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Głód mięsa. O kanibalizmie w filmie Delicatessen

Author(s): Iga Łomanowska / Language(s): Polish Issue: 04/2014

The text has a character of a draft – the author signals some aspects and themes of complex issues of anthropophagy and human carnivorism, placing them in historical, sociological and anthropological perspectives. As its starting point author takes black comedy Delicatessen, which characters are hungry for meat and not being able to get the animal meat they practice cannibalism. The author analysis their customs, defining the kind of cannibalism they practice and describing its significance for them as a community. She reaches for historical examples of cannibalism and recalls its ritual, social and mystical importance referring it to the situation in the movie. She enriches the whole with the reflection on the carnivorous nature of man, as a creature condemned to hunger for meat.

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The new within the old, the old within the new: transmediality and the introduction of the kinematograph in the case of Aladinou la lampemerveilleuse (1898)

Author(s): Gert Jan Harkema / Language(s): English Issue: 01/2016

Accordin g to the Provinciale Geldersche en Nijmeegsche Courant’s coverage of Grünkorn’s exhibition in October 1859, the scenes from Aladdin and his wonder lamp were the most popular aspect of his show and “caught [ the audience’s ] special attention, which they deserved.” :These scenes were even more appreciated by the audience than the nationalistic scenes from royal festivities (an observation that could indicate that the late nineteenth -century audiences who went to the early kinematography shows were not necessarily as much aroused by the radically new, as with the ‘new within the old’). The audience might have liked the scenes from Aladin ou le lampe merveilluese in particular because of the double logic discussed above: on the one hand, the reels anticipated in a familiar transmedial imagination themes that were already in people’s minds, while at the same time these scenes also highlighted the specific attraction of the newly introduced device for projecting moving images. The intersection between the new and the old remains a fascinating field for study because new knowledge of the nineteenth -century popular imagination could still shed new light on the earliest encounters with the kinematograph.

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Polskie internetowe serwisy filmowe dla dorosłych. Kilka uwag o sposobach odbioru tekstów pornograficznych w nowych mediach

Author(s): Adam Regiewicz / Language(s): Polish Issue: 01/2015

Along with the technology and customs changes in recent decades,pornographic message changes as well on the network.A full‑length feature films are replaced by short videos, devoid of narrative and focused on scenes of sexual acts themselves. On this background, aquasi‑document porn film which records sexual practices from the executor’s perspective (First Person Perspecitve) or accompanying cameraman draws a special attention. This type of production enters the new hybrid genre popular in new media either by composition, poetics or epistemology building its message on the tension between truthfulness and fabrication, fiction and fact.

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Z ekranu do sieci. O sieciowych fanach sztuki filmowej

Author(s): Marek Jeziński / Language(s): Polish Issue: 01/2015

In the paper group‑making and social bonds making potency of film as a certain kind of art and entertainment is discussed. Emotions that accompany watching the movies are carried out of the circumstances of reception of a film work and are manifested in the creation of a certain kind of social relations. Specific character of such group activity is also manifested in the Internet environment. A movie, as cultural text, becomes as a particular focus center, which is attractive enough to have a potency for the creation of certain communities. The latter occur as social groups of a unique character, that relies in the specific nature of environment in which they emerge. Movie blogs and www sites concerning movies, cinema and film art display a significant strength for creating social bonds depending on cinema as a specific environment and on the emotions generated by the movies.

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Kiedy świat staje się błękitem. Blue Dereka Jarmana jako artystyczny i osobisty manifest twórcy

Author(s): Aleksandra Drzał-Sierocka / Language(s): Polish Issue: 01/2015

Blue (1993), the last film by Derek Jarman, had been released only four months before the director’s death, caused by AIDS‑related diseases. It is a very unique kind of private confession. At the end of his life, Derek Jarman was getting blind and in some moment the only that he could see was blue (a kind of blue nothing). His last movie reproduces this experience and at the same time makes viewers to feel reality in the similar way, because the only thing that we see is a blue screen. So, on the other hand, Blue is a very interesting project from the theoretical point of view. It is not a typical documentary; it is not even a typical movie. In my thesis I try to analyze Blue from few different perspectives: as an unique audiovisual project, a manifest of artistic freedom and independence and as a deeply poignant confession of a dying man.

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Film jako remedium na rzeczywistość. O motywie Piotrusia Pana w wybranych niezrealizowanych scenariuszach filmowych Stanisława Dygat

Author(s): Barbara Giza / Language(s): Polish Issue: 01/2015

The idea of this paper is to describe unrealizded screenplays of Stanisław Dygat. Those works are kept in the archives of Filmoteka Narodowa and show how much Dygat, one of the most famous Polish writers, was interested in film and how many trials to become a screenwriter he has undertaken. The idea here is to look for a very characteristic motive for Dygat’s prose – Peter Pan motive. The main hero in Dygat’s books is always like a big boy, trying to manage in the adult’s world, believing in magic and the power and illusion. Reading the unrealized screenplays being written by Dygat since late 40’s one can very easily find the same motive of Peter Pan, which shows the writer’s artistic consequence and his strong fascination of film as a new way of expression.

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O złudnym poczuciu sprawstwa wśród fanów na przykładzie serialu Sherlock Holmes

Author(s): Katarzyna Rabiej / Language(s): Polish Issue: 01/2015

The aim of this article is analyze and reflection on an illusory sense of participation among viewers Sherlock Holmes series. Today boundaries are cover between network users and producers, consumption and participation, professionalism and amateurism. The article presents the results of the analysis which indicate, that the purpose of the film industry, is to invite viewers to explore the rich world presented in the film, which turned out to be “too big” for a full‑length movie or episode or even season series. Today, image of the film are mosaic, and require social replenishment and dialogue. It is used in an ingenious way by film producers. At the same time the viewers thinks that they have control, and they participate in process of creating a movie. The recipient has the feeling that is an integral part of the community watching movies and series. Producers of the series Sherlock Holmes, who in the third season presented possible solutions to the further Sherlock fate, proposed by fans, made a bow to the viewer, but at the same time they strengthened his sense of participation. In this article I assert thesis that the film industry trying to strengthen the viewer sense of participation in the process of creating a movie (series) mislead the public, cheating them. Spectator, despite the multiplicity of communication channels and tools, has no effect on the shape of a movie or the series, but only serves as a barometer for the producers and the marketing department.

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Użycie odesłań w internecie a naruszenie praw własności intelektualnej w świetle orzecznictwa TSUE

Author(s): Marek Porzeżyński / Language(s): Polish Issue: 01/2015

The issue of using linking technique among the internet is an object of analysis of many specialists representing various scientific fields. From the legal perspective linking is also significant problem, what is best proven by many judicial decisions. European Union legal acts which were projected for the purpose of harmonization of regulations turned out to be the starting point for wider discussion in the range of legal aspects of linking. Problems connected by aforementioned issue are also intensified by its large scale. Only basing on life experience the range and potential of linking activity can be intuitively determined. Concerned issue can be of profound importance for the creative sector, especially film industry which frequently uses various linking techniques for the purpose of illustration of opinion or presentation. For this reason despite the legal and technical subject of this article it is worth to became acquainted with basic legal regulations and latest judiciary decisions, which are of significant importance for their interpretation.

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Między fikcją a rzeczywistością - czyli po co i dlaczego ogląda się seriale paradokumentalne

Author(s): Justyna Wrzochul‑Stawinoga / Language(s): Polish Issue: 02/2015

For some time, including TV, one gets the impression that it was dominated serials paradokuments. Examples of such programs are: „Difficult Cases”, „Memoirs of the holiday”, „Why Me?“ „Whose fault?”, „Betrayal”, „The day that changed my life”. Currently popular is the production of „The Contender“ television broadcast by TVN. Among the television stations, that give parase -riale documentary, leads the Polsat: Monday only suited up six series quasi. This is because that the way of presenting reality and the conditions of play of the vicissitudes, in which their characters are involved clearly is constructed so that it was getting to a mass audience in a fairly wide age group. In this article I will try to answer the question: What is the phenomenon of quasi serials popularity, whether they are a response to the needs of modern audiences? Who is the present participant of TV culture and what is expected of television? To what extent paradokumentalny series meets the expectations of a modern audience, and by what procedures implements (apparent or real?) mission advisor, comforter, therapist and psychologist?

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ŞENER ŞEN’İN BAŞROL OYNADIĞI FİLMLERDE KULLANILAN ATASÖZLERİ VE DEYİMLER ÜZERİNE BİR İNCELEME

Author(s): Mehmet Gedik,Erhan Akin / Language(s): Turkish Issue: Special/2016

The impact of the media in today's language has been an accepted condition now beyond. Individuals embarking on use of language to the school life on family and begins to learn the media tools. This use case also throughout school life. Students through the internet, television, cinema, they continue to develop their presence in the word. In this study, the expression used in the movie and Şener Şen proverbs tried to be identified. In this way, the expression used in motion pictures and proverbs on the clarification and special starring Şener Şen in the film are addressed. When documents review and review categorically rejected the content analysis method is used. Category focuses on expressions and as saying. Has been examined in the movies last statement and Proverbs of the films under the names and specifying when. As a result, made suggestions on the subject of the study.

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BIR TEBLIĞ İMKÂNI OLARAK SINEMA: "MY NAME IS KHAN" FİLMİ ÖRNEĞI

Author(s): Halil Uzdu / Language(s): Turkish Issue: 29/2016

The first public demonstration of the appeal made by cinema audiences since 1895, starting from the first sample should have been used directly or indirectly as a religious notification tool. Throughout the history of cinema more than a century, as is the case with almost every area of life has been in a close relationship with religious faith. Moustapha Akkad addresses the birth of Islam "The Message" (1976) film and Mel Gibson's Jesus carrying the last 24 hours the curtain "The Passion of the Christ"(2004) with the creation of indirect religious perception subliminal message given for such purpose may be communicated directly with movies like the movie, the movie reveals the importance of this issue. Following the terrorist attacks of 11 September 2011 in this regard, especially when taken as a criticism against religious discrimination against Muslims in the United States and Muslims created about the life of a character in "My Name Is Khan" film, considered as an example. The purpose of this article correctly and effectively use the capacity of the cinema as a communication opportunity Bollywood film "My Name Is Khan" film is to examine the samples in private.

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Nowe filmy biblijne – między ortodoksją a apokryfem

Author(s): Marek Lis / Language(s): Polish Issue: 1/2016

Although biblical movies could be considered an almost defunct genre, television and cinema audiences in the first years of the 21st century are discovering a new interest of producers, motivated more by the desire for profit than by religious reasons. Among films, modern audiovisual apocrypha, we can observe new tendencies: animated feature films aimed at large family audiences, the appearance of a “professional Jesus” (Bruce Marchiano), and the tendency to put the figure of historical Jesus in modern ahistorical situations and in racial contexts (black Jesus).

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DIGITAL MEDIA: INVASION OF AMERICAN FILM

Author(s): Lenka Chrenková,Dagmar Valentovičová / Language(s): English Issue: 1/2/2015

The processes of digitalization and technologic revolution have caused that particular international production companies are able to use financial and technical resources –mostly multi-billion budgets and advanced technology – and subsequently they tend to smoothly apply these resources to optimize their own marketing strategies. The main goal here is related to pursuing the vision of successful sale of created media projects which are aimed at wide audiences; such a tendency also makes these media enterprises substantial parts of the very unique world of universal human values and opinions shared by the majority. This text is focused on the topic of production and distribution cycles that are typically applied by major Hollywood film production companies in order to offer mainstream movie audiences their audiovisual works. The authors examine phenomena of globalization and ‘glocalization’ in the context of promoting mainstream content by using (mostly) so-called new media. Their attention is mostly paid to particular advertising tools and propagation methods which are used by major American movie producers and/or distributors in order to deliver their contents to target (mainstream) media audiences – the platform of such marketing practices is created mainly by digital media.

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Srebrny ekran i paryski bruk. Filmowe portrety polskich emigrantów w produkcjach zagranicznych i międzynarodowych (1976–2011)

Author(s): Kris Van Heuckelom / Language(s): Polish Issue: 2/2016

The article looks into the changing on-screen treatment of Polish immigrant characters living on ‘the Paris pavement’. The corpus of film productions under discussion includes Roman Polański’s “The Tenant” (1976), Peter Kassovitz’s “Mariage blanc” (1986), Costa Gavras’s “La petite apocalypse” (1993), Krzysztof Kieślowski’s “Trois couleurs: Blanc” (1994), Paweł Pawlikowski’s “The Woman in the Fifth” (2011) and Małgorzata Szumowska’s “Elles” (2011). As a comparative analysis of the films involved indicates, both the immigrant characters and the urban space associated with them are subject to gradual changes (although some remarkable spatial motifs, such as the balcony and the roof, make their appearance both in the older and the newer productions). If the earlier films tend to focus on the – often geopolitically connoted – marginalization and degradation of male (anti)heroes in the city’s historical center (or its immediate vicinity), then the more recent films shift focus to the urban periphery, where the Polish characters become part of what Dina Iordanova has called the ‘metropolitan multicultural margins’, along with other, economically underprivileged newcomers from various parts of the (postcolonial and post-Communist) world.

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UNA NOVEDOSA ARQUITECTURA SOCIAL Y LINGŰĹSTICA DEL MADRID DE LOS `80

Author(s): Cristina Gherman / Language(s): Spanish Issue: 2/2013

The present study represents a short itinerary through Madrid’s recent history during the Spanish Transition from an interdisciplinary perspective which proposes revisiting the social and linguistic behaviour of the Movida madrilena phenomenon. The political events of the eighties had a significant impact on Spanish society contributing to the acquirement of its ethicoaesthetical values. La Movida creates a new linguistic identity which invades not only the street, but also the artistic and cultural environment of the city. Thus, we discover an aesthetic lacking ethics, translated by a freedom of language and a frivolous turn of phrase. A filmmaker like Pedro Almodovar or writers such as Antonio de Villena and Juan Madrid are only a few examples pleading for artistic and literary emancipation as a ludic invective against political and social life.

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THE GODFATHER AND THE AMERICAN DREAM

Author(s): Goksu Gigi Akkan / Language(s): English Issue: 9/2017

This paper tries to demonstrate how The Godfather by Francis Ford Coppola challenges the myth of the American Dream. The thesis of the paper is that The Godfather is not a film seeking to re-establish American norms and ideals, but that it tries to break down and shed light on the corrupt side of the modern American society through the myth of “the American Dream”. The structure of the paper is so that first, what other academics and critiques have to say about Coppola’s attempt to criticize the American society and ideals will be visited, as this will give the reader a clearer understanding of the film’s meaning and message. Then, analyses of how certain characters are built and how their presence and attributes contribute to the film’s meaning will be conducted, topped off with the usage of props.

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DEPRIVATION, CLASS AND IDENTITY ISSUE IN CONTEMPORARY TURKISH CINEMA

Author(s): Neşe Kaplan,Ali Bariş Kaplan / Language(s): English Issue: 2/2015

New economy–politics and globalization have not only been changing the structure of class but the representation of identities as well. New social roles are reproduced and also criticized by the means of cultural production in which media and cinema instruments included. In past, the class structure and attachment to identities were effected by modernization process; in a similar way; in the current state of modernization, the new cultural sphere shaped by global communication networks and global consumption attitudes have been alternating the class structure and attachment to identity. With this context, this study analyzed some contemporary social realistic films (Zerre, Araf, Köksüz, Yozgat Blues) to understand how the position of individual changes within its role with herself and its relation to social institutions through a critical approach towards the dimensions of culture and economy-politics of the change. The aim is to start a discussion over cinema, about the effect of cultural change on class and representation of identity. The theoretic frame enlightening the change of the relation of the individual with her work, family, and society was built with the help of critical works. The economy-politics result of the globalization phenomenon has isolated the individual and detached her from its position, subject of politics. The structure of class has changed, the attachment to identity has weakened. The desperation of individual belonging to nothing, is a subject of cinema as well. The isolation and the deprivation of the new individual emerges as the very “violence” itself in the fantastic world of cinema.

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Caballeros de la oscuridad: la Orden del Temple en el cine de Amando de Ossorio

Author(s): Antonio Huertas Morales,María Bosch Moreno / Language(s): Spanish Issue: 2/2016

The tragic end of the Templars turned them into a myth that has left a deep mark on the contemporary narrative. Currently, seen as innocent martyrs, the Templars acquired features, as wanted San Bernardo, of celestial militia, fighting the forces of evil. However, the legends that bind tight and unorthodox beliefs have shifted even historiographical versions, and the Templars also become dark and intriguing characters. Before the massive appearance of the Templars in Spanish narrative of the end of the millennium, the Galician filmmaker Amando de Ossorio made some films about the warriors‑monks, giving them horror film features and binding them to the family of vampires, mummies and zombies. The treatment they were given by the Galician filmmaker, despite the originality and some of the literary reminiscences, is to be inserted in the continuous process of mystification of the Templars.

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Co stoi za stodołą? Przemiany toposu pojedwabieńskiego a topika Zagłady

Author(s): Marta Tomczok / Language(s): Polish Issue: 2/2016

The author endeavours to develop and discuss the concept of a topos which would respond to the needs of the future dictionary of the topoi of the Holocaust. She starts with the summary of the historical understanding of the notion in Aristoteles, Cicero and Quintilian; then, she takes a closer look at the twentieth century conceptualisations, among others in Janina Abramowska and Berthold Emrich. Finally, the author discusses the descriptions of the topoi of the Holocaust in Sławomir Buryła, Władysław Panas and Paweł Wolski, examining how the category of the image and imagery functions in their works. The author assumes that imagery, realism, affectivity, emotional impact and being prone to changes in meaning are the distinctive features of the topoi belonging to the thematic area of the Shoah. In the second part of the article, the author analyses Szmul Wasersztejn’s account of the Jedwabne massacre, firstly extracting all the possible topoi from it, and then describing in detail the topos of the barn. In the final part of the article, the author proposes the analysis of three different examples of its use: in Michał Pilis’s “Łąka umarłych”, Kevin Vennemann’s “Blisko Jedenew” and Marcin Wrona’s film, “Demon”.

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Književnost i pamćenje

Author(s): Tvrtko Kulenović / Language(s): Bosnian Issue: 01+02/2000

Američki filozof George Santayana napisao je da oni koji ne pamte historiju dolaze u situaciju da im se ona ponovi. Ta se poruka očigledno nastavlja na latinsku izreku da je historija učiteljica života, historia magistra vitae e st Ne smijemo je shvatiti doslovno, jer, kako kaže Milan Kundera u svojim esejima o romanu, život je uvijek složeniji od naše misli o njemu, i jedino roman može s njom da se nosi jer i ne polazi od pretpostavke da će nešto 'smisliti', ali se čini da ipak imamo pravo reći da historija nije nikada nikoga ničemu naučila, odnosno, kako je glasio slogan festivala "Zima Sarajevo 1994. godine” Historia magistra vitae non est.

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