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It took seven years for Manchevski to make his second feature film. Some time was obviously required to outgrow a somewhat naive belief in the Balkan evil, emanating from his first film, Before the Rain, and maybe to ponder on what he would need more: a major movie award or his intellectual integrity. In my view, he also needed more time to invent so many new and unseen film images.
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The article is devoted to the study of the symbolic significance of light and darkness in the life of modern humanity. In order to analize this problem, the author turned to “Black Mirror”, a science fiction anthology released by Netflix company. This popular series creates pessimistic and dystopian picture of life in a high-tech civilisation. The future in the serial appears as a multidimensional matrix,the elements of which form intricate correlations with the nowadays world. One of the most commonly echoed themes in the episodes of “Black Mirror” is the human being in the world, whose functioning is determined by a nonlinear space with conditions of artificial lighting, when the natural change of dayand night matters no more. Darkness and light appear here as symbols that have different, sometimes polar meanings. In search of their identity and a bright future, human constantly returns to the Plato’s cave, but instead of the shadows of divine light on the stonewalls, he sees only flickering pixels. From this perspective, “Black Mirror” is a hopeless attempt to return to the original cosmogonic harmony of light and darkness. Unfortunately, this is the labyrinth without exit, since there is no way one can find the true essence of being in the distorted chronotope of social networks and virtual reality.
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Le riflessioni teoriche sul cinema, espresse nei testi critici e autobiografici, nelle interviste, persino nei film (Cineamatore), sin dall’inizio fanno parte del percorso artistico di Kieślowski.
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Dopo il Decalogo, il regista polacco Krzystof Kieślowski, ha iniziato a girare a Parigi La doppia vita di Veronica, ideato e scritto, come sempre, assieme al caro amico, avvocato Krzysztof Piesiewicz (il film verrà presentato a Cannes a maggio).
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The development of queer theory has motivated a growing number of cinematic offerings to move beyond conservative, outdated representational strategies of the past by expanding the range of sexual orientations, sexual practices, and preferred ways of being that historically have remained largely concealed from viewers. Although various forms of kinky sexual practices have increasingly been incorporated into films in recent years, the topic of fat fetishism has only incredibly rarely been explicitly represented and remains one of ignorance to many audience members. Accordingly, this article provides a representational analysis of intriguing twenty-first-century portrayals of fat fetishism in relation to the phenomenon of feederism as contained in the films Feed (Leonard, 2005) and City Island (De Felitta, 2009). In doing so, it incorporates a queer theoretical perspective in order to provide insight into real-world sexual phenomena that lie dramatically outside the mainstream status quo.
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The question of literature and the media has always been of interest to writers and criticsalike, and Charles Kaufman‟s Adaptation is no exception to the rule. Seen as anintertextual re-telling or transformation of the source text, Charles Kaufman‟s scriptdiscloses its own status not only as a pre-text but also as a theoretical co(n)text made up ofuniversal principles according to which an adaptation works. As such, it is not memory –seen as intertextuality that controls the process or the product of adaptation but ratherevolution, i.e. the capacity to adapt and evolve to any given circumstances.
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The aim of this article is to provide a critical reflection on contemporary Polish television series, in particular the ways in which they tackle narratives that include instances of violence against women (VAW). The analysis is based on the example of the show titled Druga szansa (A Second Chance), broadcast in 2016-2018 by a commercial network TVN. Recent research shows that there are some common, repetitive ways in which media represent violence against women, its circumstances and reasons, as well as the portrayals of victims and perpetrators. The author looks at VAW in the selected television series in the context of the #MeToo movement and of the gender-related debates in Poland. The conclusion is that the chosen television series considers VAW as a serious social problem and has the potential to sensitize audiences by representing it in an unbiased, complex, and nuanced way. However, it fails to address its wider socio-cultural aspect resulting from patriarchal structures and gender inequality.
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