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CENSORSHIP IN SLOVAK OPERA

Author(s): Michaela Mojžišová / Language(s): English Issue: Special/2014

This study deals with the fate of Slovak opera compositions at the hands of communist censorship in the second half of the 20th century. The most striking case is Krútňava (The Whirlpool) by Eugen Suchoň (which premiered in Bratislava in 1949); this work was subject to gross ideological distortion with the elimination of its Christian and humanistic character as well as a distortion in its dramaturgical composition (i.e. the rejection of its symbolic framework). The Whirlpool was performed on dozens of European stages in its modified form, which did not correspond with Suchoň’s own convictions. The process of its rehabilitation was protracted, and its reconstructed original version was first heard in Banská Bystrica only in 2008 on the occasion of the 100th anniversary of Suchoň’s birth. Operas by Ján Cikker also had a complicated fate: Mister Scrooge, which premiered in Kassel in 1963, was composed on the theme of A Christmas Carol by Charles Dickens; Coriolanus, which premiered in Prague in 1974, was inspired by Shakespeare’s drama of the same name. Like The Whirlpool, Coriolanus had the Slovak premiere of its original form only on the occasion of the centenary of the author’s birth (in Banská Bystrica in 2011). Both composers were respected and supported by the official establishment. This fact takes their fight for the soul of their compositions and the implied compromises into the wider moral and ethical context of the period.

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CONTEMPORARY SLOVAK FILM: A SYMPTOM OF THE TIMES OR A REPRESENTATION OF SOCIETY?

Author(s): Jana Dudková / Language(s): English Issue: Special/2014

The article deals with several overlooked approaches to Slovak cinema after 1989 and the way they mirror social change. The first part describes the interrupted development of Slovak cinema and the feelings of belatedness which go with it. It focuses primarily on generational gestures, reflections on impressions of the transition period (in the debut films of 1990s directors such as Martin Šulík, Štefan Semjan and Miro Šindelka). It reveals basic themes and spatial metaphors of one’s relationship towards society in these gestures, which indicate a gradual separation of filmmakers from reality. Other parts explain recent cinematographic developments as a reaction to this separation. Films have begun to adjust themselves to globalised culture, which has led to the connection of several features characteristic for the combination of the local and the global and of industrial and artistic images as well as with phenomena like festival films, popular films and auto-ironic films which reflect their own marketing mechanisms (Candidate).

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Mitin Dünyevileştirilerek Yeniden Üretilmesi ve Huizinga’da Kültürün Olumsallığı Bağlamında Klaus (2019)

Author(s): Ünal Gönen Islakoğlu / Language(s): Turkish Issue: 16/2023

Klaus is a 2019 Christmas-themed animated film about the friendship between a selfish postman and a reclusive toymaker that changes into a cold and dark town called Smeerensburg. There are no academic studies on Christmas-themed films in the Turkish literature, and there are a limited number of studies on animation. These studies analyse the explicit or implicit messages conveyed in the films, mainly because of the target audience of animated films is children. But since animated films are consumed not only by children, but also by parents and young adults, analysing the text and subtext of the relevant films will enrich the viewing experience. In this context, this research aims to examine Klaus’ narrative from the perspective of the notion of secularization and Huizinga’s Homo Ludens. As a result, Klaus reproduces the myth of Santa Claus in a secular way that coincides with Huizinga’s notion of play.

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“Instead of Pumping Iron, She was Pumping Bullets into her Husband”: The Portrayal of a Female Perpetrator in Nanette Burstein’s Killer Sally

Author(s): Hatice Bay / Language(s): English Issue: 26/2023

In the media, the law, and public opinion, women who resort to violence within abusive relationships are often depicted as either victims or monsters. Nanette Burstein’s three-part docuseries, Killer Sally (2022), reexamines this binary which focuses on Sally McNeil, a former professional bodybuilder who murdered her husband, also a professional bodybuilder, in Southern California in 1995. Drawing on Belinda Morrissey’s When Women Kill and The Routledge International Handbook of Perpetrator Studies, this article argues that Burstein questions the discursive, performative, and one-sided dimensions of media and legal portrayals of female perpetrators. By placing both the perpetrator and the victim within complex sociopsychological and posthuman frameworks, Burstein broadens the discourse on battered women who kill by granting the perpetrator agency and voice.

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Unutar i izvan filmskog žanra: Starost na putu

Author(s): Ljubica Milosavljević,Ana Banić Grubišić,Vladimira Ilić / Language(s): Serbian Issue: 2/2024

This paper analyses Croatian film Night boats (2012), directed by Igor Mirković, from the anthropology of film and anthropology of age point of view. The film story is analyzed as the so-called diegetic universe, i.e. as an ethnography of the film, and is connected to the real experiences of the elderly. The plot of the film follows the meeting and emotional bonding of Helena and Jakov in one of Zagreb's nursing homes. Shortly after their brief acquaintance, these "seventy-year-old teenagers" begin a romance, run away from home and embark on a road adventure. In terms of genre, this film can be viewed as a road movie since, in addition to the fact that the main characters spend more than half of the plot on the road, the film thematically and visually follows the conventions of the aforementioned genre. Their road adventure is initiated on a metaphorical level, as an escape from illness and death, as well as an escape from loneliness and the circumstances that life in old age brings. The main characters flee from the lack of choice they are faced with which is why their journey can be interpreted as a search for lost, almost stripped identities. The journey of Helena and Jacob, two elderly individuals faced with the problems of loneliness and physical decline, represents a transformative experience for the main characters and signifies a form of quiet rebellion, a refusal to accept cultural conventions according to which active life ends with a socially constructed notion of old age. In this sense, this film story served to critically address various issues and problems concerning society’s stereotypical attitudes towards the elderly.

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Истина и етика в съвременната фотожурналистика - случаят с наградите Рейнолдс 2024

Author(s): Iosif Astrukov / Language(s): Bulgarian Issue: 16/2024

Manipulation and misleading in documentary and journalist photography have always been unavoidable part of its nature, since its beginning and long before digitalization came into place. Today we are facing serious problems of media ethics, as one of the photos awarded by Reynolds Journalism Institute at the Missouri School of Journalism for Team Picture Story of the Year (2024) raised concerns about how it was taken and who is the photographer, as it is suspected that he must have been involved in that attack on 7th of October 2023 in Israel. The case triggered questions and reactions of ethics and what is happening to photojournalism and media in general. A petition was created calling for ‘denounce this award-winning photo and demand that Reynolds Journalism Instituterevoke this award’, following even a lawsuit. The following material will analyze the events that led to this photo award and try to go deeper into the contemporary media problems.

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Frames of Memory: The Cinematic Past in a Taiwanese Graphic Novel

Author(s): Antonio Paoliello-Palermo / Language(s): English Issue: 2/2024

The nostalgic recollection of the past is central to contemporary cultural production, yet its intersection within Sinophone comics remains underexplored. This study addresses this gap by examining how recent graphic novels from Taiwan engage with the island’s cinematic past and focuses on their role in preserving the country’s collective memory and constructing national identity. By conducting an analysis of Back Street Dusk (Xiaoshi de Houjie Guangying, 2018) by Jason Chien (Jian Jiacheng, 1978–), through the lens of nostalgia studies, I contend that this graphic novel intertwines a nostalgic gaze on the island’s cinema, particularly the Hokkien film industry (1950s–1970s), with Taiwan’s cultural and political history. By perusing how Chien’s work contextualizes and voices the challenges faced by this industry under Chiang Kai-shek’s nationalist rule, this research highlights the role of graphic novels as both archives and tools for identity formation, while positioning their authors as not merely artists, but also keepers of cultural memory.

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Културните събития в София – значимост и възможности за развитие

Author(s): Lyubomir Krastev / Language(s): Bulgarian Issue: 1/2024

The events sector, as part of the tourism industry, is dynamic and has enjoyed wide popularity in recent years, as we live in the so-called experience economy. It enables not only the generation of income from tourism, but also creates prerequisites for the promotion and protection of tangible and intangible cultural heritage sites. Cultural industries also occupy a serious place in the life of the city of Sofia, which hosts a number of events related to cinema, music, art, theatre, and others. Since cultural tourism is wide-ranging, the basic research task of this report is to attempt to analyse the state and offer of cultural events on the territory of the capital and to highlight opportunities for the creation of new ones and the sustainable development of existing ones.

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FROM LIFE TO TEXT AND FILM: PEDRO AMODÓVAR AND AUTOBIOGRAPHICAL DISCOURSE

Author(s): Dejan Varga / Language(s): English Issue: 49/2024

This work analyses Pedro Almodóvar’s texts published in two books, Patty Diphusa Stories and Other Writings and The Last Dream, in which his playful engagement with autobiographical discourse is noticeable. Despite consistently stating his lack of interest in writing an autobiography or desiring others to do so, the published texts do not adhere to these generic determinations. However, a more detailed analysis reveals features akin to intimate texts bordering on diary entries, associative autobiography, letters, or essays. Building upon the theoretical assumptions of Philippe Lejeune and Gérard Genette regarding autobiographical prose, as well as the typology of life narrative models by Sidonie Smith and Julia Watson, it is evident that Almodóvar largely opts for a form of expression that does not conform to the criteria of a typical autobiography, but rather life narrative forms within its discourse. The aim is to ascertain whether he writes them with the purpose of narrating specific moments from his own past or supplementing information about his films.

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Maksymilian Chmielarczyk – dzieciństwo, młodość i życie osobiste

Author(s): Elzbieta Stoch / Language(s): Polish Issue: 2/2024

Celem artykułu jest upowszechnienie nieznanych faktów z życia aktora Maksymiliana Chmielarczyka (1891–1953), pseudonim „Cybulski”, syna Stanisławy Aleksandry Chmielarczyk, zapomnianej artystki teatrów dramatycznych Warszawy. Podczas badań naukowych autorka odnalazła w archiwach nieznane rękopisy metryk, aktów stanu cywilnego, sporządzonych w Warszawie (pod zaborem rosyjskim). Unikatowe dokumenty odkryte przez badaczkę ujawniają nieznane dotąd fakty z historii rodziny i życia prywatnego Chmielarczyka (m.in. z okresu jego dzieciństwa i młodości). Autorka, opierając się na nieznanych publikacjach z epoki, bez mitologizowania ukazuje „światła i cienie” młodzieńczych deklamacji Maksymiliana, organizowanych przez Józefa Cybulskiego („aktora weterana”). W 1911 r. 20-letni Chmielarczyk ożenił się w Warszawie z Heleną Felicją Przybylską (fakt wcześniej nieznany), a świadkiem na ślubie był Józef Cybulski, którego traktował jak ojca i pod którego nazwiskiem występował na scenie do 1939 r. Autorka artykułu przedstawia nieznane, ukrywane lub przemilczane fakty z biografii aktora Chmielarczyka. Badaczka skupia również swoją uwagę na postaciach kobiet w późniejszych okresach życia Chmielarczyka – były to aktorki: Maria Czerniawska (ok. 1893–1931), śpiewaczka operetkowa i Stefania Cybulska (1910–1980), ostatnia żona, o których autorka pisze na podstawie źródeł teatralnych i archiwalnych. Autorka w artykule przedstawia fakty i zestawia je z legendą biograficzną, stworzoną przez Chmielarczyka w okresie PRL, kiedy był dyrektorem Teatru Miejskiego w Lublinie (1947–1949) i Państwowego Teatru im. Juliusza Osterwy w Lublinie (1949–1952).

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Digital realities and metaphorical constructs: A multimodal semiotic and intermedial analysis of Blade Runner 2049

Author(s): Maria Katsaridou,Loukia Kostopoulou / Language(s): English Issue: 1/2025

The concept of metaphor has long been explored in film in a variety of ways, from Eisenstein’s experimentations to more contemporary examples. Contemporary theoreticians such as Forceville (2016) have enhanced the concept of metaphor, moving away from its purely linguistic quality and underlying its multimodal aspect. In this article, we will use Force-ville’s paradigm of multimodal metaphors as implemented in films. We will analyse Blade Runner 2049 (Villeneuve 2017), focusing on its representation of digital reality through multimodal metaphors. The film, widely acclaimed for its philosophical depth (Shanahan et al. eds. 2020) and visual storytelling, is set in a dystopian future where human-like androids coexist with humans and serve as a means for exploring digital metaphors in a society dominated by artificial intelligence and augmented reality. We examine the film’s use of visual, auditory, and narrative elements, in order to construct a metaphorical framework that reflects contemporary digital concerns. Through an in-depth exploration of its visual, auditory, and narrative dimensions, this analysis uncovers a dense metaphorical structure within the film. This structure mirrors pressing societal concerns regarding the evolution and impact of digitalisation, augmented reality, and artificial intelligence, providing a critical lens on contemporary technological advancements. The study aims to enrich the discourse on digital metaphors in media, highlighting the evolving interplay between human experiences and technological advancements.

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The National Folklore Festival of Gjirokastër: An Analysis of its Audiovisual Representation

Author(s): Mikaela Minga / Language(s): English Issue: 2/2024

The Gjirokastra National Folklore Festival has been the most important showcase for staged performances of traditional expressive culture during the Communist regime. It was held every five years in Gjirokastër from 1968. More than 1500 people participated, and almost all Albanian institutions - on local and central levels – were involved in the organization. Alongside, an entire machinery of media coverage was involved, from sound and audiovisual recordings for scholarly purposes to TV broadcasting and the production of documentaries and feature films. My focus is the documentaries produced for each of the five editions, now found in the Albanian Film Archive. Through these films, we engage with the Festival as an event per se and not just as a scene for staged traditional expressive culture. This can shed light on different aspects of audiovisual representation, that is, how it has been captured, shaped, and represented as a cinematic experience. This is not supposed to be just a film analysis but a way of simultaneously engaging and interpreting what we see and hear, through a conjunction between film studies, ethnomusicology and anthropology.

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„Kult der Zerstreuung“. Kulturkritik im Essay der Weimarer Republik

Author(s): Markus Fischer / Language(s): German Issue: 2/2021

The present paper deals with the concept of distraction („Zerstreuung“) as expressed in several essays of cultural criticism written during the epoch of the Weimar Republic in Germany. Authors like Siegfried Kracauer, Walter Benjamin and Ernst Bloch analyse in these essays the philosophical, aesthetical, sociological, and cultural dimensions of this concept of distraction which helps to understand the historical era of the Weimar Republic better with respect to both culture and society. Distraction in this specific sense not only means entertainment and amusement but also the sociological dispersion of the individual person in an upcoming mass society and culture. In an aesthetical sense distraction refers to artistic means like the emerging medium of the film which constitutes both a symptom of and a remedy for contemporary problems in society and culture. Side glances at the social class of the employees, at books of fiction during the Weimar Republic and at Georg Simmel’s cultural sociology round out these observations concerning the concept of distraction.

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ШЕКСПИР И ИНТЕРМЕДИЈАЛНОСТ НА ПРИМЕРУ ТЕЛЕВИЗИЈСКЕ СЕРИЈЕ ПРАЋКЕ И СТРЕЛЕ

Author(s): Ana M. Andrejević / Language(s): Serbian Issue: 29/2024

Shakespeare’s works have historically been associated with elite culture, yet their adaptation and integration into popular culture remain pertinent. His narratives hold such significance in global culture that they spontaneously generate numerous adaptations and sequels through the ‘snowball effect’, as defined by Ryan, both within the same medium and across different media. In the initial stages of adapting Shakespeare’s plays, the adaptations were intermedial. However, starting from the Romantic era, they also underwent reshaping in other media, utilising remediation for the purposes of modernisation and contextualisation. In today’s electronic and new media era, Shakespeare’s plays undergo a transformation across diverse media platforms, where familiar contents are transposed in various ways. Many intermedial and transmedial adaptations borrow recognisable topoi, characters, or plots, creating new narratives that often lack artistic depth. Conversely, the Canadian television series Slings and Arrows distinguishes itself by emphasising the enduring artistic value of Shakespeare’s narrative across every medium. Spanning three seasons, the series portrays the challenges of a fictional theatre company as it prepares to produce three of Shakespeare’s plays: Hamlet, Macbeth, and King Lear. Within this context, we witness the process of remediation, which involves the integration of one media form into another. By presenting the fundamental characteristics of theatre and highlighting its artistic nature, the series Slings and Arrows becomes both an instructive and entertaining media format. This paper aims to explain the method and level of success of the remediation process within the context of Shakespeare’s authentic narrative. The research method draws upon Bolter and Grusin’s theory of remediation in conjunction with Ryan’s and Jenkins’ concepts of intermediality and transmediality

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Týden ukrajinského filmu a Dny ukrajinského filmu

Author(s): Not Specified Author / Language(s): Czech,Ukrainian Issue: 08/2024

This article lists the films screened at the Ukrainian Film Week festival, which took place from November 26 to November 30, 2024 in Prague and from December 2 to December 8, 2024 in Brno. The documentary "Odposlechy" (Intercepted) by Oksana Karpovyč sheds light on the dehumanization of Russian soldiers during the conflict in Ukraine, using private phone conversations intercepted by Ukrainian intelligence services. "Dům Slovo. Nedopsaný román" directed by Taras Tomenko, set in Soviet Ukraine in 1927, explores the lives of prominent Ukrainian writers and artists housed in a cooperative building as part of Stalin's experiment to create a new type of Soviet artist. "La Palisiada" by Filip Sotnyčenko, set in 1996 Ukraine, follows two old friends, a police detective and a forensic psychiatrist, as they investigate the murder of a colleague, reflecting on their past and its impact on future generations. "Redakce," a satirical drama directed by Roman Bondarčuk, follows a young biologist who becomes embroiled in the murky world of fake news and manipulation as he tries to expose a crime in the Kherson steppes. "Kyslíková stanice" by Ivan Tymčenko is a biographical drama about Mustafa Džemilev, an activist and dissident exiled to Jakutsk, depicting his struggle for the rights of Crimean Tatars. "Hlas Viktorie," a documentary, tells the harrowing story of Victoria Andrusha, a teacher abducted by the Russian army and held captive under inhumane conditions. "Zakořenění" explores the lives of various ethnic communities in Ukraine, highlighting their experiences during the Soviet era and their ongoing struggles. "Ty jsi vesmír" by Pavlo Ostrikov is a tragicomedy set in the near future, where a lonely Ukrainian trucker in space must navigate the aftermath of Earth's unexplained explosion. Lastly, "Klondike," directed by Maryna Er Horbač, set in 2014 Donbas, follows Irka, who refuses to leave her home despite the escalating conflict and her impending childbirth, highlighting the personal toll of war.

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Що драма Марини Ер Горбач «Клондайк» говорить про війну?

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

The film "Klondike," directed by Maryna Er Gorbach, was Ukraine's submission for the Oscars in 2022. Although it did not receive a nomination, it has garnered significant attention and accolades, including the award for "Best Directing in World Cinema" at Sundance, the Ecumenical Jury Prize at the Berlinale, and the Grand Prix at the Seattle International Film Festival. The film depicts the plight of Irka and Tolik, who live in the village of Hrabove in Donetsk Oblast, which is heavily influenced by Russian militants. Irka, pregnant and anxious about the impending birth of her first child, faces the chaos of war as their home is hit by artillery. The film's narrative is further complicated by the downing of Malaysia Airlines Flight MH17 nearby, which Tolik witnesses but initially keeps secret. The story raises uncomfortable questions about individual and societal choices during conflict and emphasizes the impact of political and social events on ordinary lives. As the film progresses, the village's situation becomes increasingly dire, forcing characters to confront their roles in the ongoing conflict. "Klondike" challenges the audience to reflect on their own positions and responsibilities in times of crisis.

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«Глядєлов»: погляд крізь фотографію

Author(s): Yurii Samusenko / Language(s): Ukrainian Issue: 07/2024

The documentary film "Gladyelov: Through the Lens of Photography" directed by Kseniia Kravtsova, delves into the life and work of photographer Oleksandr Gladyelov. The film begins with a silent walk through the debris left by the Russian occupation in Kyiv Oblast, capturing Gladyelov's reflections on war and its impact. Kravtsova's narrative weaves through various periods of Gladyelov's life, including his early fascination with a boy holding a chick, which led to interviews with several acquaintances. The film includes conversations with figures like Father Oleksandr Chumakov and veterans Oleksii Moroz and Andrii Apis, offering a multifaceted portrait of Gladyelov. Despite his reclusive nature, the film attempts to uncover Gladyelov's dedication to his craft, especially during the full-scale invasion by Russia. The documentary, shown at the Kyiv House of Cinema and the Odesa International Film Festival, where it won the best documentary project award, highlights Gladyelov's significant yet underappreciated contributions, particularly within Ukraine. The film is praised for its high-quality scans of Gladyelov's works, offering an immersive experience for viewers and serving as an introduction to his artistry for those unfamiliar with him.

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Будинок „Слово“: фільм про 1930-ті з несподівано сучасним присмаком

Author(s): Oleh Kotsarev / Language(s): Ukrainian Issue: 03/2024

The film “House of the Word: An Endless Novel” delves into the lives of Ukrainian writers during the early 1930s, a period marked by Soviet oppression. Set in the iconic “Slovo” building in Kharkiv, the narrative follows the young poet Volodymyr Akimov, who, despite his mediocre talent, seeks literary fame. As he mingles with prominent figures like Mykola Khvylovy and Pavlo Tychyna, Akimov’s journey takes a dark turn when he becomes an informant for the NKVD. The film captures the intense atmosphere of censorship, repression, and the tragic fates of the “Executed Renaissance” writers. The visual storytelling, enriched by Alla Zagaykevych’s music, and the symbolic use of light and shadow, highlight the era’s brutality and the resilience of Ukrainian culture. The portrayal of Raïsa Troyanker brings a fresh perspective on gender dynamics within this historical context.

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Харків в об’єктиві кінематографістів

Author(s): Yurii Samusenko / Language(s): Ukrainian Issue: 01/2024

Exploring the cinematic history of Kharkiv, this piece delves into how filmmakers have captured the city’s essence through various eras. From the constructivist architecture that attracted Russian directors to the evocative depictions of wartime resilience, Kharkiv’s portrayal in film reflects its dynamic spirit. Notable works include Friedrich Ermler’s “Fragment of an Empire,” which contrasts the city’s industrial progress with the protagonist’s struggle to adapt to communist values, and Dmitry Dalsky’s “Sketches of a Soviet City,” a documentary celebrating Kharkiv’s urban development. The narrative also touches on the controversial “Bezhin Meadow” by Sergei Eisenstein, banned for its anti-Soviet content, and the road movie “To the Black Sea” by Andrei Tutishkin, showcasing Ukraine’s landmarks. The article highlights the evolution of Ukrainian cinema, moving away from Russian narratives, as seen in films like “Tango of Death” by Alexander Muratov and “House of ‘Word’” by Taras Tomenko, which reflect on political repression and cultural identity.

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Tagungsbericht zum 15. Bohemicum Dresdense: Kafka an der Grenze (Zentralbibliothek, Dresden, 25.10.2024)

Author(s): Holger Kuße / Language(s): German Issue: 2/2024

The 15th Bohemicum Dresdense, titled "Kafka an der Grenze," was held at the Zentralbibliothek in Dresden on October 25, 2024, commemorating the 100th anniversary of Franz Kafka's death. The event, part of the Czech-German Cultural Days, was organized by the Center for Middle and Eastern Europe at TU Dresden in cooperation with the Zentralbibliothek Dresden. It featured ten presentations exploring Kafka's work and its intersections with language, literature, and culture. Topics included Kafka's multilingualism, his blending of cultural traditions, and his influence on various media. Notable presentations examined Kafka's use of German, Czech, and Yiddish, his transmedial reception in Czech art, and his impact on contemporary literature and film. The conference highlighted Kafka's role as a cultural bridge and his enduring relevance in different historical and social contexts.

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