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The article discusses basic theoretical formulations through which the possibility for conceptualizing a new model of art is outlined. The new model is discussed as atomistic or as a model that comes to the active division of the whole into discrete parts, their definition and interactions. The study defines the differences between the modern atomistic model in terms of both holism and classical atomism. The desired model represents an ontogenetic process of creating, communicating and accepting the work of art in the environment that surrounds us and that is within us.
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The concept of narrative has been a field that has been discussed, thought about and studied by the West for many years. It is a discipline that aims to examine texts containing narratives in a certain line and to reveal sciences and studies in parallel with this. This concept; It has found a place for itself from oral art to written art and then to visual arts. From oral art to written art, it has found a place for itself in visual art. Narrative style can change in parallel with developing technologies and social structure. The character of the narrative does not change, even if the vehicle that is the mediator has changed. Structural analysis method, which is the morphological approach of Vladimir Propp on Russian fairy tales, appears in the art of cinema today. In this study, the structural analysis method of Vlamar Propp, called the tale analysis method, was applied on the film Kızılırmak Karakoyu, which was directed by Lütfi Ömer Akad. The aim of the study; Lütfi Ömer Akad's film Kızılırmak Karakoyun is to prove that he reveals the reality of the village with a fairy-tale-like narrative. Although Propp has realized the structural analysis method on extraordinary tales, it is possible to apply this method in cinema interdisciplinary in line with the possibilities offered by the narrative structure. It is especially appropriate to use this analysis method for movies that base their stories on legends and myths. It is seen that the film, which brings together the legend of Kızılırmak and the legend of Karakoyun, which are two different legends in Anatolia, fulfills many functions of the event string structural analysis method.
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This paper explores marginal characters in Shakespeare’s plays that offer a valid alternative to the power-craving aspirations of their ideological authorities. Special attention in the research is paid to the role of the nameless murderers in Richard III, nameless servants in King Lear and soldier Williams in Henry V. The common denominator for these marginal characters is the fact that they willingly disobey their superiors’ orders and unequivocally decide to follow the voice of conscience rather than the voice of authority. Shakespeare introduces marginal characters to point to the notion that rebellion against the dominant ideology has to start from the individual level in order to inspire a global act of resistance. It is our aim to prove that Shakespeare's genuine idea was to subvert and not glorify Tudor's Golden Age. The theoretical framework of the paper relies on the critical insights of Greenblatt, Eliot, Leggatt, Rudnytsky, Fernie, etc.
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teenagers. The reduction of this ability is revealed under unification and reduction of art education in high school. This aspect of the problem is revealed in comparing works of the participants of exhibitions, where both teenagers' drawings and their comments to them are presented. The essence of the problem reveals the dissonance of artistic and aesthetic development of a personality and the abilities to create at this age with uneven development of artistic metaphorical thinking.In literary classics the images of Cat often act as parody sketchy portraits-metaphors of adventurous people adroitly adapting to different situations. But sometimes they are ready to help, capable of sincere sympathy and even of creating a mental contact and maintaining a creative mood. But among them there are individuals committed to evil.Characters created by Ch. Perrault, E.T.A. Hoffmann, L. Carroll, A. Pushkin, R. Kipling, М. Maeterlinck, M. Bulgakov, Tatiana Tolstaya meet the readers, and teenagers get immersed in literature with their help. The most gifted teenagers master the very nature of metaphorical thinking, but this process is not facilitated by the educational system.
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The purpose of the article is to conceptually logicalise the procedurality of the creation act based on the analysis of M. Heidegger's work«The Origin of the Work of Art». The research methodology has primarily been based on the futurological or value-futurological method, which is the author's proposal of V. Sievers. It is only effective in the context of our research, unlike established historical, comparative, axiological, and phenomenological methods, since it is based on the idea of a coordinated approach to the perception of reality and the simultaneous movement of a person in it. Moreover, as follows from the very name, it is itself a direction and a criterion of movement in it. The scientific novelty of the study is that based on the analysis of M. Heidegger's work «The Origin of the Work of Art», the act of creation is divided into two stages: the vision of truth in the circle of «nothing» and the hypothetical phasing of acquisition based on the act of creation as a result of the status of a thing. An interpretation of one of the oldest problems in philosophy – the problem of «qualia» – is offered, and a new approach to understanding the category «existential» is also presented. Conclusions. The signs of a thing highlighted in Heidegger's text are a state of such fixation of a set of defined steps, which indicates the formation of creative conditions. In contrast to creation, the conditions of creativity should be understood and considered as the result of the gradual accumulation of groundless multiplication of creations that in the process of their interaction cause a historical movement in the sequence of two opposing components in unity: natural and social. The concept of mental serves as a boundary and a connecting link between them. In addition, existential or valuable experience is a field of reflection that forms historical forms of human mental and material activity organisation.
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The present study of historical and contemporary album binding structures was performed as part of the preliminary research carried out for the conservation of the album The Psalms of David. Victoria Psalter (Jones 1861/Belcheva 2020), a folio album from the collections of the Ryerson & Burnham Libraries at the Art Institute of Chicago. The principal objective of this study was to assemble a visual catalogue of graphic historical and contemporary album binding models, in order to be of assistance for comparison of their characteristic features, and provide a valuable resource for the conservation and decorative arts research and practice.
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The study reveals the multifaceted information presented to us by the works of Bulgarian Christian art. Attention is paid to the traditional crafts, which are reflected in the icons and murals. These are blacksmithing, woodworking and woodcarving, coppersmithing, furriery, embroidery, ceramics, weaving, mutafchi craft. A detailed description of the Bulgarian interior, realia and household items woven into the context of the iconographic canon is made. The text is visualized with author's illustrations related to the topic.
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The article examines the ways in which the slowly evolving and invisible processes of the ongoing ecological crisis can be represented in the format of a contemporary serial television drama. The author argues that despite heavy reliance on spectacular and captivating character-born plots, the long-form storytelling of new television narratives can be well suited to representing the complex and unspectacular temporalities of the ecological crisis. With the Swedish-French Arctic noir TV series Midnight Sun as a case study, the analysis shows how a highly spectacular criminal plot is developed to reveal the invisible temporal action and nonhuman agency of a special kind of waste paradigmatic of the era of the Anthropocene, defined by Timothy Morton as a hyperobject (2013). This idea is established in Midnight Sun not only by placing radioactive waste at the center of the narrative but also by gradually foregrounding its nonhuman agency behind the events. The aim of the analysis is to demonstrate that by both using and reimagining the conventions of the television crime drama (Arctic noir), Midnight Sun translates into quotidian terms the unspectacular and long-term aspects of human-induced ecological destruction, which surpass the individual human scale and evade our cognition. An important strategy adopted in Midnight Sun is bringing together two levels of criticism: ecocritical and postcolonial. The slow ecological violence (R. Nixon, 2011) and nuclear colonialism (G. Schwab, 2020) exerted by the powerful against regions and people who are globally less visible are depicted as a continuation of the history of colonization, and more specifically, the systemic and longstanding ill-treatment of the indigenous Sámi people in Sweden.
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This paper analyses the movie Fight Club (1999) from the philosophical point of view. We reflect on the split personality of the protagonist, showing how the former represents the subject of the modern society, who, unable to find completion in ceaseless consumerism, embarks upon a personal journey towards the annihilation of every value of his world. This process of annihilation, which at first takes the form of a closed group of people, evolves into an expansive way of annihilation. The latter symbolizes modern society’s evolved subject’s will to destroy the foundations of capitalist society.
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The article discusses animated works by Wojciech Bąkowski and the broader context of their origins addressing Jean-Luc Nancy’s philosophy of division of voices and its hermeneutical implications. Making explicit reference to these theoretical considerations, the author analyzes “Speaking Movies” by Bąkowski and his new productions for art galleries, employing digital tools to reinvestigate their meaning and interpret his autotelic recitation. The analysis follows several distinctive examples that highlight, via different experimental techniques, the interplay between verbal articulations, echo-like effects, and reverberations in the production of a differentiated audiovisual landscape.
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This article explores some of the findings from a work-in-progress project that I began working on in 2020 to investigate the retrospective memories of 1980s British audiences surrounding viewing films classified either 15 or 18 by the BBFC, while the participants were underage. I question the so-called victims of censorship that have matured into their 40s and are no longer at the mercy of parents or the classifications of the BBFC in order to investigate the retrospective memories of these adults who were once participating in forbidden viewings as children in the 1980s. This article explores Annette Kuhn’s idea that for audiences, the movie fades from memory to make way for more movies, but it is the life experiences that stay with the viewer. By focusing on underage viewers and films that had been deemed unsuitable for their age, I hope to review Kuhn’s claim, by resituating the film itself as the prominent memory – a memory not replaced by many decades of movie watching since. This article outlines the methodology for the project, before turning to a discussion of participants’ memories of interrupted film viewings. In exploring the dichotomy between memories of viewing conditions and memories of the film themselves, this article then considers memories of the horror genre (and terrifying scenes in other genres), and also the issues of watching sex in films, and the impact of parental restrictions, or watching while with parents.
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My article compares the catalogues and interfaces of a small and a big VOD provider and emphasizes the critical innovative potential of the intervention of the former and, more generally, of small streaming services. I employ a cultural studies approach and closely read the acts of curation of these two types of providers. As a case study, I focus on the curation of the feature film The Death of Mr. Lăzărescu on both platforms. By critical innovation, I understand an economic or industrial intervention that questions and disrupts hegemonic discourses in its field. In the case of VODs, it refers to an engagement with discourses on digital film consumption, the branding of premium content, establishment of taste, and diversity of content. I also approach critical innovation as political and economic. I provide proof that small non-profit providers set up more advantageous viewing experiences that benefit a film and its makers. I also show that they play an important role in maintaining the sustainability of a digital distribution ecosystem.
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The subject of this article is the distribution of foreign films in the People’s Republic of Croatia in 1944-1963 against the background of Yugoslavia’s cultural policy. The author considers as foreign films those that were not made in Yugoslavia or in the production or co-production of Yugoslav studios. The article aims to show in a cross-sectionally way the trends that led to the import of films into Yugoslavia from specific countries. These tendencies were shaped primarily by political factors, which are also pointed out in the article.
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The text discusses the social understanding of the film canon. The analyses is based on the results of the social research “Poles about Polish films. Opinions of Poles on Polish cinema and their attitudes towards Polish film production” conducted in 2019. The research findings show how Polish audiences think about the Polish film canon and how they define it, referring to their own film experiences, attitudes towards Polish productions and to beliefs about the influence of Polish cinema on culture.
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The topos of ‘home’ is one of the most important motifs in Andrey Zvyagintsev’s films. The director perceives ‘home’ as a material and symbolic term. It applies to the place where a family lives and to the house of God. The article refers to Eliade’s well-known concept of home, but also to the more modern one created by Zbigniew Kadłubek, who writes about oikology in the context of faith. The article reveals the richness of mythical, cultural, religious and artistic references. Each film exposes different images of ‘home’, but they use common metaphors, such as the fall, destruction and the apocalypse. Contemporary man, turned away from God, recreates the mythical thread of exile and ceases to have a safe place to be in the world. In such works as The Banishment, Leviathan, Elena, and Loveless, the director fully showed the consequences of losing the spiritual dimension of life. The proposed interpretations of Zvyagintsev’s films expand the reception of his work in Poland.
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The aim of this article is to present stylistic measures dominating in a movie directed by John Komasa, The Hater, whose screenplay was written by Mateusz Pacewicz. Komasa’s film is an interesting example of how the selection of linguistic means and the way they function within one work can create an illusory, film version of “the art of hating” – the main impression of all the manipulations used by the film’s protagonist. Forms of manipulation, aggression, hate speech or Internet hate in The Hater’s verbal layer are particularly clearly heard thanks to repetitions, paraphrases and a very specific stylistic manoeuvre, which can be called “quotations.”
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The paper is a reflection about ways in which notions related to valuation function in literary criticism, focusing on processes of constructing, consolidating, and exchanging notions in socio-cultural circulation. Based on essays by, among others, Kacper Bartczak and Natalia Malek, who have different opinions about Louise Glück’s poetry, such notions as universality, honesty, female writing are considered.
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Narcissism is a part of the cultural heritage. It reaches many areas of social life. As a cultural phenomenon, it reaches more profound and broader than psychological analyses would indicate. It has always been present in the biographies of people significant for the development of culture and art. The thesis in the text states that cultural achievements without narcissism would be much more modest than we can observe today. The conducted argument indicates the positive aspects of narcissism in the field of artistic culture. Praise of narcissism concerns agency in culture and art. Trying to determine the place of narcissism in art culture, I favor forgoing the one-sidedly negative perception of the phenomenon of narcissism. Narcissism here is one of the motivating factors
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African cinema after colonialism examined issues on politics, polemics of gender, morality, historical reconstruction, resuscitation of cultural values and so on. All of the above were the pivot on which postcolonial African films were hinged. The rise of environmental consciousness in the 1980s through the 1990s championed by William Rueckert, Cheryll Glotfelty, Harold Fromm and Adrian Ivakhiv’s Bio- centrism created spaces for the African filmmaker’s search for climate justice with the medium of his art. It is pertinent to note that traditional African societies were ecocentric precursory to their encounter with the West. This Biocentric nature of indigenous Africa, the dislocation of the continent by capital- ism and the effect of climate change on the continent made it easy for the African creative artist and filmmaker to venture into the ecological film enterprise. Laden in some of these films are the socio- economic, political and environmental thoughts of Karl Marx, Ali Mazrui, Omafume Onoge and William Ruekert. Despite the above, there abounds a dearth of holistic environmental theories that bridges the economic, political and environmental Humanities. To this end, I propound a Marxist Biocentric Climate Justice theory which encapsulates political, economic and environmental processes. I adopt content analysis method to situate Christoffer Guldbrandsen’s Why Poverty? Stealing Africa (2012) and Orlando Von Einsiedel’s Virunga (2014) in the context of the theory being propounded.
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