Hipnoza i kritika: filmska muzika za Balkan

Author(s): Stathis Gourgouris,Dušan Đorđević-Mileusnić / Language(s): Serbian Publication Year: 0

Potreba za mišljenjem o Balkanu danas nas upućuje s one strane radikalne neposrednosti događaja. Ovo kažem, iako se može učiniti da je to protivno rezonu, zato što se, čak i u ovim neuobičajenim prilikama brzog razumevanja veličine događaja, ne{to uvek oseća kao nedokučivo, tajanstveno, neomeđeno. Možda zato što duboko promišljanje, na kraju, ne može da izdrži paljbu stalne neposrednosti – ili, da kažem to drugačije, zato što misao o istoriji-koja-je-u-dubini ne može da izdrži paljbu istorije-koja-se-događa – očigledan neuspeh konceptualizovanja Balkana s one strane njegovih elementarnih istorijskih/kulturnih/političkih granica postaje sve više akutan.

Filmska umjetnost o Isusu Kristu

Author(s): Petar Jeleč / Language(s): Croatian Publication Year: 0

Isus iz Nazareta kroz stoljeća je izazovna i neiscrpna tema mnogim umjetnicima, piscima, teolozima i običnim ljudima. Isusov lik je upravo zbog te svoje izazovnosti i kontroverznosti, prouzročio mnoge polemike i krize unutar kršćanske zajednice koje su se onda morale rješavati na crkvenim saborima. Kalcedonski koncil je 451. godine dozvolio prikazivanje Isusova lika u umjetnosti, a cijela priča o ikonoklazmu riješila se 787. g. na II. Nicejskom saboru čijim su odlukama umjetnici ohrabreni da mogu slobodno prikazivati Isusov lik.

Micro-dystopias as Socio-political Constructs in Post-apocalyptic Narratives

Author(s): Ksenia Olkusz / Language(s): English Publication Year: 0

Czym są gnostyckie dystopie?

Author(s): Fryderyk Kwiatkowski / Language(s): Polish Publication Year: 0

The inquiry delivered in Fryderyk Kwiatkowski’s chapter of possible affinities between ancient Gnosticism, perceived as an interpretative and heuristic category, and utopian/ dystopian texts has not been performed in comparative studies. The aim of this article is therefore to fill this void to demonstrate that gnostic thought is replete with notions that may have served as the verifiable pre-modern source of the constructive characteristics of utopias and dystopias. Alex Proyas, the author, examines "Dark City" (1998) as his primary case study for his investigative research on gnostic thought characteristics in utopias and dystopias. Other sources of his substantive research include twenty-first century American film. It is worthy to note that Proyas classifies all of his research sources as “gnostic dystopias”. Proya’s notion of “gnostic dystopias” refers to texts embedded with structural and narrative traits of classical examples of dystopias. Novels such as the likes of "Brave New World" by Aldous Huxley or "Nineteen Eighty- Four" by George Orwell can be construed as being literarily consistent with gnostic ideals.

Widmowy status utopii w klasycznym Hollywoodzie

Author(s): Rafał Szczerbakiewicz / Language(s): Polish Publication Year: 0

Rafał Szczerbakiewicz’s chapter looks at the intriguing aspects of the subtle utopianism of the main trends in classic Hollywood cinema. During the thirties, forties and fifties of the twentieth-century and at the peak of liberal modernity there was an omnipresent yet transparent capitalist paradigm. This was a time in cinema where the theme of utopia was obscure. Utopia, in cinema, was more a symptom of a frame of mind and the background to a social state of awarenesss. Within the supportive or critical portrayals of capitalism, the utopian/dystopian elements were notable signs as to the filmmaker’s attitude. Amongst films, the utopian impulse is merely an understatement. However, there is one film with an overt utopian stance. This film is based on the novel, "Fountainhead" (1949) by King Vidor. It was tranformed into a memorable screen adaptation by the enthusiast and theorist, Ayn Rand. In this surprising constructionist vision, the socio-architectural utopia is explicitly portrayed giving the utopian impulse the direction towards what would, years later, come to be known as individualistic neoliberalism.

Miasta-światy

Author(s): Monika Rawska / Language(s): Polish Publication Year: 0

Monika Rawska’s chapter focuses on two modern movies "Equilibrium" (dir. Kurt Wimmer, USA 2002) and "Inception" (dir. Christopher Nolan, USA—Great Britain 2010) with an analysis of the city spaces depicted in these films. Progress is the basis of the analysis. Progress is the impulse pervasive in utopias and it is an important motivator for human actions presently perceived as negative—imperialism, colonialism, racism. Margaret Mead’s notion that Utopia should be seen as a historical category while revealing an essential ambivalence is well summarized in her work, “One man’s dream is another man’s nightmare”. This is also represented in select films depicting a new society with a visual representation of order. For example, in Libria and architect’s city both of which were created with a positive and beneficial premise, though over time they became a burden for the characters. Change in perception of reality is one of the significant elements in dystopian narratives, that are also present in film adaptations, in what Ludmiła Gruszewska-Blaim calls a „utopiacrime”. Libria is depicted as the only city in the world in the film, "Equilibrium". Libria is a dystopian cityfortress contrasted with the surrounding Nether and an appropriated enclave space of Offenders. It functions as a simulacrum of the past at a time before the war. The film vision of the future is an intertextual collage of conventional representations of the totalitarian organization of both space and society. Dream city is the creation of an architect couple in the film, "Inception". It is a very different space, imagined and fictional and it perfectly captures the impossibility of utopia as revealed by its very name that means non-space. Reality, which the couple created for themselves, demonstrates an interesting tension between the architectural utopia and the solitary eutopia as well as a conflict of planner vs. wanderer (as described by Michel de Certeau). In both movies the city space becomes a threat in spite of its projected function as a safe and/or familiar space. In "Equilibrium", it imposes on and disciplines its inhabitants as tools of the state. In Inception, the city is the accumulation of the protagonists’ entire world and it turns unto its own ruin, a memory maze swallowed by the sea.

Polskie formy adresatywne w rosyjskich przekładach filmowych

Author(s): Anna Paszkowska-Wilk / Language(s): Polish Publication Year: 0

The article discusses the difficulties in translating Polish forms of address in film dialogues based on the Russian translation of the series „Tajemnica twierdzy szyfrów” (The Secret of Code Fortress) (2007). Forms of address perform a significant role in linguistic communication. In film dialogues, they additionally carry information about relations between the characters, their position, and rank. In the process of film translation, forms of address are frequently omitted to shorten the translation due to technical requirements of captions or a voice-over. The analysis of the material shows that as a result of such processes, the recipient of translation is deprived of information which is indispensable for the true interpretation of the film.

Queerowanie Frankensteina. Motywy inności i nienormatywności w serialu Dom grozy

Author(s): Barbara Braid / Language(s): Polish Publication Year: 0

In the chapter “Queering Frankenstein: the motifs of otherness and non-normativity in »Penny Dreadful«”, Barbara Braid offers an interpretation of Frankenstein’s creatures presented in the series from the perspective of queer theory. The queer is understood here as a wide range of non-normativity and difference, including subjectivities and actions which subvert stabilities and norms. The author identifies the links between queer theory and the gothic, which allow to see the characters which are monstrous, undead, abject—or simply Other—as representations of difference. In this light, the presented analysis shows the three creatures made by Frankenstein and Victor Frankenstein himself as characters related to each other in non-normative ways, creating a queer quasi-family. This discussion is also contextualized by references to Mary Shelley’s original novel and some of its classic film adaptations and their comparison with Penny Dreadful. Frankenstein’s creature is, due to its nature as the undead made of fragments of corpses, an abject thing, an embodiment of Otherness. In the series, Victor creates three beings, which are in a constant tension with each other. The firstborn John Clare murders the second creature, Proteus, out of hatred for their “father” Victor; the third being is Lily, another embodiment of the Bride of Frankenstein, destined to be with the creature, but desired by Victor. She becomes a dangerous fiend, femme castratrice, who desires a new world order and subordination of human beings. These two surviving Others—John and Lily—represent two different attitudes to their otherness. John Clare yearns normality and tries to achieve it by establishing a family with a human woman; Lily, a demonic man-eater, terrifies him. On the other hand, Lily strikes a relationship with Dorian Gray, equally non-normative, in order to achieve a queer monstrous supremacy over the world. However, both Frankenstein’s creatures fail and become alone. Therefore, the chapter is concluded with suppositions that question whether the motifs of otherness play an unequivocally subversive role in Penny Dreadful.

Tito i popularna kultura

Author(s): Zoran Janjetović / Language(s): Serbian Publication Year: 0

The paper tries to depict Tito as a lover, a user, an object and a manipulator of popular culture. Based primarily on surviving testimonies of contemporary personages from the world of show-business, it is both a contribution to the study of Tito's personality and to the study of the Yugoslav socialist society. The conclusion is that Tito, as a conoseur, enjoyed the products of popular culture - particularly music and films - but that he also used them to enhance his own popularity. After the collapse of socialism, his person also began to be turned into an icon of popular culture.

Slika Josipa Broza Tita u partizanskom ratnom spektaklu

Author(s): Nemanja Zvijer / Language(s): Serbian Publication Year: 0

This text should provide a sort of sketch for a film portrait of Josip Broz Tito. Partisan war epics were taken as examples for Tito’s cinematic image. Among the selected films, attention is particularly focused on those about seven military operations of German army and its allies against Yugoslav partisans during the World War Two. Those battles became very significant (in real and symbolic sense) for ideological discourse of Yugoslav communists, while the films about them were an important segment of the socialistic Yugoslav cinematography and popular culture in general. The modes of film construction of Tito's image will be observed through these films. Also, partially will be considered the role of the J. B. Tito in production of these films. In a broader sense, this kind of analysis should provide insights in mechanisms of visual ideologization and ideologization the popular culture in socialism, in which the partisan film was a kind of brand, and Tito's charisma formula that could not fail.

“Rewriting” Turkish-German cinema from the bottom-up: Turkish emigration cinema

Author(s): Ömer Alkin / Language(s): English Publication Year: 0

Films from Germany dealing with any aspect of Turkish-German migration, such as the box-office successes Fack Ju Göhte (2014) and Almanya – Welcome to Germany (2011) are often considered as “TurkishGerman cinema”. Nevertheless, what first comes to mind with this problematic term of “transnationalism” in the field of film (Higbee & Hwee, 2010) are the internationally celebrated films Head On (2004) and Edge of Heaven (2007) by Turkish-German director Fatih Akin. However, the term is to be questioned. Which parameters determine the belonging of a film to Turkish-German cinema? Is a film by a German director with Turkish migration background already a Turkish-German film due to the transcultural biographical reference of the director, even if the film does not contain any references to the social reality of Turkish migration, as it is the case in the Hollywood mystery film Premonition (2007) by director Mennan Yapo – which would be an essentialist and biologistic understanding of national cinema? For a discussion of the term it is crucial to analyse comprehensively the historical context. The fact that this does not happen becomes apparent in the marginal position of the Turkish films in the discourse regarding Turkish-German cinema. The Turkish films about emigration from the 1970’s and 80’s by Turkish directors like Serif Gören or Yavuz Figenli are not considered as a part of this transnational film history. But ‘Turkish-German film’ history has already attracted a considerable amount of academic interest (e. g. Burns, 2006, 2007, 2013, Göktürk, 2000a, 2000b, Ezli, 2009, 2010, Halft, 2011, Hake & Mennel, 2012) without really considering what the term actually refers to. I want to critique such writing because I will argue that it reproduces Eurocentrism and an epistemological one-sided-ness. Before giving arguments for a more comprehensive understanding of Turkish-German cinema, which includes Turkish emigration cinema, it is useful to understand the discussions surrounding the academic writing of the history of Turkish-German cinema first. It offers an insight into film history that can be read as a two-stage process of the appropriate representations of Turkish emigrants in Germany.

Grounded theory and transnational audience reception

Author(s): Deniz Özalpman / Language(s): English Publication Year: 0

The aim of this study is to shed new light on debates about Turkish migration studies using a grounded theory (GT) method. My case study for this research is Magnificent Century, an internationally viewedand acclaimed popular television series that refers to the sixteenth century Ottoman Sultan Suleiman the Magnificent associated with the pinnacle of Ottoman power in the world. The series dramatize the intrigues of his harem and court and most of the incidents and actions are based on real events and fictionalised subplots.

The Term “Film Music” against the Background of the Research on Music Preferences of Czech University Students to Artificial Music of the First Two-Thirds of the 20th Century

Author(s): Ondřej Musil / Language(s): English Publication Year: 0

The introduction of this contribution is focused on a classification of film music and its theoretical, aesthetical and general artistic bases. The main part of the paper deals with partial results of a research on the music preferences conducted by the Department of Music at the Faculty of Education at Masaryk University. Concretely, it was an analysis of free answers given from the respondents, who did an assessment of chosen music samples in an audio questionnaire, where representatives of the „neo-styles“ as well as the avant-garde turned up. Many answers referred to parallels between classical and film music. On basis of the results some possible reasons was set out, that might be responsible for the mentioned similarities. All is followed with music samples from both areas of music production, purposefully chosen in order to compare similar ways of composing.

“Minör Sinema” Olarak “Duvara Karşı”

Author(s): Süleyman Kıvanç Türkgeldi / Language(s): Turkish Publication Year: 0

Deleuze ve Guattari, Franz Kafka üzerine yaptıkları incelemede “minör edebiyat nedir?” sorusuna “minör edebiyat, minör bir dilin edebiyatı değil, daha ziyade bir azınlığın majör dilde yaptığı edebiyattır; ama temel özelliği, dilin güçlü yersizyurtsuzlaşma katsayısından her koşulda etkilenmiş olmasıdır”(2015: 45) şeklinde cevap verir. Majör sözcüğü köken olarak büyük, temel ve önemli gibi anlamlara gelirken, minör sözcüğünün küçük olan gibi anlamlara geldiğini söyleyebiliriz (Nişanyan: 2016). Bu noktada felsefi açıdan bakıldığında minör kavramının neden önemli olduğunu postmodern düşünce bağlamında görmek önem arz eder. Batı düşüncesinin 20. Yüzyıla kadar genel anlamda bir “aşkınsallık” temelinde şekillendiğini söyleyebiliyoruz.

Svazáci a páskové - „jiná“ padesátá léta

Author(s): Jaroslav Pinkas / Language(s): Czech Publication Year: 0

This study applies Alf Lüdtke’s and Thomas Lindenberger’s concept of a wide spectrum of the society’s attitude towards ideological directions into school educational environment. Following the research of Matěj Kotalík, Martin Franc and Jiří Knapík it comprehends two youth groups living in the fifties: Svazarmists and the rebels (in Czech called “Pásci” – it literally means “Belts”), that represent two completely different youth attitudes towards the regime. Phenomenon of the rebels is analysed in this study as independent, in part socially pathological subculture of young people, which shaped itself politically just under the influence of the regime. The political views were often imposed on it. The study also comprehends the representation of the rebels in the film from the 1950s till present day. Didactic application is based on the confrontation of multimedia, utilization of memories depicting life in the rebel gangs and period ideologically influenced cartoons. The theme of nonconformist young people makes it possible to draw the multi-perspective image of the fifties and demonstrate the oppressive actions of the regime on the basis of adequate social and cultural context, call attention to the limitations of these actions and to strategies some youth groups used to avoid these actions.

Intelektuál v normalizační propagandě Proměny obrazů intelektuála a jejich didaktické využití

Author(s): Jaroslav Pinkas / Language(s): Czech Publication Year: 0

First part of the text focuses on relationship between communist establishment and intellectuals. It describes two instances of intellectual involvement in a project of new society – at first in the bounds of Stalinism in the fifties, then in the bounds of the Socialism with Human Face in the second half of the sixties. Suppression of Prague spring and coming of normalization meant for most of the intellectuals ultimate break up with establishment, which projected itself in the way intellectuals were portrayed. Whereas the presentments of intellectuals in movies and later in television in the fifties and sixties granted them a decent portion of dignity, in seventies and eighties is the intellectual portrayed either as apolitical figure or as a seditious element. Intellectuals were ridiculed and lampooned, their function in society was taken over by other social groups (medicine doctors, educated engineers, party office holders, “wise men of the people”). The main focus of the second part of this text is the utilization of this topic in a classroom. Emphasis is stressed on legitimacy of this topic and its educational value (the values of intellectuals are to a large extent same as the educational objectives of the school). Specific methodical techniques are proposed, especially analyses of final portraits of intellectuals from a movie Hyppo (Hroch, director Karel Steklý) and 30 cases of major Zeman (Třicet případů majora Zemana) (episodes addressing year 1968). Possibility for comparing normalization portrayal of intellectuals with contemporary movies, for example from movie Walking Too Fast (Pouta, 2009, director Radim Špaček) is also introduced. Text also describes other possibilities for combining medial images with memories of personal observers.

Občan Brych a spol - Film, televize, intelektuálové a KSČ

Author(s): Petr Kopal / Language(s): Czech Publication Year: 0

The first part of the study deals with specific function of the movies and TV in the communist system. Together with the repressive actions was the quasi-religious imagination a substance of modern totalitarism. It was quite similar to film propaganda, in other words – film was a main communist and Nazi tool for ideological manipulation. This tool provided the totalitarian regimes with the ability to change the whole society (including intellectuals) however it liked. Intellectuals of course played an important role as the enthusiastic creators of the film propaganda. In 1950s and 1960s the television became the principal “mouthpiece” of the communist ideology. Very soon a regimes own “think tank”, intellectual elites turned around and used mostly movies but television too to express critical opinions of many young dramaturgists, screenwriters and directors. The second part describes basic types of portrayal of intellectuals in television and movies: 1) Intellectual – asocial (enemy). He refuses to take part in creating of the new society, he undermines it and spreads ideological “infection”. Quite often we can find especially in the movies an example of hesitating intellectual, who “opens his eyes” and sets to work on the new society – becomes a member of the working class. In 1960s a perspective from “the other side” emerged and so did the type of intellectual-enemy/victim – Joke (Žert) and Larks on a String (Skřivánci na niti). 2) Intellectual-neutral. Intellectual is an apolitical person forced by the circumstances to express explicit view. In the 1950s is the most common intellectual the wavering, hesitant one, who eventually finds his way to the “right side”. 3) Intellectual-hero. The TV serials of the normalization era introduced rows of skilled specialist-communists with a college education. It was no longer true, that the right background was enough for holding a professional office.

Ironie et humour populaire – de la critique sociale à la guerre politique

Author(s): Mariana Anastasiei / Language(s): French Publication Year: 0

Comedy, laughter, is both a presence and a social necessity. Irony, humor, joke, satire, caricature are all forms of manifestation of laugh in art and society. Art of relationing by excellence, comedy supposes, in order to achieve its purpose, an emitter and a receiver equally informed and competent. The purpose of this work is to follow the evolution of this relationship of complicity when the transgression of art frontiers occurs.

Ridley Scott’ın Bıçak Sırtı Filminde İnsan Arayışı

Author(s): Mahinur Gözde Kasurka / Language(s): Turkish Publication Year: 0

Ridley Scott’ın yönettiği Bıçak Sırtı (Blade Runner 1982) bilimkurgu türünde önemli eserler vermiş olan Philip K. Dick’in Androidler Elektrikli Koyun Düşler mi? (Do Androids Dream of Electric Sheep? 1968) romanından uyarlanmıştır. Film, 2019 Londra’sında distopik bir evrende geçer. Filmin yalnızca son sahnesi haricinde hiç güneş ışığı görünmez. Bu sebeple tüm film karanlık bir evrende geçen olaylar bütünü olarak değerlendirilebilir. Sürekli yağan yağmur, neon ışıklar, kitleler halinde gezen insanlar da bu karanlığa eklenince filmde sunulan distopik dünya tasviri güçlenmektedir. Filmin başlangıcında Tyrell şirketinin Nexus 6 kopyaları-nın üretimiyle birlikte robot devrimini gerçekleştirdiği bilgisi verilir. Bu kopyalar “kendilerini yaratan genetik mühendislerinden güç ve çeviklik anlamında üstün ve en az onlar kadar zeki’’ olarak üretilmiştir (Blade Runner 02:10-02:50). Üretilen bu kopyaların dünya dışı gezegenlerin kolonileştirilmesi için köle olarak kullanılması filmdeki insan-kopya ilişkisini çözümlemek adına önemlidir. Bu duruma isyan eden Nexus 6 kopyaları illegal bir şekilde dünyaya giriş yaptıkları için polis memuru Rick Deckard bu kopyaların peşine düşer. Deckard’ın görevi, zamanı geldiğinde bu kopyaları “emekliye ayırmak’’ (retire) yani öldürmektir (Blade Runner 02:48- 02:50). Filmin terminolojisinde kopyaları öldürmenin emekliye ayırmak ile eş tutulması kopyaların varoluş amacının insan merkezli kapitalist sistemin ön gördüğü düzende çalışmak olduğunu ima eder. Böyle bir sistemde kopya olarak var olmak ancak insan faydasına çalışmakla özdeş olabilir. Aksi takdirde, insanların perspektifinden kopyaların var olmasına gerek yoktur.

Смяната на имената като проблем на историографията и колективната памет

Author(s): Nikolay Papuchiev / Language(s): Bulgarian Publication Year: 0

The article presents the results of a study carried out within the project “The Post-1989 Democratic Transition – Interpretations of Historical Change, Social Experience and Cultural Memory in Contemporary Bulgarian Literature,” financed by the National Science Fund, Ministry of Education and Science. The study focuses on two films: Gori, gori, ogunche (Burn, Burn Fire) (1994), screenplay by Malina Tomova, directed by Rumyana Petkova, and Radiogramofon (Radiogram) (2017), written and directed by Ruzie Hasanova. The subject of the paper is the reflection within Bulgarian society during the so-called “Time of Transition” of one of the most traumatic period of Bulgarian history – the changing of the Bulgarian Muslims’ Turkish or Arabic names which the communist government initiated and enforced, at times using violence, during the 1960s and 1970s. The concept of the modern Bulgarian nation shared after 1989 was characterized by the same heavy nationalistic leanings which had been created and sustained by the totalitarian regime in the previous historical period. Some of them shaped the social representations after the collapse of the Communist regime. Using the two movies under consideration, the article looks at some of the main aspects of the changes in Bulgarian society – the collective images, the attitudes towards history, and the problems of group identities in the new social, political, economic and historical period. Along with mass media content analysis, the study is based on numerous interviews with local people. The chosen methodology aims to reveal and discuss the sites of trauma in the collective memories.