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Today’s regional roundup: EU budget talks; Crimean TV under pressure; Washington plays nuclear war; changes to Kazakh rallies; and a shocking Czech documentary.
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Poprelka in the village of Breznitsa, Gotse Delchev Region is an event deeply related to the tradition as far as its model and content are concerned, but at the same time it represents the contemporary condition of the local culture. This is the place for the performance of the well-preserved, “living” traditional musical folklore in the natural environment. The article is an attempt to typologize the intonational models of women two-part singing in Breznitsa, which is interesting because of the still existing specifics of the ancient musical thinking in the present. The scholarly research on which the article is based was provoked by fieldwork observation allowing for the accumulation of detailed knowledge about the processes of development and change thus functioning as a key to the understanding of the immanent specifics of the traditional Bulgarian culture.
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Musical education has undoubted influence in the process of the overall formation of the personality. The thematic accent in the educational content of music is the Bulgarian musical folklore. The outline and understanding of integrative links with other subjects are necessary to build a productive cognitive process, to preserve and stimulate interest in Bulgarian folklore. The integral approach develops the pupils' potential and motivates them for a deeper study of the subjects.
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Kandinsky's work, his achievements in the search for new means of expression in painting and, in a broader sense, a new understanding of art, may seem strange, unbalanced and groundless even today. But with Kandinsky, as with any artist, we find prerequisites for this in his biography. Childhood and adolescence leave an imprint on his work. In his young years, along with his innate talent, he builds inner motivation and gains a stimulus for creativity.
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Expressionism, cradled by Germany, flourished during the so-called "Expressionist Decade" (1910-1920). Its most common socio-cultural precondition is the crisis in the public and moral-ethical consciousness on the eve and during the First World War. It expresses the will to change a generation that grew up with the nightmares of war and the deepening decline of bourgeois-philistine consciousness. Like most modernist trends in art, expressionism uses the provocation of "good taste," the breaking of outdated traditional orders and aesthetic habits. The meaning of the term is derived from "expression" - an expression of feelings, which in the most general sense is the artist's desire to project the torments of his own soul on the depicted object.
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This article focuses on the digital font format developed in the late 90s and released in the early 2000s called OpenType and its implementation in general with the emphasis on Bulgarian Cyrillic. Starting from early printing technologies from the 15th century and going through the first digital print and the development of Bezier curves and computer vectors right until the freshest developments and ideas of Variable fonts.
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The text is dedicated to one unique radiostation in Bulgaria – BRALLE FM RADIO, web-based only. It is a social type of radiostation that is created, supported, broadcast and managed by visually impaired persons. There follow the history and the origin of the idea of the radio, various programme pieces, team, editorial responsibility and policy to help, to inform and to entertain the audience. To the purpose of easy comprehension of the that problematical topic for visually impaired people the text offers information on specialized education and schools in Bulgaria, as well as some practical details on computer software programs and mobile applications that contribute to the access of journalistic production from different spheres of society and media.
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Data about scientific events in the field of the humanities in Bulgaria in the current year
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A universal conviction of mass culture creators is that people enjoy being scared. This conviction has a deeply rooted basis, whose essential part is not only fear, but also a need to experience something mysterious and supernatural. The dread of the “vehicles of horror” is usually two-dimensional: one of the aspects comprising their scariness is their look and supernatural origin, however, also the traveller using the vehicle can be terrifying. The examples analysed in this article show that the texts of culture follow the aforementioned pattern: they combine the horror of the vehicle with the horror of its passenger(s). A normal vehicle takes on the features of the passengers, it can also be infected by their hatred, desire for murder, aggression or madness. On the opposite pole there emerges a vision of the transcendent presence of a demon who takes on the form of the vehicle. All examples of the autonomous vehicles of horror share some features of puzzling anthropomorphism. Hence the obvious conclusion may be drawn: the provenience of the phenomenon (whether internal or external to the human psyche) is unimportant – what really matters is its anthropomorphisation. It is in fact us that we are scared of in the demonic machines.
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Choices that must be made when dealing with artworks defying representationchallenge the curators to rethink the exhibition space and seek new ways to tella story within it. This text is focused on the curatorial approach to an exhibitionof posters from various site-specific projects by Christo and Jeanne-Claude. Thetext is also about the unique character of the works themselves as depicted onthe posters, about the social and political background that connects Christo andthe Bulgarian audience which was subtly contextualised in the NBU exhibitionbuilding.
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The text is driven by the concept of crowdsourcing and seeks its application in supportof the public function of the Bulgarian National Television. The author developsconcrete suggestions how to implement user-generated content for the benefit of thepublic media content.
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The paper takes advantage of the lore reboot which the popular computer game League of Legends received. It delves into problems of genre and revisits the role of story in the contemporary video games industry. Its main aim is to discuss the theory behind the principles of play in MOBAs, explore the game’s narrative frames, and speculate about the future merging of cultural and market forms through the use of fiction.
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Original music plays a leading role in many popular video games. Although it's not always the best solution for all titles, developers often resort to the services of experienced composers to create an original soundtrack that fits the atmosphere of the game. But this is not the only role of original music in video games, and sometimes it’s creators are not experienced composers, but gamers themselves
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The text is composed of four analyses, prepared as course assignments for the “Interactive story and combined storytelling” course, part of the “Digital media and videogames” Master’s program at FJMC. The object of the analyses are the following works: Prison Valley, 2010, Pirate Fishing – an interactive investigation, 2012, Universe Within: Digital Lives in the Global Highrise”, 2015, Bury Me, My Love, 2017.
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Between the mid-1940s and the late 1950s the centralization and ideologization of culture marginalized the schlager-song practice from pre-socialist times. Performing and listening to this musical genre was recognized by the authorities as a relic of the bourgeois past and was at the same time regarded as non-aesthetic by the professional composers. In the 1960s the generational change and the penetration of the new modern Western popular culture in Bulgaria altered the focus of the institutions of the regime. The old-fashioned pre-war schlager lost its political incorrectness to a significant extent and gradually became a convenient instrument in the hands of the institutions thus allowing to cover the attention of the elderly generations.
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The main aim of the article is to demonstrate the problematic issues related to film adaptation of fairy and folk tales on the example of two of three seasons of the Baśnie i bajki polskie [Polish Fairy and Folk Tales] series, which were produced between 2002 and 2009 by the TV Studio Filmów Animowanych [TV Studio of Animation Films] for TVP1 (Poland). In the paper, it is indicated that one of such problems is the common predilection to treat different narrative genres (folk tales, literary fairy tales, and film fairy tales) as a particular cultural code. This, firstly, leads to the simplification during the interpretation process and, secondly, has such an impact that filmmakers avoid direct references to the folk tale context which, being complex and difficult to research, demands a broad knowledge of folk culture. In the article, using the examples of the series’ two episodes (Smok Wawelski [The Wawel Dragon] and Czarne licho [The Black Goblin]), the author presents both the artistic and axiological consequences of a superficial approach to folk tales (carnivalisation, infantilisation, trivialisation, and aesthetisation, among others).
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The aim of the article is to analyse Tim Burton’s film Alice in Wonderland (2010) as exploiting Joseph Campbell’s model of the hero’s journey. Burton, as well as the screenwriter, Linda Wolvertoon, treated the original works by Lewis Carroll (1865, 1871) only as a starting point to present their own vision. In the presented considerations, the authors propose the interpretation of the film incarnation of Alice as a mythical heroine who must gain self-awareness and undergo an internal metamorphosis – a transgression from a lost girl into a brave warrior for her own autonomy.
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A brutal narrative of child abandonment, murder, and cannibalism may not seem the conventional stuff of fairy tales to those trained for a Disney-eyed view. Yet that is exactly what “Hansel and Gretel” offers. Film versions across genres, including drama, noir, horror, slasher, thriller, comedy, and adventure, deal seriously with crimes against and harms to children. Many practices and behaviours that endanger and damage people of various ages in all kinds of contexts, including environmental degradation, economic exploitation, and many forms of discrimination, are not proscribed in the formal criminal justice system, and/or are beyond the jurisdiction of public institutions. Many actions and inactions that affect and/or pertain to children’s wellbeing are found as recurring themes and ideas in “Hansel and Gretel” films. In this paper, the authors focus on non-supernatural, live-action films available in English for adult viewers that include child main characters, that is, those whose Hansels and Gretels are clearly below the age of puberty. These films, the authors contend, offer distinctive perspectives on harms to children as individuals and as groups, especially with relation to institutions implicating justice.
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The article offers an analysis of Poltergeist (1982) by Steven Spielberg and Tobe Hooper. The author retraces the topographic model of the film Freelings’ house. The building, its separate rooms, and domestic devices become the ‘open cuboids’ through which the demonic forces enter the family’s estate. The presence of human protagonists in the haunted house manifests itself in heterogenous ways, and is divided mostly according to generational and functional criteria. In the author’s reading of the film, the spaces of the living room and interiors of the children’s bedroom function as a senseful representation of parental frustrations and children’s fascinations and anxieties. The analysis is accompanied by contextual references to the horror cinema of the 1980s and to other cultural texts using similar motifs and plots.
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