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Цял един век в трептящата мрежа от изкуства

Author(s): Andronika Martonova / Language(s): Bulgarian Issue: 3/2020

The edition of Bratoeva-Darakchieva, Ingeborg; Genova, Irina; Levi, Claire; Spassova-Dikova, Joanna; Stoilova-Doncheva, Teodora; Tasheva, Stela; Traykova, Elka. Bulgarian 20th Century in Arts and Culture. Institute of Art Studies, 2019, ISBN: 978-954-8594-77-6, 632 рр. 333 ill. http://artstudies.bg/books/BG_XX_EN_2019_IIIzk.pdf in Bulgarian and in English in two separate books comes as a result of a collaborative interdisciplinary project supported by the National Science Fund, Bulgaria, which aims to present a general view on the history of arts in Bulgaria during the 20th century. There are specific but also general, parallel intellectual and artistic processes observed in the field of literature, theatre, music, cinema, visual arts and architecture. The accent is put on phenomena related to the modernization of Bulgarian culture and its place in the context of the flexible, dynamic cultural dimensions of modern Europe. The texts are structured in three parts: Under the Sign of Modern Europe (1878–1944), Metamorphoses of Modernity (1945–1989), Challenges in a Time of Transition (1989–2000). Splitting the period into topical parts creates convenience of sharpening the accents related to various “aspects of change” in the development of a particular art and its specific reflections from the point of view of personal and community identity analysed in synchronous or diachronous terms. The marking of such cross nodes (temporal, socio-cultural, institutional, genric, etc.) by following mosaic-chronological principle is conventional and provocative to the traditional idea concerning developmental trends in Bulgarian culture of the past century. The publication is richly illustrated and has an extensive bibliography. It is intended for a wide range of readers. It is evaluated as excellent edition by the National Science Fund, Bulgaria.

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Бежанците и съвременното българско кино – проблеми и модели на представянето

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Бежанците и съвременното българско кино – проблеми и модели на представянето

Author(s): Andronika Martonova / Language(s): Bulgarian Issue: 2/2021

The onset of the migrant crisis has caused the appearance of new works in the European cinema but Bulgaria has been lagging behind with the articulation of the ‘refugee’ theme. The figure of the foreigner does exist on our contemporary movie screen but the emphasis usually falls on the rethinking of the traumatic totalitarian past. There are, however, directors who are developing the socially engaged cinema and searching for different approaches to the study of the Other/the Alien. Unavoidably, these cinematic works tie in xenophobia, the hardened monocultural mentality, the widespread national disillusionment with the perpetual transition and the feeding of marginalization within the EU. The first short documentaries appeared in 2006 thanks to the initiative of The Red House Centre for Culture and Debate which no longer exists in Sofia. The so-called Invisible Minorities package comprises five titles. The authors of these films do not belong to the professional cinema community but they have managed to provoke a discussion. Recently several mature and young directors summoned the courage to discuss the image of the refugee, sending various messages to the audience (local and international). With the aid of the film studies toolbox – but within the contexts of the socio-cultural environment I have analyzed the documentaries Long Live Bulgaria (2017, by Adela Peeva) and The Good Postman (2016, by Tonislav Hristov); the shorts - Trials (2017, by Boya Harizanova) and Dobry (2017, by Orlin Milchev); and the feature film Fear (2020, by Ivaylo Hristov).

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Healing Frames. Health Histories beyond ‘West’ and ‘East’ through the Lens of Cinema

Author(s): Anelia Kassabova / Language(s): English Issue: 3/2024

The text is a review of "A Critical History of Health Film in Central Eastern Europe and Beyond" by Victoria Shmidt and Karl Kaser ‒ a significant scholarly work that offers an in-depth examination of health films and their role in shaping public health perceptions and policies in Central and Eastern Europe. Drawing on extensive archival material, this interdisciplinary book bridges the fields of film history, media studies, social history, public health history and Central Eastern European studies, providing readers with a nuanced understanding of how visual media was used to promote health issues. The book covers a broad temporal scope, encompassing case studies from the interwar period, World War II, the socialist era, and the post-socialist transformation.

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Cultural Therapy and Concern for the Archive. The Case of Documentary Video Ar-chives by Tomáš Rafa

Author(s): Daniel Grúň / Language(s): English Issue: 34/2024

In this paper, the author explores current perspectives on contemporary art projects through the concept of the archive. By applying a theoretical framework termed “concern for the ar-chive”, the author aims to elucidate complex relationships between the archive as a medium and the situated practices of contemporary art. The paper examines contemporary art as a form of temporary memory storage, particularly through the analysis of Tomáš Rafa’s doc-umentary films. It addresses two key questions: What specific aspects of concern for the ar-chive can be identified in political or activist contemporary art? How does concern for the archive differ from archival care, and why is this distinction important? In the first section, the author discusses the “zones of contact” in political activist art, highlighting the formation of dialogical structures and distinguishing them from scientific research and purely documentary creation. The second section traces the layers of artistic training in Grzegorz Kowalski's renowned studio at the Academy of Fine Arts in Warsaw, where the author gained experience in organizing and documenting collective workshops. This part reveals the specifics of documentary video creation with its activist and archival overlaps. In the final sections, the author outlines a theoretical framework for interpreting doc-umentary video pieces in relation to the concepts of archive, cultural trauma, and cultural therapy.

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FAR – CLOSE. BRECHT – STANISLAVSKI

Author(s): Dan Mihalcea / Language(s): Romanian Issue: 38/2024

The distancing that Brecht promotes is related to the fact that the actor must not convince the viewer that the character is on the stage and it must not appear that the actor has studied the character, but that on the stage everything would happen for the first time and only then. In Stanislavski's opinion, there is no art without the involvement of experience and emotion, and craft begins when creative experience has spoken. The artistic process in which the inner content is not found is only a stage convention that deforms the human nature of the artist, concludes Stanislavski.

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THE LITTLE (DISNEY) MERMAIDS: EMBRACING HUMAN IDENTITY THEN AND NOW

Author(s): Adriana Carolina Bulz / Language(s): English Issue: 1/2023

In my paper, I investigate how the image of the little mermaid has been constructed by the Walt Disney studios over the last half century, from the initial cartoon version of the character in the 1989 American animated musical fantasy to its contemporary counterpart in the 2023 American musical film. I will contrast the two different character constructs and their impact upon a young audience, alongside a discussion of white race dominance and the cultural homogeneity of identity versus the concept of multiculturalism and the idea of embracing cultural diversity. Separately, I will focus on the little mermaid figure as opening up a philosophical perspective on the human condition and will attempt to explain the identity construct in the original version of the tale by Hans Christian Andersen and its implications for the idea of embracing the human identity, both male and female.

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MIŠLJENJE DOGAĐAJA I ESTETIKA: NODRAMA I PREDMETNOST FOTOGRAFIJE

Author(s): Saša Ž. Radovanović / Language(s): Serbian Issue: 3/2024

The text analyzes Heidegger’s attitude towards East Asian art. His thesis is developed that the language of aesthetics cannot explain the basic concepts of Japanese or East Asian art. Then a comparison is made between the film Rashomon and the nodrama. The difference between European and East Asian art is established. European art is symbolic and representational. It is based on the understanding of Being. East Asian art is non-symbolic and non-representative. Emptiness, non-beings play an essential role in its determination. Then, Heidegger’s position is shown that language as a hermeneutic relation to being is a medium of a possible encounter with East Asian art. At the end, the consequences of such an attitude are determined for Heidegger’s philosophy of art and the thinking the event.

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“Two Wild and Crazy Guys‚ and a Gal” – Unresolved Trauma and Balkan Stereotypes in the Music of Emir Kusturica’s Film Podzemlje (Underground)

Author(s): Ana Đorđević / Language(s): English Issue: 36/2024

One of the manifestations of unresolved trauma is associated with the use of Balkan stereotypes and self-Balkanisation in films. In this paper, I explore the connection between unresolved trauma and the music used to express Balkan stereotypes, focusing on a case study dedicated to Goran Bregović’s soundtrack for Emir Kusturica’s film Podzemlje [Underground] (1995). I analyse the track “Mesečina [Moonlight]” featured in the film, and observe how the music goes hand in hand with the portrayal of some of the main characters as “wild Balkan men” associated with a myriad of negative characteristics and stereotypes.

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Romani Musicians and the Artistic Representation of the Romani Holocaust: In the Film And the Violins Stopped Playing

Author(s): Anna G. Piotrowska / Language(s): English Issue: 1/2024

There are a relatively small number of feature films that openly and exclusively address the Romani Holocaust. However, it was arguably the 1988 film And the Violins Stopped Playing that marked the major breakthrough in the tradition of representing the Romani Holocaust, for its plot focuses entirely on the Roma and their plight during World War Two. This article examines this cinematographic representation of the Holocaust, focusing on depictions of Romani culture while taking into account the assumption of the privileged position of Romani musicians among the Roma. The film, which is an adaptation of the 1985 novel of the same title by Alexander Ramati, shows the Romani Holocaust from the perspective of Romani musicians. It can be argued that not only the plot or the visuals, but also actual sounds heard throughout the film, offer meaningful insights into the reading of this work. The article claims that the film approximates the Romani Holocaust by equally involving visual and musical aspects, which, like the story shown onscreen, are not devoid of stereotyping

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ПУЛСИРАЊЕTO НА ЖЕНСКИОТ ИДЕНТИТЕТ НИЗ ЖИВОТЕКОТ НА ЛИЧНАТА ВИСТИНА (ПРЕКУ ПРВИОТ МАКЕДОНСКИ ИГРАН ФИЛМ ФРОСИНА)

Author(s): Biljana Rajcinova-Nikolova / Language(s): Macedonian Issue: 29/2024

Literature is the richest source of material for the film. As a kinesthetic medium film transformed many of the means of older arts from it among other arts forms from the literature. We proved this idea in our paper through the analytical follow-up of the first Macedonian feature film Frosina. Frosina was recorded according to the script “The Frosina and the Son” by Vlado Maleski. About the film and the character Frosina, we considered the perspective of „gender reflexive power of judgment“ (Kant), and we spoke in two ways: from the position of the past - from the aspect of the patriarchal model of femininity (the patriarchal paradigm) and from the position of the present - from the aspect of the modern model of femininity (the constructivist paradigm), in the context of the relation identity-space-time.

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INTENZITET NARATIVNOGA ISKUSTVA TIJEKOM BINGE-WATCHINGA

Author(s): Vesna Karuza Podgorelec / Language(s): Croatian Issue: 31/2024

The technological progress that allows the television series to be emancipated from the linear broadcast schedule brings a new way of watching several episodes in a row, when and as much as the viewer wants (binge-watching). Previous research suggests that binge-watching is characterized by engaged enjoyment. The communicology concept of narrative engagement provides insight into the mechanisms of engagement in consuming narrative text, connecting the intensity of narrative experience and enjoyment. Our aim was to analyse the intensity of the narrative experience during binge-watching in terms of the prominence and connection of three fundamental processes that indicate intensity of narrative engagement: telepresence (sensory „presence“ in an artificial environment), transportation (immersion in the story) and identification (taking the perspective of the characters). We analysed the original scales that measure the intensity of these processes. We conducted a digital survey using the snowball method on 833 respondents who practice binge-watching. Our findings indicate the prominence and statistically significant strong correlation of all three examined processes, suggesting that the practice of binge-watching is associated with a pronounced narrative engagement of the viewer and thus confirming the results obtained with other methods that emphasize the immersiveness of binge-watching and intense pleasure as a result of such a way of watching series. The presented research is a part of an extensive study of the phenomenon of binge-watching.

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Dirty Ruins and Their Online Afterlives

Author(s): Elena Rădoi / Language(s): English Issue: 11/2023

Ruin porn proves, as the contemporary successor of Ruinenlust, that humans still share Georg Simmel’s fascination for ruins. However, modern ruin-enthusiasts of the Mediocene consume them through visual media, because “real ruins” are either musealized or too dirty to be accessed. They seem – unless staged by contemporary media – on the verge of losing their meaning. Similar to Bram Stocker’s Dracula, who lived in a Transylvanian “vast ruined castle” before transferring to Whitby Abbey, ruins seem like empty shells, gradually robbed by humans and metaphorically “eroded by time.” However, they “host” a multitude of life forms. Analogously to the simultaneously dead and alive Dracula, ruins are trapped in traditional dichotomies of nature-culture or absence-presence. Nonetheless, the doorless ruin takes dichotomies oﬀ their hinges by annulling the door as operative ontology and ceases to delimitate the inside and the outside. I argue that, either dirty crumbling objects or captured in (digital) media such as photography or ﬁlm, ruins remain meaningful for both humans and non-humans. Ruin porn, which is online available, makes them everywhere accessible. Yet they objectify the ruin as their aesthetic has assimilated a universal visual grammar established by porn.

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Кинематографическое присутствие В зрительском опыте

Author(s): EKATERINA BRONNIKOVA / Language(s): Russian Issue: 2/2024

The proposed article is aimed at conceptualizing the phenomenon of cinematic presence, as well as the search for possible components for its formation in the viewing experience. Presence, considered in the context of intersubjective interaction, will be viewed as a characteristic of the specific bodily relationships between the cinema and the viewers, as well as an essential aspect of the cinema itself. After analyzing both the fundamental texts theorizing this concept and the theoretical work of modern researchers in the field of cinema, as well as turning to experimental practices and slow cinema, the author deduces her own concept of cinematic presence. The article rejects the notion of presence as a state of involvement in the diegetic world. Instead, the author proposes to view it as distanced co-existence which makes it impossible for the viewer to fully immerse in the film space, but there is an opportunity to get an experience specific only to the situation of watching a film. Corporeality in the broader sense of the word plays an important role in the origin of the named experience. The described effect is themed through intimacy and closeness: viewers find themselves in a transit position, becoming a movie, when there is fusion, a loss of a sense of distance from the other, but at the same time the boundaries between their own body and the body of the film are preserved. The main thesis of the article is that the cinematic presence, grasped in the viewers’ experience, reveals itself not only and not much by exposing parts of the cinematic body, although the manifestation of the specific sensuality of the apparatus is the basis for the formation of presence. The experience of a collision with a cinema as such implies the perception of it as another, possessing agency and preventing the full disclosure of its essence.

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Turkish TV Dramas, Visual ‘Seduction’, and the Cultural Diplomacy

Author(s): Milena Benovska / Language(s): English Issue: 2/2024

International success of Turkish television (TV) dramas first reached its peak in 2014. Since then, Turkish productions have reached second place in world market distribution, after American ones. What are the reasons for this success, in particular in Southeast Europe? This is the main research question that this paper addresses. The research is based on a study of the fan communities on social media and on the analysis of cinematic qualities of a sample of all film material broadcast so far. Turkish serials reinforce the effects of world popular culture known as ‘seduction’, in terms of Baudrillard, through a politics of imagery that involves both appealing images of their native country and ‘seducing’ the audience through the pull of visual suggestion. Visual appeal is an important factor in viewers’ interest. Turkish series show continuity with examples of literary and cinema classics that viewers expect and recognize. The viewer appreciates the archetypal narrative patterns (the fairy tale; melodrama) contained in television. By adapting Western models of soap operas, Turkish TV production has ‘glocalized’ this model and created its local version. In this sense, globalization should not be understood as merely synonymous with Americanization.

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Чому «Мирні люди» — найсильніше кіно про війну для іноземців

Author(s): Yurii Samusenko / Language(s): Ukrainian Issue: 08/2024

Oksana Karpovych's documentary "Peaceful People" debuted at the Berlin Film Festival, where it received a special award and the ecumenical jury prize. The film's festival journey continued through various countries before premiering at Kyiv's Docudays UA. The target audience for this film is foreigners, highlighting the ongoing Russian aggression in Ukraine. It documents recently de-occupied regions of Kyiv, Kharkiv, and others, using intercepted calls between Russian soldiers and their families as the audio backdrop. The film's English title, "Intercepted," underscores this aspect. Karpovych uses emotionally charged conversations to create a powerful narrative about war crimes and Russian aggression. The film challenges viewers, particularly international audiences, to confront these harsh realities. It emphasizes that the war's responsibility lies with all Russians, not just Putin, and provokes reactions of disgust and awareness.

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Як «Ля Палісіада» Філіпа Сотниченка говорить про дев’яності

Author(s): Yurii Samusenko / Language(s): Ukrainian Issue: 08/2024

"Polaroid" is an unprecedented full-length debut film by Filipp Sotnichenko, shot with a retro camera on rare videotapes, showcasing Ukraine in the 1990s without filters. The film explores the unresolved issues of the past generation through the story of a judicial psychiatrist, Oleksandr, and his friend-investigator Ilgar Sabitov, who are investigating the murder of a policeman linked to both. The narrative examines the psychological legacy left to future generations, addressing questions of justice, values, and societal evolution amidst the backdrop of post-Soviet noir. "La Palisiada" by Sotnichenko uses this stylistic excess to delve into the complexities of self-education over two decades ago. The film's most symbolic scene involves a shift in focus from children to parents, reflecting a generational perspective. The authenticity of the film is heightened by its original Russian language, though its translation into Ukrainian has evoked mixed reactions. The film's humor and violence, especially its portrayal of the death penalty, challenge viewers to engage with its deeper meanings and anthropological significance.

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Le flou et le précis des réécritures contemporaines : Les Liaisons dangereuses à l’épreuve des réseaux sociaux

Author(s): Andrea Tureková / Language(s): French Issue: Special/2024

Les Liaisons dangereuses (1782) by Choderlos de Laclos is one of the best-known and most imitated novels in French literature. Despite the great number of adaptations and rewritings that have appeared since the second half of the 20th century, these continue to be made, assimilating the world of the libertines into that of teenagers. This study looks at the novel transposition from a film script, published in 2022 by Rachel Suissa and Wendy Thévin, under the same title Les Liaisons dangereuses. The paper analyses the way in which Laclos’s novel is adapted to the age of social networks and shows how the strategies of modernisation oscillate between “vagueness” and “precision”, considering the narrative technique, the libertine theme and the intertextual relationship between the rewriting and the original novel.

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Interpretativno promatranje filma katastrofe XXI veka iz antropološke perspektive

Author(s): Milan Tomašević / Language(s): Serbian Issue: 36/2024

The disaster movie has a clear genre formula and narrative conventions that have been stable for more than half a century and that manifest different social anxieties. However, during the second decade of the 21st century, a certain transfer of the conventions and clichés of the disaster film that are increasingly used in other genres is evident. In this shift and use of the imaginarium of destruction and satisfaction with scenes of cataclysms, it is possible to look for reflections of tensions and social changes that contemporary Western society is going through. The broadest context in which this change will be placed is the culture of fear, as a specific interpretive framework in which disasters, secular apocalyptic imaginary and end times narratives play the role of deconstruction, but also reconstruction, of current cultural-political orders and ideological matrices.

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Kulturnoantropološki pristup filmskom scenskom prostoru doma: proizvodnja i konstrukcija mjesta i sjećanja

Author(s): Tatjana Lacko / Language(s): Croatian Issue: 36/2024

The goal of the paper is to further explore home spaces by connecting theoretical approaches to space and place with the settings and practices of creating a cinematic space. The paper approaches the analysis of homemaking from two perspectives: a cultural-anthropological approach and film theory. After a theoretical conceptualization of the imaginary spaces of home that are produced and constructed in feature films and an analysis of how fiction is placed in real spaces, the paper focuses on the features and research potential of the aforementioned creation for considering the real spaces of home, the ways of dwelling and the dialogical relationship between tenants and the space they inhabit. Film presentations of home spaces co-create collective memories related to the ways and forms of dwelling in certain spatial-temporal circumstances, which additionally contributes to both scientific and artistic approaches to the social production and construction of space.

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Саморефлексії на плівку: яким був Docudays UA - 2024

Author(s): Yurii Samusenko / Language(s): Ukrainian Issue: 04/2024

This year’s Docudays UA–2024 showcased a powerful array of documentaries amidst the challenges of power outages and air raid alerts. The festival opened with Oksana Karpovych’s “Peaceful People,” an in-depth exploration of Russian aggression through intercepted soldier calls, juxtaposed with visuals of war-torn Ukrainian regions. The closing film, “Mission 200” by Volodymyr Sydko, followed a former tourism manager transporting fallen soldiers from the front lines, blending personal reflection with raw reality. Other notable entries included Maria Ponomaryova’s “Nice Ladies,” which shifted focus from cheerleading competitions to the impact of war on community bonds, and Svitlana Lishchynska’s “A Bit Strange,” a generational portrait tied to Mariupol. The festival also featured Maxim Rudenko’s “Height,” a pre-invasion story of a ski jumping coach in Vorokhta, and Taras Spivak’s “Under the Sign of the Anchor,” a montage of archival footage from a former naval academy. These films collectively highlighted the resilience, transformation, and enduring spirit of Ukrainians amidst ongoing conflict.

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