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PRIEVARTA KAIP MODERNYBĖS SĄLYGA: F. T. MARINETTI IR G. SIMMELIO ATVEJIS

Author(s): Nerijus Milerius / Language(s): Lithuanian Issue: 90/2016

The article deals with the general conditions of cinematic violence. The question of artistic violence quite often is treated as the question of autonomy of art. Nevertheless, such interpretation is not sufficient as it neglects the fact that under conditions of modernity violence functions not only as an aesthetic, but also as a social phenomenon. In attempt to interpret the status of violence in modernity, the case of the futurist manifesto by F. T. Marinetti and the theory of G. Simmel are examined. In Marinetti’s manifesto, the speed, the technology, and violence are treated as the means to transform society. As a consequence, the notion of war is also glorified. After beginning of the World War I, Marinetti fails to rethink the notion of war in accordance with new political and social circumstances. Contrary to Marinetti, Simmel develops a positive notion of war as an effective tool to overcome the so-called blasé attitude and give hope of renewal of society. Thus, despite differences in interpretation and in political attitude, both Marinetti and Simmel attribute to violence and war the meanings of resistance and messianism. The resistance and messianic interpretation of violence and war is inevitable part of the discourse of modernity. Nevertheless, it is argued that such interpretation should not be treated as self-sufficient as the status of the violence is transformed in the times of post-industrial society and postmodernity.

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ЕЈЗЕНШТАЈН У ПОДЗЕМЉУ

Author(s): Violeta V. Stojmenović / Language(s): Serbian Issue: 53/2014

The paper aims to analyze and interpret DeLillo’s usage of the biography and creative work of Russian theater and film director Sergei Eisenstein, as a source of materials and motifs, themes, compositional, stylistic and structural devices in the novel Underground, and to show some of the reasons DeLillo might have had for assimilating Eisenstein life and work in the world of the novel. As an artist whose relationships with politics and state were constantly oscillating between complicity and antagonism due to his avant-gardism, strenuous quest for ever newer artistic devices and his intellectually very demanding movies, grounded on the concept of dialectical montage thinking, which have to transform, immediately and even violently, recipient’s state of mind and value system, Eisenstein is a provocative model in an age of capitalistic co-optation and commodification of art works and art strategies. Recognition of Eisenstein’s “presence” on various narrative levels, e. g. on the diegetic, metadiegetic, metanarrative and ideological level, is of the prime interest of this paper. For example, Eisenstein’s asking for a glass of milk in Ester’s recollection could be a reference to General Line with its elaborate milk symbolism. Hints at Eisenstein’s bi-sex (Nesbet 2003: 15) should be connected with allusions to T. S. Eliot’s hermaphroditic omniscient Tiresias in order to make visible the image of the artist as seer. The “underground” story about orange juice might be read as an allusion to the repetitive squeezing of lemon in Strike, and so on. Special attention is given to Eisenstein’s theories of associative, intellectual, polyphonic and vertical montage and montage of attraction and how they have been understood, modified and applied in DeLillo’s narrative. Comparing Eisenstein theories and some examples of concrete usage of various montage technique in his motion pictures with DeLillo’s webs of associations constructed from “floating motifs” (Nesbet 2003: 205- 206) and leitmotifs, polysemy of his intermingled micro-narratives and his versions of collisions and crash of meanings proves to be very illuminating. Both authors tend to break up with linearity and unity of plot, to fragmentize narrative into divergent, multilayer pieces, to interpolate many “extra-thematic images” (Eisenstein 1976:10) in similar ways. Also, Underworld could be perceived as an actualization of Eisenstein’s idea of a “serape-film” planned to be filmed in Mexico. The ideological effects of such storytelling strategies are seen in DeLillo’s subversive and questioning attitudes toward official presentations of the Cold War, its history and the ordinary lives of different classes during and after it. The paper demonstrates genetic, intertextual and intermedial aspects of DeLillo’s relationship to Eisenstein, emphasizing parallels and correspondences between DeLillo’s Underworld and Eisenstein’s Ivan the Terrible, Que Viva Mexico! and “Notes for a Film of ‘Capital’”.

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СИМВОЛИЧЕСКИЕ ГРАНИЦЫ В ПОЛИТИКЕ СОВЕТСКОЙ ИДЕНТИЧНОСТИ: ГЕНДЕРНОЕ ИЗМЕРЕНИЕ (НА МАТЕРИАЛЕ КИНЕМАТОГРАФА ВЕЛИКОЙ ОТЕЧЕСТВЕННОЙ ВОЙНЫ)

Author(s): Oleg Vjacheslavovich Riabov / Language(s): Russian Issue: 2/2020

Using the boundary approach, the paper dwells upon the role of gender discourse in politics of the Soviet identity in the time of the Great Patriotic War. In the beginning, it discusses what role symbolic boundaries created with help of gender discourse play in politics of identity. Then, the essential traits of politics of Soviet identity are examined on the material of the film “Circus” (1936). Finally, the paper focuses on utilizing the gender discourse by cinema of the Great Patriotic War. It investigates how the films used the representations of femininity in such directions of the politics of the Soviet identity as producing the images of “us” and forming the feeling of belonging to the political community; providing the national unity through weakening internal symbolic boundaries; strengthening external symbolic boundaries and forming negative identity through constructing the images of “them” — the women of Nazi Germany. The author comes to the conclusion that the boundary approach has significant heuristic potential and may be employed in Gender Studies.

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Oryantalist Bakış Yeniden: Djam (Aman Doktor) Filminde İstanbul

Author(s): Özge Güven Akdoğan / Language(s): Turkish Issue: 12/2021

This study explores the movie Djam (Aman Doktor, Tony Gatlif, 2017) focusing on orientalism studies that examine the power position in the discourses that the West produces about places and cultures outside of itself. Istanbul has an important place in examining the representations of the West’s artistic, scientific and academic texts about the East, as it is seen as the entry point of exotic lands in the journeys between Europe and the East. In the study, while focusing on the images of Istanbul in the movie Aman Doktor, Eastern fantasies that find their place in the orientalist theory are used. In the film, the hero’s journey to look for the missing / missing object, the connecting rod, raises the question of how the traveler uses differences. This missing object, which cannot be found in Greece located in the east of the European continent, is also analyzed in the Lacanian sense. Accordingly, in the film, it is emphasized that Istanbul as the object of desire originates from the fantasy of the inaccessible. As a result, it is said that the film contains orientalist marginalizing features produced for the East.

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The Emotional Appeal of Science Fiction Cinema: In Awe of Interstellar

Author(s): Mehmet Sarı / Language(s): English Issue: 12/2021

Science fiction has almost become a modern-day mythology, and it is a genre that reaches the masses in the field of cinema, in a way that its literature counterpart cannot. The ‘sublime,’ identified as one of the attractive aspects of science fiction literature, is a philosophical and aesthetic concept with a wide semantic application associated with greatness, power, and limitlessness. The expression of the sublime in cinema creates an emotion of ‘awe.’ Awe as a complex emotion has been increasingly explored in theoretical and empirical studies in recent years. In this study, the emotion of awe is examined with the example of Interstellar (Christopher Nolan, 2014). The film has distinctive depictions of the sublime and it suggests two distinguishing features of awe (i.e., vastness and a need for accommodation) through various aspects of science fiction themes and certain affective qualities. It has been concluded that awe as a cinematic emotion is the emotional core of Interstellar. The film embodies the operational structure of awe.

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İnanmak mı, Bilmek mi? Yedinci Mühür Filminde Birey-Tanrı İlişki Biçimleri

Author(s): Murat Küçükhemek / Language(s): Turkish Issue: Sp. Iss./2021

The passion to search for truth is a basic human instinct. The existentialist point of view, leaves room for ideas and certain questions about the individual’s understanding of its own existence. This, in turn, may trigger a pursuit for the individual who wants to understand the existence. The areas preferred for this pursuit are usually religion, philosophy, art and science. The possibilities of religious belief or disbelief accompanying this pursuit are, in theory, infinite. Twentieth century’s existentialist art and philosophy reveals the anxiety of inanity and the courage to express suspicions about the sacred, a religious phenomenon. Ingmar Bergman is a director who transforms his own personal destiny into humanity’s own shared destiny by using archetypical image. He expresses his thoughts through his camera which he uses like a powerful pen. Bergman exposes the thematic motives which form the underlying idea of his films, mostly by asking existential question. One of those motives is the relationships between individual and God which is reflected often in Bergman’s film. Det Sjunde Inseglet/The Seventh Seal (Yedinci Mühür, Ingmar Bergman, 1957), one of the masterpieces of cinema, focuses on the concept of God which is usually left in a secondary position when belief devoid of consciousness is the point in question. In The Seventh Seal, the main plot is built upon the confrontation of a Knight who has just returned from the Crusades with his faith all torn apart, both with the terrifying figure of Death all covered in blacks and also with religion. Within this context the main two themes of The Seventh Seal are confrontation with death and relationship between individual and God. This study aims to reveal Bergman’s ideas on relationships between individual and God which he deals with in The Seventh Seal movie. As a result of the study, it is seen that the Church which represents religious authority is ironically far from individual’s existentialist problems and contributing to individual’s need to know God.

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Film Üzerine Felsefi Bir Soruşturma: Stanley Cavell’ın Film Ontolojisi

Author(s): Umut Morkoç / Language(s): Turkish Issue: Sp. Iss./2021

The relationship between film and philosophy commonly appears as the reflection of philosophical problems on the silver screen or as a discussion of the aesthetic problems of cinema with the concepts of philosophy. Stanley Cavell’s film ontology is significantly different with respect to the relationship between film and philosophy. He approaches film from an ontological point of view. In doing so, he refers to the theoretical framework that Wittgenstein presents in his late period. Cavell, with reference to Wittgenstein’s theory of meaning, denies the distinction between appearence and reality, image is not an image of reality; on the contrary, it is the reality itself. For him, the attitude of modern philosophy that separates appearance from the reality is an illusion. Cavell bases this Wittgensteinian attitude on the ontology of the photographic image. According to this ontological position, photograph is not an image of a reality but an autonomous reality. Cavell then tries to understand cinema with this ontological structure that he attributes to the photographic image. The reality of the film world and the contactlessness of the audience’s actual world with the film world create a dual ontological structure. Cavell makes an analogy between the effect of this ontological duality on the audience and philosophical skepticism. Hence, he calls the film the moving image of skepticism. For Cavell, the world of the film is a magical world in which the audience is in doubt between existence and non-existence. In this study, I aim to clarify the ontological status that Cavell attributes to the photographic image and the relationship between film and philosophical skepticism In addition, I will claim that the relationship Cavell established between film and philosophy, has an unusual quality because he uses the film as a philosophical scene.

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“Boşluk”un Ontolojisi Olarak Angelopoulos Sineması: Sonsuzluk ve Bir Gün

Author(s): Dilek Tunalı / Language(s): Turkish Issue: Sp. Iss./2021

Despite immense changes since the Antique Greek philosophers’ era, who described the ‘void’ -inspired by the East- as an entity to interpret the universe, a metaphysical and abstract vein has reached out to our day. This comprehension offers an ontological perspective on the norms of time and space. While ‘horror vacui’ (fear of emptiness) was considered in Western art as a rationalistic idea long years ago, the minimalist and abstract art pieces with empty spaces in the painting, music and cinema have brought an immanent form to the existence, time and being as a result of the influence of various geographies and cultures. ‘Obsessive framing’ that Pasolini names for Antonioni’s cinema and that Deleuze calls as ‘rarefied images’ appears as the tendency of the modernist film directors who have come until today. This tendency is related to the philosophy of emptiness by creating a philosophical field to transform the space into an extension and reach out a sense of stretchy time by extending it. The films of Theo Angelopoulos are not independent of this idea. Irregular rhythm, quietness, emptiness and stagnation are characteristics of his cinema. We can observe the descriptions and conceptions of the ancient philosophers’ universe from the director’s cinematic perspective and the structure of his films. ‘Water’, which has an important meaning in the universe’s creation and deemed fluid, uncertain and sacred, is an essential phenomenon emphasising the void almost in all of his films. The sense of eternity, which is conveyed by a calm and foggy sea, uncertainty and stagnation, brought in an ontological meaning. Extensive plans, the stationary camera, extended plan sequences, and the camera’s circular moves seem to promote the idea of void. This attitude is crystallised as spaces connected to the road, getting lost, limiting-limitlessness, home-homelessness, empty spaces, and the problem of being, in the Eternity and a Day and all other his films. Next to the collaborations private to emptiness, ‘The Eternity and a Day’, dated back 1999, allows the interpretation of the void’s ontology through the Greek philosophy. The film’s story produces a space for the void-image by recalling the ideas of coexistence of past-present-future, extended plans, stagnant rhythm, widening universe and the concept of fluid time.

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Reha Erdem’in Beş Vakit Filminde Simgesel Düzen ve Büyük Öteki

Author(s): Berna Sitera Değirmen,Zeynep Çetin Erus / Language(s): Turkish Issue: Sp. Iss./2021

There is an increase in the films addressing the issue of the relation between father and their children after 2000 in Turkey. Addressing these issues is interesting from the perspective of the relation between unconscious processes involved in individual’s and society’s life. When we consider the cinema as a reflection of society’s unconscious desires, psychoanalysis emerges as the proper way for analysing the films. In this context, the purpose of this study is to discuss Reha Erdem’s Beş Vakit as an example of films addressing father-child relations using the concepts of Lacan’s symbolic order and related concepts such as “phallus”, “the name of the father”, “Other” and “real”. Lacan’s approach considering fatherhood concept in a symbolic dimension with “the name of the father” enables us both to discuss biological fatherhood and to extend discussion beyond it as the symbolic order. The tension of the concept of the Lacanian symbolic and real is felt throughout the film through the inconsistent and oppressive law created by parents while they reflect their desires to children through language/discourse. The main objective of this study is to discuss the appearances of the symbolic and real and the impossibility of the phallus as a signifier by tracing paternal law in Beş Vakit. Finally, we can say that the film does not address the possibility of a change, although there are many elements in the film that will open the floodgates to criticism of the paternal law.

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Soylent Green: Kara Bir Film, Kapkara Bir Gelecek

Author(s): Erkin Onat Sol,Ayhan Sol / Language(s): Turkish Issue: Sp. Iss./2021

In order to prevent a third war, western countries pursued a state-sponsored economic development model leading to consumerism and population growth in the 1960s. A number of scientists argued that there would be a global catastrophe due to population explosion. In these days, while daily news about population growth in the media was ordinary, Hollywood, always with an eye on the society, produced only Soylent Green. Although the movie made conservative choices, it created a tragic eco-hero in a story told against a dystopian future. We examine the effects of the time when the movie was produced on the movie. The scientific era was dominated by the conviction in the link between population explosion and birth control and the book on which the movie is based also emphasizes birth control; however, conservatives who were against birth control led the producers to tell the story around a conspiracy about food produced from people. We also examine effects of the movie on audience. We believe this conspiracy intensified the effect of the movie on audience. Furthermore, producers filled the gap produced by ignoring birth control with environmental issues. Thus, the dystopian story of the movie could mentally time-travel audience to have catharsis at the end leading to an environmental enlightenment. We believe the audience can comprehend the problems of their own time, once they are environmentally enlightened and equipped with a future-to-past perspective. We also believe movies in general and dystopian ones in particular are excellent instruments to persuade people about environmental issues.

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Doğaya Dönüş Temasının Ekolojik Karşılıkları: Koca Dünya (2016) Ve Yuva (2018) Filmleriyle İnsan-Doğa İlişkisi Üzerine Düşünmek

Author(s): Zehra Cerrahoğlu / Language(s): Turkish Issue: Sp. Iss./2021

‘Back to nature’ is a common theme that can be seen in popular and independent films in many countries, in various sub-genres and approaches. It is possible to make a long list of films addressing issues such as human struggle with nature, negotiation, the process of orientation, escape from society and isolation, learning from nature, and finding oneself in ‘back to nature’ narratives. There are two films in contemporary Turkish cinema, Koca Dünya (Big Big World, Reha Erdem, 2016) and Yuva (Home, Emre Yeksan, 2018), which draw attention to this theme in particular ways. Koca Dünya tells the story of Ali and Zuhal, who escape from the trouble they got into and take shelter in the forest. Yuva is based on Veysel’s forced expulsion from the forest, who chose to live there alone. Two films have almost organic connections while they construct completely different universes. The ‘back to nature’ theme in the films is a rich and layered transformation with a rich intellectual background, through which ecological sensitivities can be detected, open to inferences about nature, humans, and ecology. These films make their protagonists return to their most ancient relationships with nature, and relate them with the idea of a nature that they can be one by turning into a branch of a tree or blending with the earth in the forest. Both in Koca Dünya and Yuva nature is not positioned in ‘anthropocentric’ ways in the stories they tell, and thus they are films that overlap with ‘ecocinema’ perspectives. The article will examine how an ecological perspective on the relationship between nature and human beings is produced with cinematic methods and tools and discuss how ‘ecocentric’ views are constructed within the framework of ‘ecocinema’ discussions.

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Жанрово-тематична класифікація відеоблогінга: науковий підхід

Author(s): Iryna Anatoliyina Gavran,Olga Mykolayivna Grabarchuk,Kostyantyn Vladimirovich Grubich / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to clarify the genre-thematic classification of video blogging and the specific features of its affiliation with stylistic characteristics through the lens of a scientific approach. At present, there is no official classification of video blogging, but there are some types that help partially group all the variety of content into a single system. Methodology. The following methods were used during the study: scientific, content analysis, descriptive, statistical, comparative. The scientific novelty is to investigate video blogging as a subject of scientific analysis and study the genres of individual video platforms and online communities in terms of risks and opportunities. Conclusions. Video blogging is a relatively new concept that embodies an activity that is described by a communication function and a hybrid genre that has emerged as a result of technological progress. This phenomenon combines several genres, including the genres of comments and posts, and accompanies communicative situations on the Internet. The genre of this phenomenon is explained by its mobile features, because new modern videos are created every day, and they are difficult to refer to a specific topic because they are constantly mixed and modified with each other. The author's attitude towards his or her audience depends on aspects of individuality and aspects of personality. Today, a considerable number of successful video blogs are products of mass Internet consumption, devoid of monotonous content, which factor in the interests of the audience and help the film as efficiently as possible due to additional effects and editing.

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Julius Greve and Florian Zappe, eds., The American Weird: Concept and Medium

Author(s): Sean SEEGER / Language(s): English Issue: 1/2021

Review of: SEAN SEEGER - Julius Greve and Florian Zappe, eds. The American Weird: Concept and Medium, London: Bloomsbury, 2020.

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Polish-Soviet War in Film and Cinema: A New Perspective Based on the Films For You, O Poland (1920) and Miracle on the Vistula (1921)

Author(s): Karina Pryt / Language(s): English Issue: 124/2021

The Polish-Soviet War, particularly the Battle of Warsaw (13–25 August 1920), soon became a subject of legend and myth. Irrespective of its fundamental political significance, the defeat of the Red Army was glorified as salvation for both Poland and Europe in military, ideological and metaphysical terms. Conducted beyond academia, the narrative was forged mainly by veterans, the Catholic Church and various forms of literature and art. Due to government subsidies, documentary and feature films also conveyed a normative notion of these dramatic events and their participants. This article focuses on cinematic works like Dla Ciebie, Polsko [For You, o Poland, PL 1920], and Cud nad Wisłą [The Miracle on the Vistula, PL 1921] produced in order to commemorate the war between the Poles and the Bolsheviks. Taking the iconic turn, this article scrutinises the cinematic self-portrait of the Polish nation that had already been ‘imagined’ as a bulwark of European culture in the East by earlier literary works. Spotlighting protagonists who were given a place in the pantheon of national heroes, it also asks about those who were denigrated or marginalised like women and Jews. Finally, using quantitative methods and Geographical Information System (QGIS) as a tool, the article juxtaposes the maledominated, ethnically and confessional homogeneous ‘imagined nation’ with the film entrepreneurs and actual cinema audiences characterised by their diversity.

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Pasolini: faszyzm – konsumpcjonizm – katolicyzm. I poszukiwanie życia

Author(s): Georg Seeßlen / Language(s): Polish Issue: 10/2021

When it comes to writing about Pier Paolo Pasolini’s oeuvre, nobody can approach it without a subjective and political position. The author of this text takes as his point of departure the presence of the poet and filmmaker in his host country Italy, where the name Pasolini means much more than merely the name of an author. Pasolini stands for the rebellious spirit at a time when the Italian economic miracle was coming to an end, during which a great “contaminazione” (Pasolini), a mutual “infectiousness” took place between the vulgar and the sublime, the culture of the poor suburbs and the discourses of the intellectuals, between old myths and new seductions. In this situation, Pasolini’s texts and films are searching for a way to counter the horror of a new fascism in the form of the petit bourgeois “consumistic” rule with a “force of the past”. Points of reference for this are a radical Catholicism and communism, the latter moving via a Marxist analysis of society to an archaic Ur-communism. Pasolini always saw himself as a stranger. Almost all of his films (leaving aside the vital “Trilogy of Life”, from which he distanced himself in his last and most radical film “Salò”) are attempts to look into the strangeness of the familiar and the familiarity of the strange. In doing so, the author and filmmaker never spared himself; his films are a magic autobiography. To put it another way, Pasolini’s biography makes his films “readable” and his films make the inner history of Italy (and to a certain extent that of Europe as a whole) in the sixties and seventies “readable”, just as in his films bodies make “readable” ideas and ideas make “readable” bodies. Texts on Pier Paolo Pasolini can be markings for these processes of reading. However, they can never be a substitute for following one’s own way which leads back and forth between both the physicality (the reality of the streets, “contaminated” by art history) and the world of ideas (the myth and religion, “contaminated” with Marxism and psychoanalysis).

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Secondary Characters Coloring the Complex Cultural Atmosphere in Unorthodox

Author(s): Miquel Pujol-Tubau,Laura Santamaria Guinot / Language(s): English Issue: 55/2022

The objective of this article is to analyze how different languages in the series Unorthodox convey information on characters’ identities, and whether, at the same time, the choice of language produces different effects on the film narrative itself. Since we are dealing with audiovisual products, in any full account of the story, the image must be considered as an essential factor affecting the audiences’ interpretation of the show. The article analyzes how multilingualism is rendered in its Spanish version and shows that different translation solutions may change how each character’s identity is perceived. We found that the main four languages of the series (English, Yiddish, German, and Hebrew) are used to convey different personal and social identities to each character. Besides, linguistic choices between Yiddish and English show the evolution of the main character towards freedom. Although multilingualism is hardly present in the visual channel, cultural references conveyed through images help the viewer to follow key shifts in the story.

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“Old things belonging to the nation”: Forster, Antiquities and the Queer Museum

Author(s): Richard Bruce Parkinson / Language(s): English Issue: 2/2021

In an essay of 1920, “The Objects” (later republished as “For the Museum’s Sake”), Forster confronted the colonialist attitudes of the British Museum curator Wallis Budge (1857–1934) as expressed in his memoirs. This paper discusses Forster’s attitude toward national museums and their antiquities in this essay and in Maurice, and it suggests that Budge’s memoirs may have influenced the later, 1932, version of the novel. Forster’s nuanced and critical view of heritage has subsequently proved influential for a BM project on LGBTQ+ world history.

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Forster and Adaptation: Across Time, Media and Methodologies

Author(s): Claire Monk / Language(s): English Issue: 2/2021

This essay advances the conversation around the subject of Forster and adaptation – or Forsterian adaptation – by appraising the current state of Forster/ian adaptations scholarship and proposing conceptual and methodological tools for advancing the study of this field. As a cross-disciplinary scholar of film, adaptation, literature, popular and critical reception, and digitally enabled participatory culture, I write with the more specific goal of heightening and extending transdisciplinary awareness of the materials available to be studied, the available methodologies, and their merits and limitations, while identifying issues and challenges for the development of a Forster/ian Adaptation Studies. Structurally, the essay proceeds by identifying ten ‘themes’ – or important considerations – for the study of Forster/ian adaptation. The ten themes look substantially beyond ‘page-to-screen’ adaptation studies to demonstrate the roles and impacts of institutions, institutional practices, personal relations, the successive ‘new’ media of the past century and their advancing technologies and practices, commercial forces, and Forster’s literary estate (as the rights-holders and royalties beneficiaries for his works); while also calling for a closer, evidence-based, attention to film and media adaptation and production processes and their adaptational consequences; and foregrounding the importance of the visual and unscripted – performed, embodied, intangible and even accidental – elements and determinants of audio-visual adaptation. Temporally, the essay conceptualises the field of Forster/ian adaptations by proposing that there have been three phases of Forster/ian adaptation. Phase 1 (1942–1973) comprises those adaptations of Forster’s stories and novels written and produced (broadly) during his lifetime, always for non-cinematic media. Phase 2 comprises the 1984–1992 era of the Forster feature-films cycle, instigated by a (widely disregarded) institutional shift which brought a step-change in the nature of Forster adaptation: for the first time, the development of new adaptations of Forster’s novels, going back to the source, became the norm. Phase 3 comprises everything that comes after the 1984–1992 Forster feature films, plus certain earlier adaptations which fall outside the ‘classic adaptation’ category. This third (and current) phase is characterised by its heterogeneity: adaptation to a range of media, across a range of forms and aesthetic approaches, by creators with varied interests, but, I propose, spanning four main areas Sci-Fi Forster, Queer Forster, The Revisionist or Condescending Forster Adaptation, and twenty-first-century Forsterian Bio-Drama, Bio-Fiction and ‘Literary’ Paratexts.

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Bolest kao privid: Jokerova iluzija i pitanje jednakosti

Author(s): Tonči Kursar / Language(s): Croatian Issue: 24/2021

This paper explores media interpretations of Todd Phillips’s film The Joker. The main character of the film, Arthur Fleck was portrayed by critics as a traumatised and mentally ill individual (actually a murderer), whose ambition to be a comedian has no foundation. The fact that the character lives in a sort of ‘illusion’ or ‘false consciousness’ is interpreted through various concepts of ideology, from Marx and Althusser to one of its postmodern variants (Debord). Although Žižek criticised Joker because his reliance on “subjectivity” cannot initiate “a constructive overcoming” of the existing, the film should be seen as a contribution to understanding of the political in the sense of “verification of equality” (Rancière). As Arthur/Joker starts to believe that his life is a comedy and it is, as it usually said, ‘subjective’, he puts into jeopardy what Rancière calls a given “distribution of the sense”. Moreover, Joker does not follow the Marxist idea that proletarians can redefine their space and time only if they previously achieve a ’proper’ awareness. In fact, he does something completely different, namely, he indulges in his ‘illusion’ redefining a given distribution of time and space, which is shown in this paper through various Rancière’s works. Thus, by achieving his ‘true self’, Joker is very political even though he rejected to achieve the ‘objective’ political goals that are usually attributed to him.

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DIANA BUDISAVLJEVIĆ INTO SCHOOLS: HISTORY TO THE MARGINS

Author(s): Mario Kevo / Language(s): English Issue: 1/2021

According to a claim made on the internet page narod.hr (it reproduces a part of a text by Andreja Černovec from the Hrvatski tjednik [The Croatian Weekly]; accessible at https://narod.hr/hrvatska/uvrstenje-filma-dnevnik-diane-budisavljevic-u-skolski-kurikul-vise-drze-do-istine-jedne-redateljice- nego-povjesnicara), the live-action documentary The Diary of Diana Budisavljević, directed by Dana Budisavljević (2019) has been introduced into the school curriculum (probably as part of the subject History!?), i.e., it has received the approval of the Croatian Ministry of Education and Culture for inclusion into the education curriculum. This is certainly an interesting, but also very unusual decision. Of course, you may ask yourselves why? First of all, several general remarks about the film and its main heroine, around whom the story revolves. In short, for those unfamiliar with the subject, this is a film about Diana Budisavljević, a Zagreb woman of Austrian heritage, married to surgeon Dr Julije Budisavljević, who near the end of 1941 decided to gather aid and provide care for Jewish and Orthodox women and children who were interned in the Loborgrad and Gornja Rijeka concentration camps.

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