film production (including its surrounding area) and organisation of film festivals. However, analysis of guidebooks and local travel agency offers has pointed to a low interest in film. The research presented in the article, due to its attempt at comprehensiveness and up-to-dateness in the context of new ideas for the development of tourism products, constitutes a contribution to Polish literature on cultural tourism. In practical terms, it may become an inspiration for those who are responsible for creating tourism products based on Kraków’s film heritage.

Antycypacja zmian, czyli historia, której jeszcze nie opowiedziano

Author(s): / Language(s): Polish Issue: 1/2022

La visée pathémique dans le genre de la critique de cinéma comme stratégie persuasive

Author(s): Dominika Topa-Bryniarska / Language(s): French Issue: 1/2023

The paper investigates the relatively little-examined journalistic film review genre from discursive, pragmatic and rhetorical perspectives. To illustrate the presented framework for genre analysis, we have selected 32 French and francophone journalistic reviews of two different film genres: a comedy (from 2017) and a drama (from 2019). The persuasive strategies of the pathotic dimension in the film review we focus on leverage two of the Aristotelian modes of persuasion (ethos and pathos) in order to instill particular views and concepts. Our study centres around those persuasive strategies that draw on the discursive construction of the reviewer’s ethos and pathos in the film review based on the concept of emotive argumentation.

O przekładzie elementów kategorii potoczności (na podstawie rosyjskiego przekładu polskiej komedii Chłopaki nie płaczą w reżyserii Olafa Lubaszenki)

Author(s): Iwona Mytyk / Language(s): Polish Issue: 1/2022

The purpose of this article is to present the problem of colloquiality in film translation. Language neutralization is a common phenomenon encountered in film translation, the effects of which can be seen in the wrong reception of the plot. The article presents the most important features of colloquial language, and analyzes excerpts from the Polish comedy “Boys don’t cry”, dir. Olaf Lubaszenko and its translation into Russian. The focus was primarily on the elements that build the commonness of the utterance and its implementation in translation.

Czy(m) mierzyć sztukę?

Author(s): Grzegorz Pochwatko / Language(s): Polish Issue: 33/2022

Nauka i sztuka to dwa światy, które trudno połączyć. Ci, którzy próbowali, wiedzą, że mają one sobie nawzajem wiele do zaoferowania. Psychologia i psychofizjologia kojarzą się zwykle z prostymi, powtarzalnymi procedurami i bodźcami, tymczasem w świecie sztuki VR „wiele się dzieje”. Niniejszy tekst zawiera opisy prób zastosowania metod badawczych używanych przez psychologów do całościowej i fragmentarycznej oceny filmów VR oraz generowanych komputerowo środowisk interaktywnych. Przedstawiam w nim przykładowe analizy sygnałów psychofizjologicznych, ruchu gałek ocznych, ruchliwości uczestników oraz ich ruchu w przestrzeni. Pozwalają one wnioskować o reakcjach autonomicznego układu nerwowego, pobudzeniu, emocjach oraz uwadze w reakcji na utwory VR. Mogą posłużyć twórcom do świadomego kierowania doznaniami i reakcjami uczestników doświadczeń VR.

Inventando la realidad: La adaptación como un juego autorreferencial en „El autor” (2017), de Manuel Martín Cuenca

Author(s): Joanna Aleksandrowicz / Language(s): Spanish Issue: 22/2022

The aim of the article is to analyse Manuel Martín Cuenca’s film The Motive (El autor, 2017) in the context of self-referential games and relationships between reality and invention. The director, adapting Javier Cercas’s short novel The Motive (El móvil, 1987), reflects also on the proximity between cinema and literature. In the film The Motive images of literary creation are mixed with cinematic metaphors. The reality invented by the film’s characters becomes a metafiction and is part of a game that involves the spectator, a characteristic feature of new narrative strategies in contemporary cinema. However, in this case, the meaning of game, concretized in the film’s diegesis as chess, goes beyond the ludic dimension and becomes a way of exposing the paradoxes of creation.

Biały pokój Bogomiła Rajnowa

Author(s): Wojciech Jóźwiak / Language(s): Polish Issue: 1/2023

Serious, terminal sickness that leads to isolation in a hospital constituted a forced break from everyday mundane life and in consequence brought a recapitulation of so far undertaken decisions and actions. In Bogomil Raynov’s literary interpretation presented in 1966, “Пътища за никъде,” it became an excuse to begin some reckoning with the attitudes of Bulgarian intelligentsia of the BRL period. The text, autobiographical to some extent (and adapted to fi lm in 1968), fits perfectly in a momentary thaw in the Bulgarian culture that was characteristic for the first half of the 1960s in Bulgaria, the period of widening the margin of freedom of speech and critical thought directed at past attitudes and actions.

WINO – SACRUM – CODZIENNOŚĆ SZESTIDIESIATNICY I GRUZIŃSKA SUPRA

Author(s): Joanna Wojnicka / Language(s): Polish Issue: 1/2022

The article discusses Otar Iosseliani’s feature debut movie Falling Leaves of 1966. Georgian-born, Iosseliani is a representative of the generation of Soviet intelligentsia called the “Sixtiers.” He was also among the Soviet fi lm directors who were proponents of the so-called national schools of fi lm-making. The poetics of Iosseliani’s movies is rooted in the documentary approach, and the view of reality they convey is indeed of documentary nature; however, in the Falling Leaves, he combines his documentary viewpoint with a subtle yet clear reference to his native culture, which determines the ethnic identity of the Georgian people within the Soviet state. His recourse to the emblematic elements of the Georgian tradition, i.e., wine and feast (supra), enables a look at the mid-sixties in the Soviet Union which is discreet (hidden behind the pseudo-documentary poetics), occasionally ironic and occasionally poetic, yet certainly devoid of any idealism.

MATKA ZIEMIA, DOM I RAJ UTRACONY TRANSCENDENTNE KINO DARRENA ARONOFSKY’EGO O SYMBOLICZNEJ WYMOWIE „MOTHER!”

Author(s): Marcin Kępiński / Language(s): Polish Issue: 2/2022

Both popular culture as such and contemporary Hollywood movies are intended primarily as a form of entertainment, and a culture researcher is not expected to trace hidden symbols, myths or meanings rooted in traditional cultures in them. Modern popular mythologies by no means manifest the mythological pattern described by Mircea Eliade. Today’s popular culture incorporates diverse images, ideas, references, and fragmented meanings and, as such, constitutes a conceptual patchwork. However, I claim that the cinema of Darren Aronofsky delivers more than pure entertainment. It does not consist in a free juxtaposition of elements of popular culture and exhibits tropes and motifs, as well as a symbolic language and archetypal protagonists, pertaining to the myths constantly recurring in the history of culture. The goal of the paper is a discussion of Aronofsky’s Mother! against the concepts of hospitality, home and strangeness (otherness). In his pursuit of answers to the questions he deems as essential, the director (and author of a culturally signifi cant narration) refers to the topoi and tropes characteristic of Mediterranean mythologies and the Judeo-Christian tradition.

NARRACJE O PRAWOSŁAWIU WE WSPÓŁCZESNEJ ROSJI O SERIALU „ZBAWICIEL POD BRZOZAMI”

Author(s): Małgorzata Abassy / Language(s): Polish Issue: 2/2022

To what extent can traumas caused by the Soviet and Russian past be transformed and healed by narratives rooted in the Orthodox faith regarded as the foundation of Russian culture? The question is the leitmotif present in the source material analyzed in the paper, i.e., the television series Spas pod berezami by Leonid Eydlin. The episodes of the series address different facets of a parallel narrative about forgiveness, humility, trust, and communion of people sharing in the common fate. The paper considers Orthodoxy as a culture and a faith, without analyzing, however, its theological aspect or its relationship to the state. A similar approach was adopted by Eydlin, who intended to make viewers acquainted with a different, less cruel reality than the one they experienced in their everyday life. The author concludes that the analyzed series is a narrative of great culture-creating potential. Spas pod berezami offers the viewers a means of self-inspection, provides them with a new perspective on their experience, and may contribute to healing the cultural trauma.

THE CLOSE-UP: A PICTURE IS WORTH A THOUSAND WORDS

Author(s): Mădălina Eugenia Ciucu (Răsniceanu) / Language(s): Romanian Issue: 33/2023

Through the cinematographic adaptations made, with valuable literary works as baseground, the filmmaker (re)composes narrative subjects in the form of film performances, with an impact on the public. Being a cinematographic art, the screenings harmoniously combine the image and the word, creating poetic structures, carrying deep meanings. One of the means of cinematographic expression, especially relevant, is the close-up image. This type of image is an objective one and focuses on elements or beings of particular importance in the perception of the film speech, and the discovery of the focused subjects - by the viewer, through the eyes of the protagonist - has as a consequence the rethinking of the information provided by the story up to that moment and stored in memory, as well as restoring the meaning of film creation. The purpose of using the close-up is to give suspense to the action, either by anticipating or highlighting a state or event belonging to the story which is played. Depending on the object chosen to build up the close-up and depending on the moment of its placement on the axis of the narrative, the filmmaker also fixes its meaning, which the viewer must decode. In the screen adaptation of Camil Petrescu's novel, Ultima noapte de dragoste, întâia noapte de război, (1979), screenwriter Sergiu Nicolaescu created sequences of great artistic sensitivity, in which the close-up with the faces of the protagonists betrays all the inner turmoil, the varied palette of unverbalized feelings, these images undoubtedly becoming the mirror of the human soul, with everything it possibly feels.

Rebecca Großmann: Moving Memories. Erinnerungsfilme in der Trans-Nationalisierung der Erinnerungskultur in Deutschland und Polen

Author(s): Magdalena Saryusz-Wolska / Language(s): German Issue: 3/2023

Review of: Rebecca Großmann: Moving Memories. Erinnerungsfilme in der Trans-Nationalisierung der Erinnerungskultur in Deutschland und Polen. Böhlau. Köln u. a. 2021. 403 S., Ill. ISBN 978-3-412-52246-9. (€ 55,-.)

DRUŠTVENI ZNAČAJ FILMA I FILM KAO PREGNANTNA SOCIOLOŠKA TEMA

Author(s): Stefan Elezović / Language(s): Bosnian Issue: 23/2023

Review of: Nemanja Đukić (ur.), Film i identitet: Istraživanje društveno-političke upotrebe filma, Univerzitet u Banjoj Luci - Fakultet političkih nauka, Banja Luka, 2021

Holokauszt és múltfeldolgozás az On the Spot dokumentumfilm-sorozat nyolcadik évadában (Az ellenség gyermekei)

Author(s): Dávid Sándor Szőke / Language(s): Hungarian Issue: 3/2020

The aim of the present paper is to examine the issues of Holocaust trauma and coming to terms with the past in Children of the Enemy, the eighth season of the documentary series On the Spot, discussing two episodes, one about Edith Eva Eger and the other about Gábor Máté. What is special about these stories is that instead of exploring the Holocaust in historical depth, the makers’ focus falls on the narratives of the survivors and their children, whereby they not only reveal the truth of storytelling, but they also recapture the subject’s past traumatic experiences in the present time. The filmmakers Eszter Cseke and András S. Takács make the viewers see these stories as important components of memory culture, and they do it so by moving toward the past not merely in itself, but by looking back from the present state of consciousness, discussing how the trauma of the past and the constant feeling of stress was and has been passed on to the next generation of survivors. Examining the life stories of Eger and Máté, I identify storytelling as an essential part of coming to terms, which makes both the teller and its audience face their trauma of the past by recalling the events of it. The paper also discusses the ways Eger and Máté have dealt with their own traumas, made their own self-discoveries, and used what they have learnt about themselves as an essential part of their psychotherapeutic practice.

Too tidy to dance: Edith Wharton’s "Twilight sleep" and the domestication of scientific management

Author(s): Brian Willems / Language(s): English Issue: 1/2023

This essay looks at how scientific management, initially meant to increase efficacy in the workplace, left the factory floor and made its way into the home. Included here are readings of Frederick Taylor’s scientific management, Lillian and Frank Gilbreth’s concept of the therblig, as well as the Gilbreth children’s reports of home life in Cheaper by the Dozen (1948) and Belles on Their Toes (1950) (and their film adaptations). Edith Wharton’s 1927 novel Twilight Sleep challenges the spreading of scientific management into the home, seen in particular in the book’s treatment of the early 1900s invention of twilight sleep, a medical procedure meant to optimize childbirth by injecting the mother with a combination of scopolamine, which induces amnesia, and morphine. Yet the thesis of the essay is that the novel actually depicts the horrors of scientific management in order to suggest a path forward, that a change in social relations is more fundamental than a change in economic ones.

Seküler, Dindar ve Akışkan Dindar Kimliğin Kendini Gündelik Yaşam Pratikleri Üzerinden Üretimi: Kızılcık Şerbeti Örneği

Author(s): Betül Karakoyunlu / Language(s): Turkish Issue: 50/2023

Society still defines itself mostly through two identities and determines its poles. However, identities are open to change and not always on two sharp poles. This differentiation is usually visible in religious-secular representations. In this context, we can understand how religiosity and secularism produce themselves and the causes of tension by looking at the functioning and rhythm of daily life. The TV series Kızılcık Şerbeti (Cranberry Sorbet), which started broadcasting on Show TV in 2022, is about the marriage of the son of a religious family and the daughter of a secular family. It touches on daily life practices and tension points. At the same time, identity representations that can be defined as fluid religious are featured in the series. In this study, Van Dijk's critical discourse analysis was used and the TV series was analyzed in order to identify the representations in question. As a result of the analysis, it has been determined that secular and religious lifestyles differed in greetings and wishing discourses, pets, gender-based doctor preferences, actions and discourses against violence against women, the comparison of science and the sacred, and place preferences.

A CASE OF PERSISTENT TRANSMEDIAGENY: CARMEN

Author(s): Mihaela Chapelan / Language(s): French Issue: 34/2023

Drawing on the concepts of transwriting, mediageny and transmediageny, developed in the 90s by theoreticians coming from the field of media studies, namely André Gaudreault and Philippe Marion, the present article aims to showcase the meaning of the various modifications undergone by Prosper Mérimée's story Carmen, in its transition from one medium to another. Although, when published, Mérimée's text didn't enjoy particular success, it eventually left its mark on the cultural imaginary, especially through the character Carmen - who became for some the feminine counterpart of Don Juan, and for others the illustration of the ancient Greek myth of the proximity of Eros and Thanatos. Without ignoring the other adaptations that contributed to making Carmen a case of persistent transmediageny, we will focus our analysis on the utterly uninhibited manner in which Jean Luc Godard has approached this already sacralised literary source, adapting it for the film titled Prénom. Carmen.

Formy akčného umenia v tvorbe mladých dospelých

Author(s): Daniela Valachová / Language(s): Slovak Issue: 3/2023

The paper deals with the issue of action art in a group of young adults. Action art provides a suitable space for self-realization for our respondents. Within the framework of qualitatively oriented research we used the method of observation and analysis of the process of creation. The preliminary results of the research, which we present in the text, showed two basic forms of action art creation by young adults. Both forms are appropriate processual ways of self-realisation for the aforementioned group of actors; they are different in terms of processes but also suggest common premises.

ПРОЛОНГИРАНО РАСЕЉЕНИШТВО И КУЛТУРНО ПАМЋЕЊЕ: АНТРОПОЛОШКА СТУДИЈА СЛУЧАЈА РЕПРЕЗЕНТАЦИЈЕ ЖИВОТА СРБА НА КОСОВУ И МЕТОХИЈИ

Author(s): Nevena Petković / Language(s): Serbian Issue: 9/2023

Given that anthropological work is a collaborative endeavour, this paper focuses on analysing collective memory practices through material gathered during interviews with the interlocutors from the fieldwork on displacement of Serbs from Kosovo and Metohija conducted in Niš, Belgrade, and in the region of Kosovo and Metohija in the period from 2020. to 2022. Through contextual analyses of literature and documentary films about the life of Serbs in Kosovo and Metohija, this case study examines social, political and cultural circumstances which affect the production of chosen works. The amateur documentary films Life Defined by a Loaf (2013), Pristina: Imperfect (Unfinished) Story (2016), Yellow Buss (2018), Vidovdan: One Day of Life (2019) and books Pristina, Pristinians and Time (1999), Kosovo and Metohija: to have and to have not (2004) of one of the main interlocutors, Radmila Todić Vulićević, who is herself a displaced person, are taken as primary material for the case study and compared with narratives collected during fieldwork. Since the paper is covering the fields of visual anthropology and anthropology of literature, the methodology is based on anthropological premises that memory is intersubjecitve. Treatment of memory as a social process therefore allows analysis of imagolocical aspects of the chosen works. The main aim is to contribute to the understanding of how remembering and forgetting intertwine in periods of social and cultural upheavals, and of the effects of post-war conditions on the life of Serbs in Kosovo and Metohija, as well as displaced persons.