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Moscow-Petushki of Venedict Erofeev and Pulp Fiction of Quentin Tarantino in the Context of Postmodern Thinking

Author(s): Beata Waligórska-Olejniczak / Language(s): English Issue: 2/2015

The aim of the article is the attempt of reading two texts of culture, i.e. Moscow-Petushki of Venedict Erofeev and Pulp Fiction of Quentin Tarantino using the comparative approach that goes beyond the range of factual relationships, historical influences or similarities functioning in the plot. The purpose of the publication is to see both works, representing totally different semiotic systems (cinema and literature), in their mutual intertextual relationships for which the style of postmodernism constitutes the constant reference point. Most literary studies associate each of the chosen texts (but never both of them together) with postmodern thinking, therefore in my research I concentrate on the categories which are considered crucial for understanding postmodern thematic quests and the change in thinking which took place at the end of the 20th century. I try to find out similarities existing in the structures of two texts, aesthetic ideas and tools used to express them. As a result, the interpretation focuses in particular on representations of the body shown in the American movie and the Russian “poem in prose”, as well as on the problems of beauty, space and addictions, which constitute the fundamental subjects in these texts.

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Narrative Ethics of Post-Modern Visual Culture between Chinese “Diors Series” and Western “Loser Series” in Comparative Perspective

Author(s): Zheng Shaomin / Language(s): English Issue: 1/2019

The main characteristics of the post-modern culture such as counterculture, non-conformism, virtualization, fragmentation, mass culture, business culture and irrationalism etc., decide the post-modernity of visual culture. “Film”, as an indispensable element of visual culture, has a narrative ethics that can be used for an interpretation of ethical orientation and ethical values in post-modern visual culture. This article, by comparing “Diors image” in Chinese Diors series with “loser image” in western loser series, the typical post-modern visual image, takes the post-modern context as the focal point and makes a further study of “Diors culture” or “loser culture”, which is formed in the phenomenon of post-modern culture, and thus explores narrative ethics and ethical values in post-modern visual culture.The main characteristics of the post-modern culture such as counterculture, non-conformism, virtualization, fragmentation, mass culture, business culture and irrationalism etc., decide the post-modernity of visual culture. “Film”, as an indispensable element of visual culture, has a narrative ethics that can be used for an interpretation of ethical orientation and ethical values in post-modern visual culture. This article, by comparing “Diors image” in Chinese Diors series with “loser image” in western loser series, the typical post-modern visual image, takes the post-modern context as the focal point and makes a further study of “Diors culture” or “loser culture”, which is formed in the phenomenon of post-modern culture, and thus explores narrative ethics and ethical values in post-modern visual culture.The main characteristics of the post-modern culture such as counterculture, non-conformism, virtualization, fragmentation, mass culture, business culture and irrationalism etc., decide the post-modernity of visual culture. “Film”, as an indispensable element of visual culture, has a narrative ethics that can be used for an interpretation of ethical orientation and ethical values in post-modern visual culture. This article, by comparing “Diors image” in Chinese Diors series with “loser image” in western loser series, the typical post-modern visual image, takes the post-modern context as the focal point and makes a further study of “Diors culture” or “loser culture”, which is formed in the phenomenon of post-modern culture, and thus explores narrative ethics and ethical values in post-modern visual culture.

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THE DIARY OF DIANA BUDISAVLJEVIĆ, DIRECTED BY: DANA BUDISAVLJEVIĆ, SCREENWRITERS: DANA BUDISAVLJEVIĆ AND JELENA PALJAN

Author(s): Nikica Barić / Language(s): English Issue: 1/2021

Review of: Nikica Barić - THE DIARY OF DIANA BUDISAVLJEVIĆ, directed by: Dana Budisavljević, screenwriters: Dana Budisavljević and Jelena Paljan (Zagreb; Ljubljana; Belgrade: Hulahop; December; This and That Productions, 2019), 88 minutes.

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Translating acronyms of “Designated Survivor” into Romanian

Author(s): Attila Imre / Language(s): English,Romanian Issue: 2/2022

The present article is based on research focusing on acronyms, including their forms, spelling and punctuation in English, also discussing various, often contradictory, or ambiguous definitions for so-called “minor” word-formation options. We try to argue for a more lenient definition of abbreviations, acronyms, initialisms and alphabetisms, directing our attention towards certain technical features of acronyms (uppercase letters, with or without periods). The research database is taken from a popular TV series, “Designated Survivor”, resulting in 276 unique acronyms, totaling 1,198 occurrences, which includes acronyms of 2 to 9 letters combined with numbers and specific symbols (hyphens and ampersand), and excludes common ones (DJ, TV) and Roman numbers (II, III, XIII). The most frequent English acronyms with at least 5 occurrences are considered (856), out of which the most popular 15 ones (a total of 664) are examined together with all their Romanian renditions. The conclusion section summarizes the findings, considering the aspect of “slippery” quality, yet interpreting the results from the perspective of overall consistency.

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Transmedia portaling: imaginarul mitologic al trecerii dintre lumi, în noile media

Author(s): Dan Popa / Language(s): Romanian Issue: 46/2021

In this paper we aim to examine some aspects of the relationships between mythical symbols and images of the trangression of frontiers between this world and other world, on one hand, and its reminiscences in pop culture (movies, video games, advertising), on another hand.

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Reflectarea prozei lui Cinghiz Aitmatov în teatru și cinematografie (de la tradiție la modernitate)

Author(s): Marta-Teodora Boboc / Language(s): Romanian Issue: 3/2014

The literary skills of Chingiz Aitmatov, a writer of Kyrgyz origin, have left a strong imprint on Russian literature, due to the complex themes that he makes use of in his literary works. Based on a series of norms bearing a traditional character, Aitmatov’s short stories and novels are endowed with a modern aura and they highlight a wide range of universally valid concepts, whose reception and decoding require a careful reading. The film adaptations and plays based on Chingiz Aitmatov’s works are an interesting interpretation of his literary universe and the director’s point of view offers the reader – that becomes now a spectator – new perspectives in decoding the message hidden behind the literary work in itself. This article focuses on two of Aitmatov’s creations – „The White Steamboat” (1970) and „Cassandra’s Brand” (1996) – as well as on the film adaptation and, respectively, the play with scenarios that have been written according to the given short story and novel.

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Mainstream si experiment în cadrul culturii cehe, cu aplicaţie pe domeniul cinematografiei. Un (Nou) Nou Val al filmului ceh?

Author(s): Mircea Dan Duţă / Language(s): Romanian Issue: 2/2013

This material is aiming to present the role of the mainstream within the Czech culture through the field of the cinema industry, because that’s where the force and the importance of the mainstream are more obvious than anywhere else. Of course the mainstream is not specific only to the field of cinema: the history of the Czech literature, theatre, music or plastic arts proves that “the strong and sane middle stream” addressed more or less directly to the “art consumer/ receiver” has always been dominant within all those fields of the Czech culture and much more present than the intellectual art, the experimental and “new wave like” movements, which addressed only a limited circle of initiated people. On another hand, we wouldn’t like to diminish the role of the experimental art: it is well known and true the fact that the Czech art and culture are internationally famous mainly because of the intellectual and new wave like movements, while the mainstream authors and creation are known rather to the Czech audience in the respective historical era. Therefore we present some examples of experimental movements that became internationally famous especially in the field of literature, theatre and cinema. (Actually the Czech cinema became famous mainly because of the very “non-mainstream” Czech and Slovak New Wave in the 60s of the 20th century.) In short, we don’t intend to deny the role of the experiment, but to stress the importance of the mainstream that does not deserve being forgotten. Our main arguments concern mainly the Czech film mainstream in the 30s of the 20th century and after the year 1993, when the Czech Republic became an independent state, but contains also a short comment about the already mentioned Czech New Wave in the 60s.

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За книгата: Дончева, Гергана. Солунският кинофестивал. История, предизвикателства и метаморфози.

Author(s): Ludmila Mindova / Language(s): Bulgarian Issue: 1/2022

Book review: Doncheva, Gergana. The Thessaloniki Film Festival. History, Challenges, and Metamorphoses. BAS, 2021, 437 s. ISBN: 978-619-7179-19-4

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Творчеството на Ларс фон Триер и Томас Винтерберг – български медиен онлайн спектър

Author(s): Elitsa Mateeva / Language(s): Bulgarian Issue: 11/2022

This article aims to present how the Bulgarian online media interprets the work of Danish directors Lars von Trier and Thomas Vinterberg - creators of the 'Dogme 95' manifesto. The empirical basis is Bulgarian online spaces, whichreflect the biographies of the directors, the essence of 'Dogme 95', analyze theirfilms or describe their performances related to participation in international film festivals, receiving nominations and awards for certain cinematic works.

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Tеатралността, мислена като медийност, проблематизираща собствената си (а)реалия

Author(s): Valeriy Parlikov / Language(s): Bulgarian Issue: 11/2022

The theatrical, as used in this exposition, is the kind of becoming, which is about to lie that it is not the /real/ being, and succeeds in it with the help of a protocol of correct commune/nication of things. Theatricality will maintain its not being unequivocally a/reality, until being postulated as a convention, at which moment the addressee will function as a role construct (serving as model for its constellation with the initiator of the stated-ness). This way of comprehending involves the knowledge of conventionality which mechanizes the commune/nication, finds it realized, before having been thought of. The convention will pronounce the total correctness of comprehending the becoming, thus providing the norm of meaningfulness (of anything in display). For the needs of the exposition conventionality will be transposed to the area of communion and laid down as an unfinished protocol of (our actual) agreement. Until it is accomplished, it will not be known as a truth codification of what is stated by theatricality, but rather a kind of vitality, somewhat produced by way-of-media jointly lived world of now-statements.

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Des instances de la répétition

Author(s): Mihaela Țurcanu Lazarov / Language(s): French Issue: 1/2022

The theme of this symposium is precise and yet it opens onto a dizzying multitude of hypostases of repetition in cinematographic and theatrical works, not without psychoanalysis, over time. Since it is precisely a matter of the subject's time and modalities of dealing with the drive. While each subject is, de facto, subject to time, the time he has, an unpredictable datum with accuracy, par excellence.

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“Dashing and daring, courageous and caring”: Neomedievalism as a Marker of Anthropomorphism in the Parent Fan Fiction Inspired by Disney’s Adventures of the Gummi Bears

Author(s): Martine Mussies / Language(s): English Issue: 2/2021

As is already visible in its opening credits, the television series Disney’s Adventures of the Gummi Bears (1985–1991) uses neomedievalism to confirm the anthropomorphism of the titular characters. More than 35 years after this series’ first episode aired, this phenomenon is still easily traceable in the parent fan fiction, online stories about the Gummi Bears, written for children by adults. This paper addresses two seemingly overlooked fields: The Gummi Bears series and the fan fiction it inspired. It shows that this anthropomorphic perception adds new perspectives on human relations with the natural environment and on the treatment of animals, and thus contributes to building the awareness of ecological and animal rights in societies, especially when it comes to future generations.

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O baśni i jej przeobrażeniach w serialu animowanym Wodogrzmoty Małe Alexa Hirscha – wybrane zagadnienia

Author(s): Patrycja Manelska / Language(s): Polish Issue: 2/2021

The fairy tale seems to be eternal, but it is not unchanging in its longevity. It is still subject to new trends, remodelling, and contradictions. In such transformed forms, we can find it in many cultural texts, including recent cinema and television animations. One of the animated series in which the fairy-tale threads undergo numerous and interesting changes is Alex Hirsch’s Gravity Falls (2012–2016). In this article, themes, patterns, characters, and fairy-tale creatures have been selected from this programme, and then – analysed in relation to the classic (Vladimir Propp) and contemporary (Grzegorz Leszczyński, Weronika Kostecka, Kamila Kowalczyk) studies on traditional stories. Many elements of the series correspond with the distinguishing features of fairy tales, and some of them are transformed or parodied by the creators. In Gravity Falls, one can also find transformations of well-known fairy-tale threads and the process of the characters’ psychologisation.

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The Fantastic and the Real: Fairy-Tale Films in the 21st Century

Author(s): Daniel Compora / Language(s): English Issue: 2/2021

This article provides a critical examination of Pauline Greenhill’s monograph, Reality, Magic, and Other Lies: Fairy-Tale Film Truths (2020) and situates it within her larger body of scholarship. The title reflects the contradictory nature of fairy tales, which often contain moral and social truths beneath their fictional surfaces. Though related to her previous work, this book represents a departure from her earlier collections. Here, she provides close readings of various films, employing a sophisticated and detailed analysis of film techniques, and supplying a relevant social commentary. She asserts that fairy-tale films are multi-layered works that do more than simply convey aesthetically pleasing imagery. She breaks downs scenes into minute details, and occasionally provides diagrams that allow readers to understand and visualise scenes of films that, perhaps, they have not even seen. While these characteristics are present in her previous works, here they coalesce to form a perspective that reflects in a detailed way Greenhill’s vision of fairy-tale films and situates it within the larger context of fairy-tale film studies.

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Kasinec, Rudolf - Šurkala, Ján: Legal Aspects of Censorship in Czecho-Slovak Film in the Era of Normalization

Author(s): Marián Šuška / Language(s): English Issue: 1/2022

The review of: Kasinec, Rudolf - Šurkala, Ján: Legal Aspects of Censorship in Czecho-Slovak Film in the Era of Normalization, Comenius University in Bratislava, Faculty of Law, 2021

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Rola filmów w kształtowaniu właściwych postaw wobec jąkania. Refleksje z polskich projekcji filmu „When I stutter”

Author(s): Agnieszka Płusajska-Otto,Agnieszka Myszka / Language(s): Polish Issue: 10/2022

Compared to other speech disorders, stuttering does not show a high frequency. However, it concerns people of different ages, living in different times and places, and coming from different backgrounds. For people who stutter, this condition is often a source of frustration and stress. Unfortunately, as research shows, in the whole society the level of knowledge about stuttering is not high, and people who do not speak fluently often experience negative social reactions (ridicule, derision, low assessment of their potential). Research confirms this by using standardized tools: POSHA-S/C and POSHA-S-Child. Among the reasons for the dissemination of the stereotypical image of stuttering and of myths on this subject are its representations in feature films. However, it is to be hoped that the documentaries made in recent years will bring about changes in this image. In their article Agnieszka Płusajska-Otto and Agnieszka Myszka attempt to assess whether confronting students with the content of a full-length documentary about stuttering (When I stutter) can change the perception of this condition among respondents and, above all, whether such an experience can change social attitudes towards stuttering and stereotypical ideas about stutterers. The research, which included the use of the diagnostic survey method, was carried out on a group of 158 students from two Polish universities (the University of Rzeszow and the Stefan Batory State University in Skierniewice). The respondents completed questionnaires before and after the screening of the film. The results of the conducted analysis clearly showed a change in attitudes towards stutterers. Before the event, respondents believed that there were numerous impediments preventing stutterers from carrying out many professions (mainly those of the speech therapist, the teacher, and the actor). After the screening, they changed their views on this issue and most of them no longer saw any impediments. Before the screening, 2/3 of the respondents considered stuttering people to be nervous, shy, and insecure. After watching the film, the prevailing opinion was that above all they are brave and sensitive. In the PRE survey, respondents suggested that stutterers should put more effort into working on their speech; after the screening, such suggestions there were decidedly fewer, and statements about acceptance and praise dominated. All participants of the meetings emphasized the need to disseminate films and organize events that familiarize the public with the problems of people struggling with disabilities. The results of the research (both those presented in the article and those available in the literature on the subject) allow us to put forward the thesis that film – as a publicly available and relatively accessible medium – can play a significant role in the changing of attitudes towards people struggling with various disorders. Therefore, it not only can but must be used as a tool of raising public knowledge about all kinds of disorders, diseases, and indispositions.

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Nie dać zapomnieć

Author(s): Galit Eilat / Language(s): Polish Issue: 17/2021

Almost without exception, whenever Artur Zmijewski’s film The Game of Tag was screened, it was angrily received by viewers. In this article, Galit Eilat claims that the provocation created by the film and the anger it evokes are rooted in the struggle for the representation of the Holocaust and who was given the right to represent it. And so the debate, is there a ‘right way’ to remember Auschwitz, and if so, what is it? It is perhaps one of the ways to preserve the memory of the Holocaust in the present and not bury it in the past.

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EUROPEANNESS – A NOSTALGIC OBJECT OF SCRUTINY AT THE TIME OF PANDEMIC

Author(s): Janina Falkowska / Language(s): English Issue: 14/2021

The idea of Europeanness and European identity rather than the national identity gains in relevance in view of the symbolic reorganization of the geographic spaces. Moreover, the national identity issues have somewhat lost importance in view of the global hazard of the COVID pandemic. The purpose of this paper is to debate the concept of Europeanness and to express an ambivalent position on this notion. Taking into consideration the most recent accomplishments of cultural theory I would like to demonstrate that the so-called European identity is a nostalgic object recalled to reminisce about the time when globalization and global threats did not exist at the scale comparable to the present. Or, the knowledge about them was patchy due to the undeveloped internet communication. Taking into consideration the explanations of Arjun Appadurai and Svetlana Boym, I will deconstruct the notion of Europeanness in view of a broad idea of nostalgia which according to Boym interprets the past as illusory and non-existent.

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Wielokulturowość w filmach NRD? Próba opisania zjawiska, którego mogło nie być

Author(s): Andrzej Gwóźdź / Language(s): Polish Issue: 117/2022

Based on films produced in the East German company Defa, the author presents a hypothesis of regulated multiculturalism of the GDR cinema. He indicates multicultural discourses in historical films about distant and more recent history: the multicultural borderland of West Prussia in the late 19th century (Levins Mühle, dir. Horst Seemann, 1980) and the confrontation of Prussian and Uruguayan culture at the turn of the 18th and 19th centuries (Die Besteigung des Chimborazo, dir. Rainer Simon, 1989). Then he deals with issues concerning the meeting of East German and Polish cultures (Die Schlüssel, dir. Egon Günther, 1972/1974; Über sieben Brücken mußt du gehn, dir. Hans Werner, 1978). The author also discusses the propagandist use of the images of Angela Davis and Dean Read in two films related to the 10th World Festival of Youth and Students in Berlin in August 1973. However, the main emphasis is put on films thematizing political emigration from South America (Ein April hat 30 Tage, dir. Gunther Scholz, 1979; Isabel auf der Treppe, dir. Hannelore Unterberg, 1984; Blonder Tango, Lothar Warneke, 1986).

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Krzyk zatrzymany w stopklatce

Author(s): Sebastian Jagielski / Language(s): Polish Issue: 118/2022

Bilet powrotny (Return Ticket, 1978) by Ewa and Czesław Petelski ends with the main heroine’s scream captured in a freeze frame. The author of the article takes this gesture metaphorically, perceiving in it the impending catastrophe of the whole left-wing culture in the late 1970s. This frame heralds the imminent constraint on (people’s, women’s) emancipation narratives in Polish cinema and the gradual erasure of the left-wing tradition from the cultural field. The author analyses the various subjects of emancipation intersecting in Petelskis’ film. The image of the heroine, who is subjected to double subjugation, i.e., due to class (poverty) and gender (patriarchy), makes him ask, on the one hand, if the project of emancipation of social classes perpetuates the oppression of women. On the other hand, does the project of women’s emancipation dismantle class inequalities? Researchers and artists (but not filmmakers) have returned to the problem of repressed folk histories and class conflicts in the second decade of the 21st century, which suggests that the image of the subjugated others from Bilet powrotny, captured in a freeze frame, will be unlocked in Polish culture.

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