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Ewakuacja i postępowanie w sytuacji ataku zabójcy masowego w placówce szkolnej. Analiza filmów edukacyjnych

Author(s): Małgorzata Kudzin-Borkowska,Jarosław Zwierzyna / Language(s): Polish Issue: 2/2017

Mass murders committed by so-called active shooters have a lot in common with terrorist attacks but should not be identified with them. Both phenomena attract publicity and raise public sentiment. There has never been an attack on a school or university in Poland, but prevention and education in this matter have been conducted for several years. It is of great importance to provide a proper evacuation drill training and to deal with the threat of a shooter attack. Due to a considerable diversity of training providers,their level, content and type of recommendations are extremely varied and sometimes disputable. It is important to evaluate the suitability of film training materials on this subject.

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Propaganda w kinie hiszpańskim w latach dyktatury generała Francisco Franco

Author(s): Aleksandra Maśnica / Language(s): Polish Issue: 2/2019

This article aims at analysing the role of Spanish cinema during the dictatorship of General Francisco Franco (1936–1975). Cinema at that time became the main source of political persuasion due to the growing global popularity, simple message, as well as the possibility to influence lower social classes. The subject of the performed analysis is to examine Spanish films for propaganda activities, to determine the prevailing theme of the films, to highlight the most important images and to answer the question about the characteristic features of Spanish film propaganda, as well as reasons for its weakening, which ultimately resulted in its end. The cinematography of the initial period of dictatorship, which falls on the 1940s and 1950s, creates the reality that matches the official ideology, strongly withstanding the oppositional content. In the 1960s and 1970s, restrictions become more and more loose and propaganda content appears to be tedious to recipients. Ultimately, the death date of General Franco ends the period of disseminating the Franco’s propaganda in the Spanish cinema.

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Marvel zza żelaznej kurtyny – polska historia w ujęciu Netflixa

Author(s): Sylwia Szostak,Marcin Zaborski / Language(s): Polish Issue: 2/2024

Films are an important element of memory formation. They can affect memory – both the collective and the individual discourse. They serve as an arena for disputes over existing and sometimes contradictory narratives of the past. In the global memory boom, the past additionally adds diversity to available programming output and serves as visual eye candy that is seemingly devoid of its political capital. Focusing on the production context of “Mr. Car and the Knights Templar”, the article describes how Polish history can be exploited commercially in the global economy of streaming services. When utilized by Netflix, Polish history becomes a veneer subjected to cultural negotiation that must address the local viewer, but at the same time, must be accessible on a symbolic level to a wide array of global audiences.

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Wędrując przez Mrok i Śmierć – Iwan IV Groźny buduje Nową Jerozolimę

Author(s): Hubert Łaszkiewicz / Language(s): Polish Issue: Special/2024

Pavel Lungin’s film „Tsar“ tells the story of Tsar Ivan the Terrible and his policy. The ruler, while striving to solidify his power, seeks to secure salvation for himself. The tsar builds a monastery-palace, a New Jerusalem, to dwell there with Christ following the Parousia and the Last Judgement. The film was inspired by historiography on Ivan the Terrible and an attempt at universalizing a study on secular and spiritual power by making references to the Bible, and the Book of Revelation in particular. Tsar Ivan’s deeds, as shown in the film, can be interpreted as acts of a madman of God, heretic, or a power-hungry and bloodthirsty madman.

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Kadın Yöneticilerde Kraliçe Arı Sendromu: Late Night (Gece Kuşu) Filmi Bağlamında Çözümleme

Author(s): Beyza Sargın / Language(s): Turkish Issue: 2/2024

Purpose – Queen Bee Syndrome is a term used to explain the negative attitude of female managers towards their female subordinates in the work environment. A woman who becomes a manager begins to show Queen Bee Syndrome characteristics and adopts masculine characteristics in order to maintain her place in the male-dominated culture. This study aims to analyze the Queen Bee Syndrome through the movie Late Night, which is about the behavior of a female manager working in the media sector towards her subordinates. Design/methodology/approach – In this study, the document analysis method, one of the qualitative research methods, was used. The collected data were divided into subcategories in accordance with the characteristics of Queen Bee Syndrome. Findings – After the analysis, it was seen that the movie Night Owl provided data regarding Queen Bee Syndrome. It has been determined that the female manager, who plays the leading role in the movie Late Night, has a negative attitude towards her female subordinates. It has been observed that female managers exhibit masculine clothing styles and behaviors due to the male-dominated mentality in the media industry in which they work. Discussion – It has been observed that the conceptual features of Queen Bee Syndrome overlap with the features of the female manager working in the media sector in the analyzed movie. Increasing the number of such studies on visual arts will provide a different visual perspective to the literature on this syndrome and will give important clues for dealing with managers with the syndrome.

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Dwa zakręty III RP Historia i film

Author(s): Andrzej Piasecki / Language(s): Polish Issue: 377/2023

This article is an attempt to synthetically present the two greatest crises of the post-1989 Poland: the events and phenomena of the first year of transition (1990) and the social unrest of the pandemic period (2020-2022). These 'turns of history' became the inspiration for filmmaking exemplified in this text. The author argues for undertaking a broader research in the context of both the knowledge of the past and the art of filmmaking. He is concerned with the difficulties young people might encounter in assimilating contemporary Polish history claiming that the best way to generate the desired interest is through a cinematic masterpiece. Although the history of the post-1989 Poland did not bring wars and dramatic conflicts on the scale of a thousand years of the history of the state and nation, the extraordinary events of this period can provide inspiration for filmmakers.

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Uysallar Dizisinde Punk Alt Kültürün Sinematografik Araçlarla Yeniden İnşası

Author(s): Buket-Akdemir Dilek / Language(s): Turkish Issue: 16/2023

With the development of digitalization from past to present, new communication environments have been born. With the technological developments, tools such as television, cinema and newspaper which are shown among the traditional communication tools, have shifted their direction towards digital platforms. Constant increase in the audience numbers of digital platforms makes the programs, series and movies produced in these digital platforms popular. Thanks to digital platforms, it has been possible to reach large audiences more easily in the international market. Especially in the works produced on digital platforms, there is a noticeable increase in mentioning the stories of different cultures and subcultures. Mass media is one of the prime tools used for culture building. Culture building, facilitated by digital technologies, has increased its visibility through digital platforms. With the movies and TV series produced on digital platforms, access to the cultures of other societies has been facilitated.“Uysallar”, one of the last TV series of the Turkish branch of the Netflix digital platform is one such example. Punk culture, like many different musical culture, built itself as a subculture from the past to the present. In this study, punk subculture and its reconstruction in Turkey, which is depicted as an Eastern country, will be tried to be revealed by analyzing the “Uysallar” series example using content analysis.

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Bergson’un Düşlediği Sinema: Blade Runner 2049’da Bellek ve Benlik

Author(s): Can Cengiz / Language(s): Turkish Issue: 16/2023

Bergson, who was one of the first philosophers to put forward original thoughts about the rapidly developing imaging technologies and cinema at the end of the 19th century and the beginning of the 20th century, put forward a unique philosophy with his perspective on the quality of memory and “time”. Bergson tried to remove time from being a linear and measurable element. Conversely it is seen that Bergson, who produced his works in a period when cinema was just emerging, also influenced the philosophy of cinema. Bergson’s cinematography criticism has been accepted as the starting point of a new cinematic understanding by many thinkers or critics, especially Gilles Deleuze (1925-1995). The most important elements of the relevant ‘Bergsonian cinema’ approach are time, memory and self. In fere by discussions of artificial intelligence, one of the areas where the relationship between self and memory is frequently discussed is science fiction cinema. The movie Blade Runner 2049, which is a detective with dystopian content, has a suitable content to answer the question of whether a Bergsonian cinema is possible. Thus, Blade Runner 2049 deals with the question of whether the protagonist K is “human or copy” with a narrative that basically points to the meaninglessness of this question. Our study aims to analyze Blade Runner 2049 with Bergsonian themes of time, memory and self.

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Blow-Up: Modern Sinema Estetiğinde Gerçeklik İdesi

Author(s): Erdil Levent Ertan / Language(s): Turkish Issue: 17/2024

This study aims to examine the phenomenon of reality in cinema through the layered structure of modern cinema aesthetics based on the photographic image. Blow-Up (1966) makes ground as a work that asks questions about what cinema is, reflects on the apparatus, and examines the illusory nature of the image. Focusing on the nature of perception and the visual dimension of reality within this context, the film is a proper work for discussing the phenomenon of multi-layered reality in terms of both photography and cinema. The fact that the film is based on the concept of reality makes it necessary for the article to be examined through the method of philosophical analysis. Unlike the other types of criticism, the main purpose of the philosophical analysis method is to center the artwork and question its message. Examining Blow-Up has allowed us to access important patterns about the phenomenon of reality. In conclusion, according to the findings of the study; the film, in which the relationship between the modern subject and reality is questioned, qualitatively fits the director’s definition of “neorealist”. It has been established that film contains both the conventional narrative norms identified with the classical narrative style and the codes of modern narrative aesthetics, which are defined by the use of open-ended images and ambiguous plots. It has been determined that the director emphasizes that the nature of reality consists of fiction, rather than attributing a role that has the impression of reality to fiction in that causing the audience to experience the phenomenon of reality as a fictional phenomenon. Analyzing the film through the concept of reality provided an appropriate perspective for a morein depth understanding of the work and a philosophical critique of the aesthetic values of the work.

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Derin Ekoloji Kavramının Anlatılmasında Sinema Filmlerinin Kullanımı: Avatar Suyun Yolu Filmi Örneği

Author(s): Sinem Kizilaslan / Language(s): Turkish Issue: 17/2024

The basis of human life is based on human needs. The endless needs, desires and desires of people can cause destructive and corrosive effects on the environment (living and non-living entities). In this relationship, human is the ‘ruler of nature’ and nature is the ‘source’. This view forms the basis of environmental approaches and the concept of sustainability. Man forms the centre. Deep ecology argues that this human-centered approach is wrong and that the biocentric approach is correct. He argues that nature is not a “resource” and that all living things in an ecosystem are important because of their intrinsic value. In this perspective, the continuity of the ecosystem, not the individual species, is important. The starting point of both perspectives is the fact that nature is damaged, whether it is considered as a “source” or as a bio-center. Damage to nature means damage not only to people but also to all life. Stopping this damage is possible when people become aware of the damage they cause to their environment. Visual data has an important place in the awareness process. For this reason, the art of cinema can be used as an important tool in creating environmental awareness through visual perception. Within the scope of the subject, the movie Avatar: The Way of Water has been examined within the scope of deep ecology. The classic narrative structure of the movie is explained by Todorov’s narrative sequence and associated with the concept of deep ecology.

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Revealing the Essence of Cinema: A Philosophical Inquiry into Paulo Sorrentino’s The Hand of God

Author(s): Erdinç Yılmaz / Language(s): English Issue: 17/2024

Several philosophers, academics, and filmmakers have contributed to the long-debated subject of what cinema is, with the fields of ontology and hermeneutics playing significant roles in this discourse. The majority of the answers include the relationship between cinema and reality. Some correlate reality with the physical circumstances of an object and others emphasize the importance of human experience. Whatever the answer is, cinema is rooted in human existence. Therefore, while replying to the question of what cinema is, it is crucial to acknowledge the humanistic essence. Paolo Sorrentino’s highly personal film, The Hand of God (2021) questions the essence of cinema by positioning the film-maker as a creator at its core. Through its plot, dialogues and cinematography, the film debates about what cinema is and who a director is. Hence, The Hand of God links the ontology of cinema to the presence of a creator blinking an eye to auteurism. This paper aims to analyze The Hand of God utilizing Bazin’s and Cavell’s insights on the ontology of moving image by using the hermeneutic analysis method. As a result of the analysis, it has been observed that the film gives central importance to the film director as a creator of emotions, thought and life experiences.

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Kilbourn, R.J.A., & Empey, J.A. (Eds.). (2023). Feminist posthumanism in contemporary science fiction film and media. From annihilation to high life and beyond. Bloomsbury

Author(s): Ilaria Biano / Language(s): English Issue: 1/2024

Review of: Kilbourn, R.J.A., & Empey, J.A. (Eds.). (2023). Feminist posthumanism in contemporary science fiction film and media. From annihilation to high life and beyond. Bloomsbury. Oxford University Press.. Routledge. Palgrave Macmillan.

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Westworld and Humans: The Sentimental Disposition of Popular Posthumanism

Author(s): Christian Krug / Language(s): English Issue: 2/2024

Popular trans- and posthuman TV fictions such as Westworld (2016-22) or Humans (2015-18) are replete with sentimental tropes and scripts – those inherited from an 18th-century sentimental tradition and the affective-political ones that allow the sentimental to continue to operate today, as a communicative code in an arena of ‘public feelings’. Here, it is activated in times of crisis and to hedge in experiences of radical contingency. Uncanny encounters with posthuman forms arguably constitute such moments of crisis. But how can the sentimental do its cultural work if these encounters threaten to decentre its humanist foundations? In Westworld and Humans, sentimental scripts are partially revised, develop ambivalent, multi-coded forms and are employed self-reflexively, both in the shows’ diegesis and in the way they address their audience: In ‘quality TV’ drama, fictions of the posthuman seem to engender a ‘meta-sentimentality’ – which in turn may allow for a critical mode of inquiry.

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Radość czytania (Conrada). Agnieszka Adamowicz-Pośpiech: „Adaptacje biografii i twórczości Josepha Conrada w kulturze współczesnej”. Wydawnictwo Uniwersytetu Śląskiego, Katowice 2022, 364 s.

Author(s): Anna Gwadera-Dec / Language(s): Polish Issue: 2/2024

The review surveys Agnieszka Adamowicz-Pośpiech’s monograph Adaptacje biografii i twórczości Josepha Conrada w kulturze współczesnej. The study is divided into three parts, which concern separate fields of art – graphic novels and comic books, literary transformations, and theatrical and film productions. The author, conducting a meticulous analysis of selected works, puts forward an innovative thesis that not only Conrad’s works but also his biography are subject to adaptations. The publication is a valuable contribution to the field of Conrad studies, significantly supplementing the state of research.

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Интермедијална црна проза. O приповедању Живојина Павловића

Author(s): Jovana Ivetić / Language(s): Serbian Issue: 182/2024

Review of: Уметност Живојина Павловића. Приче, светови, медији. Ур. Бојан Јовић и Невена Даковић. Београд: Институт за књижевност и уметност, 2022, 346 стр.

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W pułapce rytuału, czyli słów kilka o kryzysie rodziny, narcyzmie i męskiej dominacji w filmach „Kobieta z lodu” Bohdana Slámy i „Kobieta na dachu” Anny Jadowskiej

Author(s): Łukasz Wróblewski / Language(s): Polish Issue: 21/2024

The aim of this paper is to analyze family situations of Hana and Mirosława — protagonists of the films Ice Mother by Bohdan Sláma and Woman on the Roof by Anna Jadowska. I prove in my article that ritual is one of the main sources of family crisis which afflicts the main characters in Ice Mother and Woman on the Roof. Rituals are an obstacle that block building empathetic relationships with relatives. Instead of strengthening family, rituals cause conflicts. Referring to the concepts of Pierre Bourdieu, Lester Kurtz, Anthony Giddens, and Sara Ahmed, I shows that rituals support narcissism and male dominance. Furthermore, I explain that rituals are a form of protection against fear and shame. In fact, protagonists confront with others’ opinions which decrease their self-confidence. On the one hand performing rituals protects characters against being ashamed but on the other hand it causes family conflicts and leads to the atrophy of communication.

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«ХВИЛІ МАРТЕНО» У МУЗИЦІ ФРАНЦУЗЬКОГО АВАНГАРДНОГО КІНЕМАТОГРАФУ ПЕРШОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ (НА ПРИКЛАДІ ТВОРЧОСТІ А. ОНЕҐҐЕРА)

Author(s): Dmytro Holubov / Language(s): Ukrainian Issue: 3/2024

The purpose of the study is to reveal the figurative, semantic and symbolic specificity of the interpretation of the timbre of "Martenaut waves" in the music of the French avant-garde cinematography of the first half of the 20th century, including in the work of A. Honegger. Research methodology. Cultural-historical, interdisciplinary historical-cultural, as well as analytical-musicological methods were essential for this work. The scientific novelty of the work lies in the fact that it introduces for the first time into the circulation of art historians the materials related to the film music of A. Honegger and its timbral specificity, marked by an appeal to the semantic and expressive features of the "Martenaut waves". Conclusions. At the turn of the 19th and 20th centuries, as a result of rapid scientific and technical progress, cinematography came to the forefront of world art. The unity of cinematography as a synthetic art and music is strengthened by the emergence of sound cinema in 1926-1927, in which music is recorded on the same film as the image. The use of electric musical instruments, including "Martenaut waves", becomes organic in this process. Thanks to their unusual timbre, they acquired the meaningful status of the embodiment of "the materialisation of the intangible." The world of hallucinations and dreams, mystical spiritual revelations and unusual natural phenomena – such was the range of images that were conveyed with the help of this instrument in French film music of the 1930s and 1940s. A. Honegger worked most fruitfully in this field during the mentioned period, whose creative output includes more than forty soundtracks, including those using "Martenaut waves". One of the first films in which the expressive timbre of this instrument is used was the science fiction film "The End of the World" (1931) directed by A. Gans, as well as the animated film "Idea" (1934) directed by B. Bartosh and artist F. Mazerel. In the musical accompaniment of these films, the timbre of the "Martenaut waves" occupies almost the most important place, revealing the connection of the instrument with the sphere of the Sacred and the Cosmic and the spiritual and stylistic searches of European modern culture.

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Csúf hősnők reprezentációi drámai szövegekben. A. P. Csehov „Ványa bácsi” és Bródy Sándor „A medikus” című drámáinak hősnői

Author(s): Ágnes Váradi / Language(s): Hungarian Issue: Sp. Issue/2021

Inferences about female characters’ body can be made from several different aspects in the drama framework including information exchange among characters and self-representational confessions; moreover, authors’ paratexts also offer a basis for the external endowments of a female figure. The study focuses on two plays in which two young girls become major characters who break through stereotypical patterns with their appearance and differ from social norms to some extent. The heroines of A.P. Chekhov’s Uncle Vanya and Sándor Bródy’s The Medic (Sonia and Riza) will have different fates. Whilst Riza finds her happiness and fulfils herself as a wife and this is not given to Sonia. She has to give up experiencing her femininity. What they have in common is the shortcomings of their physical appearance. Riza’s physical disability will become a commercial asset, as a matter of fact she becomes a commodity. The play's central metaphor is Sonia’s face in the mirror: the feeling of abandonment, humiliation appears as a representation of no way out.

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ДИЗАЙН КАДРУ У ЗОБРАЖАЛЬНІЙ КУЛЬТУРІ СУЧАСНОЇ АВТОРСЬКОЇ РЕЖИСУРИ - ЧАСТИНА 2. ПРОЄКТУВАННЯ ПРЕДМЕТНОГО СВІТУ У ФІЛЬМАХ РЕЖИСЕРІВ-АВТОРІВ

Author(s): Galyna Petrivna Pogrebnіak / Language(s): Ukrainian Issue: 2/2023

The purpose of the article is to determine the artistic and aesthetic toolkit for designing the objective world of the frame in the visual culture of the author's film by the director, artist, cameraman. Research methodology. An integrated approach was used in the development of the topic, in particular, methods of systematisation, comparison, verification, comparative, and textual analysis. The analytical method and the method of figurative and stylistic analysis in their unity were used to consider the art historical aspect of the problem. The scientific novelty of the research lies in the fact that the director's creativity is investigated in the context of the visual culture of frame design and for the first time it became the subject of a special study. The appropriateness of using the systematic method in studying the features of the author's plastic film language has been proven. A comprehensive analysis was carried out and the features of frame design in the author's film creativity were revealed. Conclusions. The materials presented in the study expand the arsenal of knowledge about the specifics of the visual culture of the author's directorial film language in various worldview models and enable their application in educational courses, the creation of educational and methodological literature on the theory and history of cinema and television, directing

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ОСОБЛИВОСТІ ТВОРЧОЇ РЕАЛІЗАЦІЇ СПІВАЧКИ ЗОЇ ГАЙДАЙ В УКРАЇНСЬКОМУ КІНЕМАТОГРАФІ СТАЛІНСЬКОЇ ДОБИ (1930-1950-ті рр.)

Author(s): Olena Katsalap / Language(s): Ukrainian Issue: 44/2023

The purpose of the article is to investigate one of the aspects of the professional activity of the Ukrainian singer Z. Gaidai – participation in filming during the period of Stalinism in the 1930-1950s. Within the framework of the research of the specified problem, to show the specificity and artistic significance of the film material on the singer's work, as well as its importance in the context the creative biography of the performer and cinematographic heritage of Ukraine as a whole. The methodology of the work consists in the application of the source study method to analyse archival documents containing information on Z. Gaidai‘s participation in filming, as well as other materials on the topic of research; specific historical method – to determine the influence of socio-political processes of the Stalin era on cultural and artistic life, in particular, on the work of the domestic film industry; bio-bibliographic method – to determine the place of this aspect of the singer's activity in her creative biography; general scientific methods (analysis, synthesis, generalisation) – with the aim of thoroughly studying the issue and forming a reasoned conclusion. The scientific novelty of the article consists in the expansion of information about the creative activity of Z. Gaidai in the 1930-1950s, the study of new aspects of it, in particular those related to participation in filming, in the assessment of the specificity and artistic value of the filmed material, as well as its significance in creative biography of the singer and the history of Ukrainian cinematography. Conclusions. The analysis and assessment of the results of Z. Gaidai‘s participation in filmmaking during the Stalinism of the 1930-1950s made it possible to reveal the degree of interest of cinematographers in the personality of the singer and her desire to further popularise her work and leave a mark in cinema. However, the totalitarian Stalin era influenced the course of the filming process, determined the specificity of the content and essence of the material offered to the singer and, as a result, its somewhat dubious artistic value, in particular in the context of the domestic film heritage. The "Shelved" concert film "Ukrainian Melodies" generally put an end to the short film career of Z. Gaidai, which prevented her from fully realising herself as a film actress and forced her to focus exclusively on vocal and creative activities.

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