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Review of: Pērkone, Inga (2020). Ekrāna skatuve. Par aktiermākslu Latvijas kino. Rīga: Neputns, 292 lpp
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Review of: Pērkone, Inga (2020). Ekrāna skatuve. Par aktiermākslu Latvijas kino. Rīga: Neputns, 292 lpp
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This article aims to identify cosmological and religious symbols in the film Alita: Battle Angel (2019). We systematize the religious symbols present in the film and determine which religious tradition it belongs to. It has been established that the film contains the following early Christian religious symbols. The main character of Alita has common features with the figure of Jesus Christ: 1) the symbolism of baptism in obtaining an “transfigured” Alita’s body; 2) sacrificing one’s body with a future resurrection in a more perfect bodily form; 3) love and willingness to sacrifice oneself for the sake of this love. Just as Jesus Christ sacrifices himself for those he loves, so Alita is willing to give her own heart to the object of her love; 4) the relationship with the Father character. In a relationship with Dr. Dyson Ido, Alita goes through a difficult path from hostility and non-recognition (at the beginning) to reconciliation and recognition of him as a father; 5) the symbolism of the sword. It was also found that the world in which the film’s events take place has distinctive Gnostic features. The Gnostic trope is present, according to the terminology of Pavel Nosachev. The evil demiurge Nova governs this world full of suffering. The main character gradually solves the deceptive nature of reality (by recollection). The use of religious images in popular culture reflects the expectations of modern audiences.
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Balkan civil aviation was just gaining momentum at the outbreak of World War II. To get to Bulgaria a visitor had to cross another Balkan country on board a train or a ship, or in a motorcar or a horse-drawn carriage. The same was the case for goods, including movies and filmmaking equipment. Some of these trips were known. Still, there are many more that are unknown, lost in the mists of time. Johan Fišer and Konstantin Drndarski, who were brought together in a fatal case on whether a cine projector was stolen or legally acquired, set off from Ruse to Vienna and Giurgiu in 1897. Louis Pitrolf de Beéry arrived in Sofia from Belgrade in 1913. In 1924, Major F.A.C. Forbes-Leith, driving an automobile from London to India, visited Zagreb, Belgrade, Sofia, Plovdiv, Edirne, Istanbul, Ankara, Damascus, Baghdad and Tehran to reach as far as Pakistan’s Quetta, which at the time was within India’s borders. The expedition was filmed by Montague Redknap for British Pathé. Dr. Harold B. Allen, who had worked a decade in Greece for the American Near East Foundation, set off on a trip in 1935 to shoot in Bulgaria. In 1937/38 Swiss company “Tem-films” made a series of films in Greece, including Athens (650 m), The Peloponnese (560 m), Views of Crete (450 m), The Port of Piraeus, etc. The team showed interest in shooting in Bulgaria too. These are just a few examples. The paper will introduce some facts about foreign travelling filmmakers passing through the Balkans. This is a post-mortem publication of a paper, presented by Alexander Yanakiev at International Conference Early Cinema in the Balkans and the Near East: Beginnings to Interwar Period. Athens. Greece: 5–7 June, 2015. The text of the paper reproduces the original version found in the author’s archive.
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This article focuses the attention on the idea of the synchronization of moving images and sound with reproduction installations, which dates back to the appearance of the cinema in 1890s. The foreign companies are presented – pioneers in the possession of the new cinema technologies, systems, sound equipment and devices. Their installation in the Bulgarian movie theaters during the interwar period has been traced chronologically. There is a listing of the first foreign films which use the innovations. All these events are accompanied by strong competition from the Bulgarian film distributors. All the processes of presentation, distribution and promotion of the films in our cinemas are documented.
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Transmedia communication, developed in the digital environment, generates tools and conditions for the creation of new narratives. This text traces the adapted role of the film archive institution, which to maintain relevance in the digital world itself produces narratives. The opportunities for the creation and presentation of new narratives could be either individual, as described here via the existence of an established film festival dedicated to archival films, such as Il Cinema Ritrovato, created by a single film archive, Cineteca di Bologna, which welcomes visitors from around the world, or collective, displayed by the platform A Season of Classic Films, initiated by the Association des Cinémathèques Européennes (ACE), where the emphasis lays on the online free screenings of digitally restored archival film documents offered by the 22 film archives from 21 European countries that partake in the project and are members of ACE.The audience’s experience also undergoes expansions of its viewing habits as a result of the evolving communicative situation, which throughout various cultural practices offers additional channels to capture and follow narratives. The result of such a narrative is a screen work composed of pre-existing archival documents that are assembled into a new narrative framework. The text also traces how this newly created framework defines both the work and the importance it has in film preservation.
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Peter Ouvaliev (12.01.1915–11.12.1998) is one of the brightest intellectual figures in 20th century Bulgaria. During his political exile in London (1947–1989) he becomes an organic part of European culture. This was possible due to his family background, his high profile education and his own cultural interests. Before his departure from Bulgaria, he left behind important written legacy including theatre plays, radio reports, song lyrics, theatre and film criticism among others. His early film reviews were published on the pages of diverse periodicals in the period 1936–1947. In 2001 they were gathered together in a book called “Filmovi trohi” (Film crumbs) by Bulgarian film historian and researcher Kostadin Kostov. This article will once again observe and analyze these early works of Peter Ouvaliev almost 100 years after their creation.
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The monopoly of the Bulgarian Communist Party in the governance of the country after 1944 also imposes such on cultural processes. It is established through a “cultural revolution” that should unify spiritual life on the basis of Marxist-Leninist ideology; to strengthen the state principle in it and to place it under the control of the Party. This leads to a simplistic depiction and an impoverishment of creativity. The Bulgarian Communist Party confirms this method with political coercion and increased material dependence of the authors from the state. Creative unions are placed under direct party control. The private initiative in the cultural sphere has been liquidated. The “Agitation and Propaganda” department is being established at the Central Committee of the Bulgarian Communist Party, the purpose of which is not only to monitor the correct ideological narrative in art, but also to give instructions and control in timely and effective implementation of the propaganda functions of the newly opened cultural front of the Party. This paper is aimed at specific examples of the first attempts of the communist authorities in Bulgaria to use the cinema as means of propaganda of the new political doctrine.
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The article examines the memories of different generations of Bulgarian viewers relating to the changing programming, distribution, spaces and technologies for watching films, ways of access and social aspects linked to film viewing. They symbolically delineate individual and group identities, help to rethink the definition of different generations, and reveal connections across seemingly dissimilar historical periods and ages. The memories of the participants are contextualised not only in relation to official information on the development of the film market in Bulgaria, but also with regard to deeply personal experiences of spatial, social and cultural circumstances.
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In this paper I present research based on data from the architectural archive at the Institute of Art Studies, Bulgarian Academy of Sciences. The implemented documents consist of drawings made in 1950’s by professional architects and represent the architecture of an old building from the 19th century namely the house of Tuleshko Bey in the town of Berkovitsa. This building does not exist in reality now. The conducted research is a pilot project in which, in its first part, I reconstruct the house through software applications – SketchUp Pro 2022 and Twinmotion 2022 – into digital three-dimensional structure. In the second part, I explore the old house spaces in virtual reality through the headset Oculus Quest 2 and its controllers. Finally, I find out new perspectives for contemporary reconsideration of architectural heritage.
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In this paper, the author analyzes certain specifics of spiritual atmosphere in American films noir during 1940s and 1950s. There were certain existential strivings and contextual factors that generated the atmosphere of decadence and claustrophobia in this genre’s worldview. Noir philosophy thus follows European existentialist thought. In order to demonstrate this fact, the author analyzed several distinguished noir films, such as Billy Wilder’s Double Indemnity (1944) and Sunset Boulevard (1950), Orson Welles’ Touch of Evil (1958), Nicholas Ray’s In a Lonely Place (1950), Jacques Toruneur’s Out of the Past (1947), Charles Laughton’s Night of the Hunter (1955), etc. In these movies, the dehumanizing alienation, the downfall of spirit and a very small possibility of happy ending are a dominant reality. Noir world does not recognize any other reality, which leads to its main spiritual question: is this the world that is worth living in? There dominates the philosophy of absurd: protagonists, whose faith is either shaken or even nonexistent, accept absurdity as the only way of life. Of course, there is no answer in such choice, but it is nevertheless better than emptiness. The passion of absurdity, i.e. some kind of life automatism or inertia, is a reason why protagonists act in the first place: nihilism does not necessarily lead to passivism. This noir philosophy is akin to that of Camus, which is also colored by alienation and disorientation. The positions of good and evil, or love and hatred, are very much obscured. Therefore, the noir genre depicts a specific psycho-physical state of an entire epoch, captured and lost in the darkness of existence.
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Review of: Buglya Sándor (szerk.): 100 magyar dokumentumfilm 1936–2013. MMA Kiadó, Budapest, 2022.
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Blokád, színes magyar film, 90 perc, 2022. Rendező: Tősér Ádám. Forgatókönyvíró: Köbli Norbert. Producer: Lajos Tamás. Operatőr: Nagy András. Vágó: Makk Lili. Szereplők: Seress Zoltán, ifj. Vidnyánszky Attila, Gáspár Tibor, Sütő András, Tóth Ildikó, Márkus Luca, Végh Zsolt, Csőre Gábor.
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Review of movie The Power of the Dog, 2021, by Jane Campion .
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Essay by Robert Lazu Kmita, Mythological Analysis and Literary History, on Emil Turdeanu's work. Review of movie by Ion Popescu Gopo, O zi în Bucureşti, 1987.
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Review of movie" Waiting for the Barbarians",director Ciro Guerra, 2019. Review of J. M. Coetzee, Waiting for the Barbarians, Editura Humanitas, 2022.
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