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Douglas Sirk Sinemasında Moral Ökült ve Maniheizm

Author(s): Sercan Bozdoğan / Language(s): Turkish Issue: Sp. Iss./2022

Moral Occult and Manicheism are the most important concepts that form melodramatic mode. The concept of Moral Occult is based on moral norms which are transformed with the transfer of the traditions from one generation to another. Likewise, the concept of Manicheism is based on various religious practices forming the belief that names itself. Movies, in which melodramatic mode takes place, has universalized in time and are still getting great attention from the audience. Behind this attraction lies the primitive society mindset and the connection between the concepts of Moral Occult and Manicheism. Movies of Douglas Sirk are the representatives of melodramatic mode in cinema. Magnificent Obsession (1954), All That Heaven Allows (1955), Written on the Wind (1956), Imitation of Life (1959), all of which can be said to have marked the 1950s, stand out with the Moral Occult and Manicheist themes. By bearing in mind that the moral principles, emerging as an outcome of the continuity of primitive societies’ traditions, turn into religions afterwards, the aim of this study is to look at the origin that forms the Moral Occult and Manicheism concepts. By benefitting from cultural anthropology and theology that form the origin of Moral Occult and Manicheism, the reason why melodrama is so popular with the audience will be explained through the readings of four films by Douglas Sirk.

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Prenses ve Kurbağa Animasyonunun Jungiyen Analizi: Kapitalizmin Gölgesindeki Kolektif Psişe

Author(s): Ayşe Dilara Bostan / Language(s): Turkish Issue: Sp. Iss./2022

In this study, a psychological reading of the animation The Princess and the Frog (2009), a postmodern fairy tale adaptation, will be made with a Jungian approach. The film is a product of Disney, the oldest animation company in America, and like other products, it is compatible with the capitalist ideology. However, in this study, we will be considering it as an archetypal narrative because it is a fairy tale adaptation and uses the narrative elements of the tale. According to the Jungian approach, fairy tales open the doors of the archetypal world and carry information about the psychic processes of the collective unconscious also can compensate for the conscious attitudes of the collective. In this study, the Princess and the Frog is examined from the psychoanalytical perspective focusing on the fairy tale aspect. This paper analyzes the tale according to the method of the Jungian analyst Marie Louise von Franz. Accordingly, the analysis revealed that eros and logos attitudes were re-established in the film, especially in the female character. As a result, capitalism collectively pushes women to a logos-dominant behavior and distances them from the feminine archetype. After all, this study discusses the information presented by the tale about the collective unconscious regarding Disney’s conscious/cultural attitude.

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Tekniğe İlişkin Soruşturma’nın Eko-Fenomenolojik İmkânlarıyla Mısır Adası (2014)’ndaki Doğa Kavrayışı Üzerine Düşünmek

Author(s): Derya Avcı Dursun / Language(s): Turkish Issue: Sp. Iss./2022

The Egyptian public, who regulate their lives depending on the annual floods in the Nile River and have a river culture, built their water and land-centered lives after each flood and enlarged the possibilities of the land when the coastline of the Nile River turned into a fertile and mud-covered land. In the Simindis Kundzuli (Corn Island, George Ovashvili, 2014) which sets on an island in the middle of the Enguri River, the islets formed after the river overflows turn into fertile land for the agricultural activities of the farmers. In this bringing forth in nature, the possibilities of the land and the island are realized by turning into an activity without damming them up. This non-challenging attitude towards nature corresponds to the hidden side of nature that Heidegger mentioned in Being and Time, and the concept of nature, which is the subject of poiēsis in The Question Concerning Technology. In this sense, Heidegger, with reference to the ground of hiddenness in The Question Concerning Technology, discussed the poetic aspect of the ontological attitude towards nature in the context of physis and tekhnē. The distinction between the way of revealing of Being as singularity of beings and the bringing forth of nature as a raw material store in The Question Concerning Technology enables phenomenology to be considered in an ecological manner. In this context, the understanding of nature in Corn Island will be associated with surrender to it rather than being dominating, and its relationship with ecophenomenology will be evaluated. As a matter of fact, in the last sequence of the film, the overflows in the river cannot be prevented and the shed and the corncobs are dragged by the waters of the river. This indicates that the river is not seen as a raw material store.

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The Suffragette Movement: Through Anguish and Resolution Emancipation Was Achieved

Author(s): Özgün Ataman / Language(s): English Issue: Sp. Iss./2022

Women have always struggled to have an equal life for ages. It was in the eighteenth century when big steps started to be taken towards women’s emancipation. Several women expressed their demands through their writings, and some others took action to ameliorate their standards. Among such determined as well as strong women, it was the suffragettes who attempted to do more than expressing their desires through writing. The Suffragette Movement was a women-only movement that was initiated in England at the very beginning of the twentieth century. Suffragette (Diren!, Gavron, 2015)– a historical drama film directed by Sarah Gavron and released in 2015 – is about the suffragettes and the Suffragette Movement. Within this scope, this paper aims to focus on the Suffragette Movement in the UK. The focus of the first part of the paper will be on what triggered the initiation of this movement. The second part will dwell on the Suffragette Movement itself and how it is presented in the film.

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Çavuşesku’nun Hayaletiyle Hesaplaşmak veya Romanya Yeni Dalga Sinemasında Bir Hatırlama Girişimi: Amintiri din Epoca de Aur

Author(s): Mehmet Aytekin / Language(s): Turkish Issue: Sp. Iss./2022

Memory and cinema are in a cooperation that feeds or shapes each other. Cinema processes recollections of individual or collective memory, while memory diversifies cinematic narrative. This unity also comes to mind in articulation of the events that societies or communities go through. It is thought that cinema plays an active role in narrativizing a data or trauma that needs to be remembered about memory sharing it by groups who have experienced similar things. Romanian New Wave Cinema, due to its structure, benefits from the traumas of Nicole Ceausescu’s period, one of the actors the Iron Curtain. It is known that individual and collective traumas leave serious traces in the memory of Romanian citizens, and it is thought that what is essential in many films under the umbrella of Romanian New Wave Cinema is to portray the need for the existence of a necessary ground for confrontation and reckoning. It is noteworthy that in this period, in which cinematic narrative examples are frequently utilized, the great oppression of the citizens caused traumas in individuals and communities, and these traumas were reproduced until the regime was changed/ collapsed. This study takes the first four episodes that first part of the movie Amintiri din Epoca de Aur (Tales from the Golden Age, Hanno Höfer et al., 2009), which is a representation of Romanian New Wave Cinema as an example and discusses the concept of collective memory through these four chapters that convey the negativities of Ceausescu’s era through black humor. For this, the discourses of Maurice Halbwachs on collective memory are used and episodes are read within this framework. Based on a holistic approach, it is aimed to support the proposition that although memory is thought to have an individual quality, the group in which the individual belongs are more dominant over memory.

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Kadın Yaşamak İster: Antonia’nın Yazgısı Filminde Kadının “Aşkın” Varoluşu

Author(s): Fazilet Lekesiz,Meral Serarslan / Language(s): Turkish Issue: 14/2022

The problem of being and existence is addressed as a problem in the philosophy of almost every philosopher. The fact that this philosophy is based on human beings makes sense, especially considering the developments of the 20th century. The thinkers of this century, especially Sartre, who argued that existence precedes essence, have expressed their thoughts on how the individual should make sense of existence by emphasizing freedom of choice. Influenced by Sartre’s existentialist philosophy, existentialist feminism has also brought a new perspective to feminist methodology, focusing on the relationship between men and women and the emancipation of women in a patriarchal order. In this study, the 20th century was a time of Simone de Beauvoir’s view of “being a woman is not born woman” was discussed in Marleen Gorris’ film Antonia (1995), although it covered the socio-cultural status of the 20th century. Antonia, as a woman, is a powerful woman who rejects the roles imposed on her by the patriarchal order and guides her life in line with her choices. The aim of the study is to analyze what meaning Beauvoir attaches to the female existence in particular with the film Antonia. The analysis was done by descriptive analysis.

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Kurban Teorileri ve Psikanalitik Bakış Açısı Bağlamında Sözleşmenin Kuruluşu: Yorgos Lanthimos ve Kutsal Geyiğin Ölümü

Author(s): Doğan Aydoğan / Language(s): Turkish Issue: 14/2022

Sacrifice practice is a historical practice that needs to be explained or has important problems to explain for many disciplines. The explanation of the functional aspect of the sacrificial practice that emerges in all societies where the concept of the sacred takes place is shaped according to the perspectives of the disciplines. At the same time, the ambiguity of the practice of sacrifice can instrumentalize the practice of sacrifice as a proof of a proposed “scientific” theory. However, it is seen that the concept of sacrifice produces, repairs or re-establishes the relationship with the sacred with concepts such as oath, gift and atonement, despite all social differences. In this context, the practice of sacrifice appears as an application of renunciation based on the declaration of obedience to the sanctity that provides the basis for the social contract and assumes a functional role in the production of the social contract. In The Killing of a Sacred Deer, Yorgos Lanthimos deals with the ritual of sacrifice in the context of the reproduction of the social contract, while at the same time shaping it with psychoanalytic codes and transforming it into a metaphor of the individual’s subjectivation process. Thus, the practice of sacrifice becomes a signifier of both the establishment of the social contract and the discipline of the individual by the father’s law. In the study, The Killing of a Sacred Deer movie text is analyzed in the context of sacrifice theories and psychoanalytic theory.

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Yalnızlığın Diyalektiğinin Sinema Üzerinden İncelenmesi: Yalnız Aziz-ler

Author(s): Selin Kiraz Demir / Language(s): Turkish Issue: 14/2022

Loneliness is an emotional state that can occur anytime and anywhere since the existence of humanity. Although this feeling is known by everyone, of course, it can be experienced in different ways according to the characteristics of each individual’s own life form. Lonely individuals may develop this feeling when they are unable to establish a satisfactory connection with others or are dissatisfied with their own position, and this is often not directly related to the actual number of people around them. Despite all this, it is not correct to say that being alone is essentially a positive or negative situation. What is important here is how the person is alone, how he/she experiences loneliness and how he/she manages this feeling. The study aims to question how the feeling of loneliness, which has representations in the modern world and is a subjective phenomenon, is constructed in cinema. It is thought that the universe of cinema has an important effect on conveying different forms of loneliness through characters and understanding the essence of loneliness. For this reason, the movie Azizler (2021), which stands out with the theme of loneliness, was chosen as a sample and analyzed with the critical film analysis method. Thus, the ways in which the three main characters in the movie experience the feeling of loneliness were examined, and the transfer of different states of loneliness to the audience through the characters was discussed.

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Religious Symbolism in the Cinema: “One Hour Photo”

Author(s): Oleksandr Pasichnik,Eugene Piletsky / Language(s): English Issue: 18/2022

This study aims to identify religious symbols in the film (One Hour Photo) directed by Mark Romanek in 2002. The object of the study is the film “One Hour Photo” directed by Mark Romanek (2002); the subject is the religious symbolism contained in it. The scientific novelty lies in the fact that, for the first time, this film has been examined to identify religious symbolism. In the image of the main character, Seymour Parrish, some features are characteristic of the Demiurge-Yahweh in the ideas of the early Christian Gnostics. Being separated from his “mother”, the Aeon of Sophia, the Demiurge feels his imperfection. Similarly, Seymour, being a lonely person, misses his mother. He creates his own “world” in the form of photographs of the Yorkin family, just as the Demiurge shows both mercy and anger towards his “wards.” Just like the Demiurge-Yahweh, he punishes the “chosen” family, which he considers his own. The superhero toy Evangelion, shown in one of the episodes, symbolizes the deity’s punishing aspect. One of its attributes is a sword and a sword’s analog in the scene of punishment of “sinners” is the knife with which Seymour threatens Will and Maya. The punishment for Will Yorkin is caused precisely by his adultery, which in the texts of the Old Testament is often compared to the betrayal of his god. The biblical epiphany of the Demiurge-Yahweh is often reminiscent of the tornado (“the cloud pillar”) shown after the scene of Seymour’s punishment of the adulterers. The punishment itself contains several components. First, he erases Will’s face from the photos on the stand in his room. Second, he breaks into the hotel room where the lovers are and snaps a camera, forcing them to pose naked in love scenes. This is reminiscent of the biblical episode of the expulsion from the paradise of Adam and Eve. The final shot of the film is Seymour’s fantasy, where he imagines a photo of himself and the Yorkins as one family. This symbolizes the restoration of the original harmony marred by Will Yorkin’s “sin.”

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Tentativele de recuperare a modernității creatoare în muzica și artele vizuale din România la mijlocul anilor '60 ai secolului trecut

Author(s): Veronica Turcuş / Language(s): Romanian Issue: 2/2022

The insertion of Soviet models in Romanian culture after the Second World War and the imposition of socialist realism as a unique method of creation from 1948 were outclassed in the mid-1960s, when an attempt was made to revalue artists and writers' modernity and creative integrity. The phenomenon is also noticeable in the evolution of Romanian cinema, which now records a revitalization of co-productions with the participation of Western directors, actors and production houses, in parallel with the affirmation of the Epic of National Film's project, which represents the national reaction and delimitation of Moscow policy in the field of culture. The Romanian documentary film comes out of the tight strap of politics and subjects pertinent to socialist realism, choosing subjects from the fine and elitist universe of the arts; the fiction film begins to deal with sometimes awkward themes in the era, the controlled opening of the second half of the seventh decade also allowing for less rigid productions, which leaves room for interpretation. The gradual overcoming of ideological conventions is observable in action, adventure, love, comedy, western, detective, thriller, SF movies. After 1965 and in the '70s, comedy films, westerns or inspired by cape and sword films were made, in accordance with the filmography of the period in the West, and the Romanian musical presented other characteristics and sources of inspiration compared to the musical art proposed in USSR and in a number of Eastern European states, referring directly to classical productions of the genre in the West. In the mid-1960s, there was an evolution of music in the sense of modern forms (at that time symbolized by the dodecaphonism of the second Viennese school). In the field of visual arts, there was an emancipation of creative models and techniques, alternative art becoming a symbol of connecting the Romanian cultural process to Western Europe.

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ZBRKA, A NE FILM

Author(s): Slavoj Žižek / Language(s): Bosnian Issue: 35-36/2022

In order to prevent the excessive use of firecrackers during the holidays, the Slovenian Ministry of Defense announced on Twitter on December 23, 2021: "Become a soldier!" and the tweet says: "DON'T THROW FIREWORKS!!! Join the army, plant explosives, throw a bomb!" The pragmatic reason is clear: military service is not mandatory in Slovenia and the army lacks manpower, plus throwing firecrackers can sometimes cause harm. However, one cannot help but notice the brutal irony of this announcement. In order to avoid violence, common sense says that we should channel this need of ours into something more sublime, such as competitive sports events (boxing). We read a lot about the potentially harmful consequences for children of violent video games in which they kill opponents - the question would be: do such games encourage actual violence or allow the player to express his destructive impulses in a painless way and thus prevent real violence? But the Slovenian Ministry's announcement is almost the opposite: in order to avoid throwing firecrackers (which, despite the risk, is a minimally sublimated form of violence), become a soldier and train for the real violence of wounding and killing people! Such perverted logic is the hidden truth behind many of today's complaints that we live in a false virtual world and need to return to real life, no matter what the risk. Escape to the Real is the immanent flip side of the fascination with fiction - both extremes characterize what used to be called postmodernism, so the problem with Matrix Resurrections is that it proposes a postmodernist solution for an age that postmodernism has left behind.

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BARBARSKI MOTIVI – HIGH-TECH DESIGN

Author(s): Nermin Sarajlić / Language(s): Bosnian Issue: 35-36/2022

What Adorno would detect as the phenomenon of an agonal situation of emigration shattered by vain misery that managed to wriggle out of the authoritarian fists and beyond the reach of the monstrous Nazi regime, is present almost a century later. And it refers to all dissidents, internal and external, indifferent or angry, all the same, observers, sages, analysts who "afforded" themselves a close or indirect encounter with the totalitarian nemani. Because, in the meantime, the world has not become a better place to live. The satraps and despots in a planetary motley composition take care of it zealously: from the Syrian meerkat, the North Korean midget, the Turkish namchor-brkajlia, the Myanmar Nobel laureate and her saffron-revolutionary generals, to the last in the line, the most dangerous, Russian mindless sadist - a black belt - what day? – every fucking day!

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CONSERVACIÓN DE PATRIMONIO CULTURAL MUEBLE VS. CONSERVACIÓN FÍLMICA

Author(s): Beatríz Torres Insúa / Language(s): Spanish Issue: 2/2022

Conservators deal with different kind of objects; nevertheless, a particular degree of specialization is needed to work with certain artifacts. Motion picture film requires determined expertise, tools, and equipment for its manipulation. Unlike other objects of cultural heritage, apprehension does not occur only by looking at the film object, but also by seeing the projected film and living the cinematographic experience. The purpose of this project was to assess the state of conservation of a film by applying the methodology used in the conservation of objects of “traditional” cultural heritage, such as graphic documents, photographs, paintings, and sculptures. The film object is titled Cine Revista Salvadoreña and belongs to the collection of the Filmoteca of the Universidad Nacional Autónoma de México.

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Representing Trauma in the Arts: the Curious Case of “Quo Vadis, Aida?”

Author(s): Ron Eyerman / Language(s): English Issue: 04/2022

Applying Jurgen Habermas’ distinction between the three knowledge interests guiding scientific research, this article identifies three approaches to ‘trauma’, a clinical approach, rooted in a medical model, a literary approach, rooted in psychoanalysis, and a cultural sociological approach. After elaborating on each of these perspectives, and the various forms through which trauma is represented aesthetically, the three are applied in an analysis of the film “Quo Vadis, Aida?”. It is argued that although they entail different notions of trauma, the three are not mutually exclusive and can be combined in a rich understanding of aesthetic representation. Pletenac

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Sărutul. Senzualitate și culturalitate

Author(s): Călin Ciobotari / Language(s): Romanian Issue: XV/2022

In the last century, the human kiss has earned a special attention from researchers: anthropologists, psychologists, neurologists, or cultural historians. True, as early as the 17th century, Martin von Kempe wrote an Opus Polyhistoricum de Osculis, a massive encyclopedia, in which he tried, for the first time in history, to systematize every known fact about the kiss. After more than 3 centuries of silence, at the beginning of the 20th century, Christopher Nyrop, a professor at the University of Copenhagen, gathered all knowledge of the time in a book, under the title The Kiss and its History, a well structured work, that included a documented typology, with an interest on the literary use of the metaphor of the kiss. In the 21st century, the most important study belongs to Sheril Kirshenbaum, an american scientologist who moves the focus from history to science, her book being widely read. Two years later, Marcel Danesi proposes an approach from the perspective of pop culture. His book, The History of the Kiss. The Birth of Popular Culture, talks about a lot of interesting aspects, including the birth of the so-called “romantic kiss”, the kiss in cinematography and art, the kiss as a cultural product, in a society focused on positive body affirmations. Another work based on the analysis of the kiss in human culture history is The Kiss in History, edited by Karen Harvey. The most recent attempt to analyse kissing is that of Hans Jurgen Dopp, a view from the perspective of sexuality. There are multiple studies dedicated, partly or whole, to the act of kissing, this being a very generous subject of study.

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Elusamuslik ärkvelolek hotellis “Hukkunud alpinist”

Author(s): Tõnn Adermann / Language(s): Estonian Issue: 19/2022

Aga mis siis on see inimese elu siin ilmas? Kunagi mul oli yks sõber Joosep, kes arvas, et kui möödub päev, mil ta kasvõi yhe korra ei mõtle sellele, miks ta mida teeb ning millepärast ta yldse eksisteerib, on tegu raiskuläinud päevaga. Leian endki tihtilugu muude argiste ja samas niivõrd efemeersete probleemide kõrval mõtisklemas mina-olemise teemal – see ei ole kerge, kuid ilma selleta samuti ei saa. Uku Masingul oli mõiste “elusamus”, mis kätkes endas ideed olla igal järgneval päeval parem inimene kui eelneval. “Inimese ehk mõistliku olendi eluülesandeks ehk sihiks ehk elu mõtteks võib pidada “elusamust”. Elu on mõttekas siis, kui inimene saab olla intensiivsem, teadlikum, ärkvemal eilsest” (Tootsen 2000: 01.01–01.23). Tootsen lisab: “Elusamus on Uku Masingu tuletis ühest indiaanikeelsest sõnast, mille samatähenduslikuks vasteks võiks pakkuda “ärkvelolu”“ (Tootsen 2000: 00.00–00.10). Elusamus on justkui juhtmõte, millest oma elus kinni pidada, lausa konstantinstanislavskilik сверхзадача ehk pealisylesanne – miski, mille poole pyyelda. Vendade Arkadi ja Boriss Strugatski 1970. aastal ilmunud ulme-krimiromaan ““Hukkunud Alpinisti” hotell” (edaspidi lyhendina: HAH) on kahtlemata yks nendest teostest, kus käsitletakse “mina” olekut natukene teises võtmes, esitatakse kysimusi olemasolust ja eksisteerimisest nii inimeste kui “teistsuguste” vahel, kuid mitte ainult, sest tuuakse sisse ka mitmetahuline piiride tunnetamine, dogmaatilisuse ja tundmatute maailmade olemus ja probleemistik.

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TRANSDISCIPLINARY AND TRANSNATIONAL MANIFESTATIONS IN OJĀRS FELDBERGS’ ART: THE CONCEPT OF BORDERS

Author(s): Laine Kristberga / Language(s): English Issue: 1/2022

In this article the author examines the concepts of transdisciplinarity and transnationalism as methodological tools in art analysis. By applying these tools to the case study of Latvian artist Ojārs Feldbergs and addressing the concept of borders in his art, the author questions knowledge production systems, especially in terms of Western art discourse. The author doubts that in our hybrid globalised world it is still possible to look at artists and their oeuvre through a monoethnic perspective. It is important to be aware of parallel processes, intercultural encounters and sources of inspiration beyond the borders of one country or discipline. Yet, in doing so, the centre-periphery relationship should be addressed critically and the dictate of cultural metropolises as centres should be avoided. Given that Feldbergs’ art cannot be seen as a constituent of isolated elements – object (sculpture), space (environment), time, spectatorship – but, indeed, as a complex whole, which is hybrid and synthesised, it is crucial to define Feldbergs’ artistic strategies addressing the concept of borders – both physical and symbolic.

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W drodze do domu. Kultury pamięci przymusowej migracji Niemców po 1945 roku w kinematografiach niemieckich

Author(s): Andrzej Gwóźdź / Language(s): Polish Issue: 4/2021

The article addresses the issues of film representation of forced displacement of Germans from the eastern territories of Reich after 1945 in the context of cultures of media remembrance in German cinemas (of Allied occupation zones, German Democratic Republic, Federal Republic of Germany, and reunited Germany). The author indicates subordination of artistic strategies in particular films to current discourses of remembrance and promoted state formation models. He identifies a group of films made just after the war, which secured traces of migration memory; he points to the mechanisms of memory of resettlements in the GDR cinema (decreed anti-fascism) and narratives of expulsion in West German cinema (nostalgia for the lost homeland, columns of exiles); eventually, he draws attention to the work of memory which underlies the practices of remembrance.

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Feministyczna narratologia filmowa. Sporo pytań i kilka odpowiedzi

Author(s): Barbara Szczekała / Language(s): Polish Issue: 119/2022

Artykuł stanowi wprowadzenie do feministycznej narratologii filmowej: zarysowuje jej cele i wyzwania, wymienia narzędzia, nakreśla wstępnie możliwości operacjonalizacji i mapuje użyteczność analityczną. Feministyczna narratologia filmowa rozumiana jest tutaj jako subdyscyplina narratologii badająca zarówno narracje tworzone przez kobiety, jak i narracje o kobietach. Podkreślony jest jej aspekt metakrytyczny i rewizjonistyczny jako refleksji służącej zdemaskowaniu złudnego (męskiego) uniwersalizmu w tradycyjnych i strukturalistycznych propozycjach teorii opowiadania. Narratologia feministyczna osadzona zostaje w kontekście innych narratologii, przede wszystkim korporalnej (Punday, Stańczyk), naturalnej (Fludernik), kognitywnej (Bordwell, Branigan), transmedialnej i postklasycznej (Herman). Jedną z głównych kategorii stosowanych w tekście jest pojęcie doświadczeniowości (Fludernik), zgodnie z którym narracja jest w stanie reprodukować rzeczywiste ludzkie doświadczenia.

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„Film a dějiny” (i poprzednicy) – czeski projekt badania filmu historycznego (2005-2021)

Author(s): Mariusz Guzek / Language(s): Polish Issue: 120/2022

Film a dějiny (Film i historia) to nie tylko wydawany w Czechach cykl publikacji pokonferencyjnych, ale także świadectwo nowego sposobu radzenia sobie tamtejszego środowiska akademickiego z dylematami historycznofilmowymi. Ukazujące się od 2004 r. monograficzne opracowania z jednej strony wypełniają filmoznawcze białe plamy, poruszając tematy wcześniej w dyskusji nieobecne, a z drugiej proponują dialog zogniskowany wokół kluczowych zagadnień dotyczących kinematografii narodowej. Do tej pory zrealizowane zostały następujące projekty: „Adolf Hitler i inni – filmowe obrazy zła”, „Polityczna kamera – film i stalinizm”, „Normalizacja”, „Pierestrojka”, „Postkomunizm – przemiany w czeskim filmie historycznym po roku 1989” i „Propaganda”.

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