Avro-Amerikan Hegemonyası Ve “Avrupalı Bir Yönetmen” Olarak Lars Von Trier

Author(s): Selma Köksal,Özlem Denli / Language(s): Turkish Issue: 89/2017

Lars von Trier’s filmography invites the audience to complex and multi-faceted reflections on Western culture and civilization. The cultural and historical entity, which we term ‘Euro-America’, is located at the center of Trier’s intellectual and artistic endeavor as well as his critique of modernity in a broader sense. This essay presents a discussion on relevant themes and topics underlying Trier’s filmography from the perspective of film study and political science. We present and examine key films by the Danish director with a view to unearth the bases of his approach to interpersonal, political and moral aspects of modernity in general, and to Euro-American civilization in particular. Our investigation traces central elements dominating these works, such as the ideas of collective guilt, penance and human nature, as well as Trier’s perception of European history as a perpetual presence on contemporary Western civilization. We reflect upon Trier’s aesthetic and stylistic choices in these films, and give critical assessments of the ways in which these elements both augment and clash with his deep-seated ‘political claustrophobia’ and complete moral condemnation of Western-bourgeois culture.

POSTMODERN CARNIVALIZATION AND INTERTEXTUAL DIALOGUE IN BAZ LUHRMANN’S FILM, ROMEO+JULIET

Author(s): Irina-Ioana Spataru / Language(s): English Issue: 2/2012

The recent definitions of cinema versions have proved the complexity of the production and reception of the movie, in contrast with earlier theories, which considered that the literary versions were inferior to the original. From the viewpoint of new approaches, the movie not only enriches the substance of the original text, but also offer the viewer the occasion of a dialogue with a cultural product. In what the Shakespearian versions are concerned, the intertextuality, the parody, the copy and other postmodern features become more visible, unchaining the Bard’s status and determining a new re-reading of his plays, more attractive for a young audience. This study focuses on the postmodern features of carnival and intertextual dialogue in William Shakespeare’s Romeo and Juliet, as presented by Baz Luhrmann. The first part of the study identifies carnival elements in the text transformation for the screes. The second part describes the intertextual relationships which turn Romeo and Juliet into one of the most complex cinema versions made by a canonic author.

Kino pod presją

Author(s): Marek Hendrykowski / Language(s): Polish Issue: 27/2016

The article contains a synthetic look at the issue of film censorship, taking into account its various forms. The author combines the perspective of a contemporary synchronous with the diachronic perspective, dating back to the distant origins of cinema and film making, in conjunction with politics and ideology.

О некаторых трудностях перевода болгарских художественых фильмов на русский язык

Author(s): Yulia Kudryavtseva / Language(s): Russian Issue: 01/2017

Film translation is a type of literary translation. This paper observes the main difficulties that can appear while subtitling. The observed difficulties are illustrated with examples from the translations into Russian of some modern Bulgarian films shot in the period 2010-2015. Special attention is paid to the difficulties that are caused by the specifics of Bulgarian informal speech.

Wounds Sustained, Wounds Nurtured: Rituals of Violence at Wagah

Author(s): Monirul Islam / Language(s): English Issue: 06/2016

The Radcliffe Line at Wagah is now a world famous tourist spot where each evening thousands of tourists gather to witness the ritual of lowering the flags of India and Pakistan. Visiting the place is kind of pilgrimage for the Indians, (and must be for the Pakistanis as well), and the Wagah has gradually evolved into a shrine of patriotism. The ceremony of lowering the flag lasts about an hour when on both sides of the border there remain a kind of celebratory atmosphere—and the thing celebrated is nationalism. The patriotic frenzy, however, leads to a menacing display virtual violence as the cry varat mata ki jai ( victory to mother India) on the one side and Pakisthan jindabad(long live Pakistan) on the other bangs upon the ear and fills the air around. Each side tries to supersede the other; the cry gets louder and louder and the tension rises as if there will be an instant war. It leads the sensitive mind into troubled history of partition of India and to the indelible trauma of communal violence—the wound that the people of the subcontinent sustained during and in the aftermath of the partition in 1947. The paper will attempt to analyse the nationalistic ceremony at Wagah and will explore the problematic nature Indian nationalism and national identity. The objective is to examine the paradoxical nature of the Wagah rituals which though aimed at consolidating national identity ends up disrupting it. In the course of discussion, three cultural texts, namely, the ceremony at Wagah, the memoir of Sadat Hassan Manto‘s last days in Mumbai, and Shabnam Virmani‘s documentary film Had Anhad (Bounded Boundless) will act as intertexts of the article.

When Man Becomes Machine. The Creation of ‘Symborgs’ in Pop Cultural Universes

Author(s): Ewelina Twardoch / Language(s): English Issue: 04/2013

The aim of the study is to characterize the process of creating ‘symborgs’ in popular culture universes. The author analyzes the ambiguous relationship between human and machine in such productions as: Neon Genesis Evangelion, Pacific Rim, Iron Man, RoboCop and others. In the article are confronted two ways of human being connected with the machine: the ‘external” and ‘internal” ones. The author refers to the concept of technology which is a part of Joanna Zylinska’s and Sarah Kember’s ‘creative media’ project and also to the category of ‘symborg’ formulated by Stelarc. The crucial issue is here also to show the interferences between the imagine world created by popular cultures creators and the real one, to which examples are the phenomenon of Quantified Self community and project Avatar 2045.

Stereo Vision and the Imaginary Man. The Influence of 3D Technology on the Experience of the Film Viewer

Author(s): Piotr Fortuna / Language(s): English Issue: 04/2013

The article is an attempt to understand the impact of 3D technology on the experience of a contemporary film viewer. The theoretical framework of the analysis is determined by Edgar Morin’s anthropological interpretation of the cinema, which is, however, considerably reinterpreted by the author of the paper. The aesthetic distinctness of stereo vision is particularly appreciated here. Besides, French theoretician’s thesis that “the subjective increase [of image’s value] is a function of its objectivity” is discussed. The author argues that in the case of stereo vision it is just the opposite. He finds reasons for that conclusion in Morin’s book, as well as in the psychology of perception and French phenomenology. Not only does 3D technology weaken the projection-identification process, but it also disturbs the latter, thus interfering with the fundamental mechanisms of the cinema.

Fifty Shades Of Real. The Sexual and the Virtual in Spike Jonze’s Her

Author(s): Rafał Morusiewicz / Language(s): English Issue: 04/2013

The article discusses the portrayal of interhuman and sexual relations in Spike Jonze’s Her and examines the role the role of technology, especially virtual constructs and artificial subjectivities in the broader context of sexual politics and power relations. It looks at the theoretical implications of virtual relationships, including the issues of normativity and analyzes the question of “realness” and its degrees, as determined by social and political constructs of sexuality.

Zwrot historyczny. Wstęp

Author(s): Łukasz Biskupski / Language(s): Polish Issue: 03/2013

Jesteśmy tutaj i gdzie indziej. Magia sceniczna końca XIX wieku a pojawienie się (i zanikanie) wirtualnego obrazu jako korzenie kina

Author(s): Tom Gunning / Language(s): Polish Issue: 03/2013

This essay is not only written to widen the prehistory of cinema with the story of magical illusions. Too often, this type of genealogy was limited to enumerating consecutive technological innovations, suggesting a teleological advance leading to the invention of cinema. I rather hope that I draw the attention of researchers dealing with cinema on the longue durée of visual media and on the complex consonance of technology, spectatorship and visual imagery, so important at the end of the 19th century.

Kino atrakcji. Historia, krytyka, mapa i kartoteka

Author(s): Michał Pabiś-Orzeszyna / Language(s): Polish Issue: 03/2013

In this article I would like to present some reflections on the role played by the “cinema of attractions” in the history of film studies. First part of my essay includes the preliminary description of this idea: its definition, polemical context and change that “cinema of attractions“ brought to the dominant mode of historiographical investigation in the light of so called “Brighton project” and “historical turn”. The aim of the second part is to outline the possible critical comments on “cinema of attraction” mostly rooted in David Bordwell’s and Charles Musser’s writings. In the third part I would like to sketch how those objections can be tempered if we enrich our understanding of “cinema of attraction” with knowledge about the historical – material and intellectual – milieu in which this notion emerged. In this context I propose to see historiographical method conducted by the proponents of “cinema of attraction” (i.e. Tom Gunning, André Gaudreault) in the light of specific version of cinephilia that came to light in New York in the 1970s.

Obrazy wojny japońsko-rosyjskiej. Retytułowanie programów filmowych poświeconych wojnie rosyjsko-japońskiej w Holandii i holenderskich Indiach Wschodnich

Author(s): Dafna Ruppin / Language(s): Polish Issue: 03/2013

This paper focuses on the production, dissemination and reception of images of the Russo‐Japanese War from an intermedial perspective, examining early cinema as embedded within and engaged in exchanges with other contemporary popular media, in terms of both content and form. Focusing on the case of the Netherlands ‐ by that point in time, a minor imperial power in Asia, relatively neutral in regards to the conflict and, moreover, not a producer of such images but rather a recipient and distributor of ones produced outside its borders ‐ will enable us to examine how images of war were adapted and reframed in order to construct an international news story for Dutch audiences. Furthermore, an overview of the popular visual media circulating at the time in the Netherlands and in the Netherlands Indies will help outline features of the political and cultural exchanges between the colonies and the home country.

„Bezgraniczna rozrywka” Josepha Garncarza, czyli o prezentacji filmów w Niemczech przed I wojną światową (recenzja)

Author(s): Andrzej Dębski / Language(s): Polish Issue: 03/2013

Review of „Masslose Unterhaltung. Zur Etablierung des Films in Deutschland 1896–1914” by Joseph Garncarz

Wstęp

Author(s): Aleksandra Drzał-Sierocka / Language(s): Polish Issue: 02/2013

Foreword by Aleksandra Drzał-Sierocka

Jak człowiek stworzył człowieka. Geneza zjawiska sztucznych ludzi w kulturze

Author(s): Piotr Wojciechowski / Language(s): Polish Issue: 02/2013

Artificial people are present in every culture and in every period. Even without further analysis it can be seen that not only in fairy tales, my­thology and science­ fiction movies, we find in their presence. This theme is as old as literature. It is at the same time very complex and complicated. It contains the hidden essence of humanity – how artificial people are portrayed, is really a measure of empathy, compassion, respect for the other per­son or tolerance. Whether artificial people are monsters or victims, always ends the same way – burned alive by angry mob, left to oblivion at the bottom of the sea or shot in the street, ar­tificial people are tragic figures. This work tries to answer the question, what is the essence of the phenomenon, what are the roots and what is related to the fact that artificial people are brought to life, regardless of the historical pe­riod or geographical area in which the author lives. It helps to understand the phenomenon, which is the need for people to create their ar­tificial duplicates, and to answer the question, what are the associated fears and concerns and fascinations.

Patrząc wstecz. Współczesny dokument wobec PRL-u

Author(s): Julia Banaszewska,Karol Jachymek / Language(s): Polish Issue: 01/2013

The article concentrates on how PRL images function in Polish documentary cinematography made after 1989. The authors bethink the presence of memories of communist experiences in modern documentaries, differentiating two basic (and characteristic for this period of Polish cinema) tendencies of presenting the images of socialist past: PRL understood as a battlefield and PRL as an object of peculiar nostalgia (or play).

Youtube.Doc. Dokument otwarty na wpisy amatorów.

Author(s): Weronika M. Lewandowska / Language(s): Polish Issue: 01/2013

YouTube can be perceived as a platform for change in many areas of culture, mainly as “an open document” which reveals performative potential for amateur activities. Receivers become senders, involved in different kinds of activities with video: creation of new content, publishing, digitization, comment and criticism. “Viral meme of performativity”, through You Tube, is changing documentary cinema, art, journalism. The aesthetics of post‐production predominates in online creation. On YouTube, we can find videos of various sources and aims. The most performative are streamed and “remixed/alternative version” footages. The performative video is one in which members of the audience take over the role of the author, co‐creating the original interpretative context, temporarily transforming themselves and the visual surroundings in the video act by changing the environment and contributing to other more permanent transformation, often undermining current norms and releasing energy in a creative activity. In this way, by presenting their activities in the network, amateurs shape the new culture; You Tube becomes an interactive video art gallery, a cinema that we all co‐create.

Antropolog jako dokumentalista zaangażowany. O wrocławskiej grupie Cinema Albert Production

Author(s): Iwona Morozow / Language(s): Polish Issue: 01/2013

The article discuss a proposition of visual, engaged fieldwork, which the authoress conducts among amateur Wrocław’s film group “Cinema Albert Production”, as an answer to the action research paradigm. The aim of this research is to present the possible role of the anthropologist as a manager and promoter who support the emancipative needs of definite people in dialectical perspective, by using documentary as an tool of possible cooperation and means to ex‐ceed the hermetic, academic discourse.

Food documentary jako oręż żywieniowych aktywistów. O metodach prezentacji światopoglądu w filmach Super Size Me oraz Food, Inc.

Author(s): Aleksandra Drzał-Sierocka / Language(s): Polish Issue: 01/2013

The issue of food in film has been analyzed in at least a dozen interesting publications. However, a majority of them pertains to feature movies. Although there is a large group of documentaries in which food plots are dominant and there is a popular term food documentary, often using in descriptions and reviews, this type of documentary is still waiting for detail, academic analysis. In the first part of my thesis I shortly describe characteristics of food documentary. Then I concentrate on the analysis of two of them: Super Size Me (2004) by Morgan Spurlock and Food, Inc. (2008) by Robert Kenner. They have some strong similarities, as they both represent socalled food activist documentary. But on the other hand, there are also few important differences.

Polsko-czechosłowackie kontakty kulturalne i naukowe 1945–1956

Author(s): Anna Szczepańska-Dudziak / Language(s): Polish Issue: 1/2015

The Polish-Czechoslovak cultural and scientific relations were initiated upon the end of the Second World War. An agreement on the cultural cooperation between Prague and Warsaw was signed in July 1947. Most successful in the field of literature, the cooperation begot translations of literary works. In addition, contacts were established in other areas, such as theatre, cinema, photography, art, music and science. It is noteworthy that the cooperation was largely a matter of propaganda, intended to emphasise the achievements of socialism and the mutual friendship of fraternal socialist countries. Monopolized by the organs of state, it nevertheless formed the basis for establishing a number of personal relations between Polish and Czech and Slovak researchers and artists.