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The development of comics in Bulgaria in the period of transition rests on the tradition established by the Duga and Chuden Sviat magazines for children, which have attracted large audiences in the 1980s. The chaotic emergence of magazines and films from the West replaced the closed system of cultural values of the Socialist era. In the early 1990s, the domestic publishing market saw literary production of translated comics, of which the children’s comics of Disney Studio, such as Mickey Mouse and Donald Duck and the teen series Witch enjoyed the greatest popularity. The endeavour to translate and distribute the series of Hergé’s comic-book hero Tintin failed. Batman and Super- man attracted audiences in their own right, but these were a far cry from a real superheroes boom in this country. The Astérix series by scriptwriter René Goscinny and cartoonist albert uderzo was better positioned. Though not racking up dream sales in such countries as Poland and Germany, the series was republished on a regular basis over the 1990s. The sign system of these comic books did not lose its readability due to the system of codes skilfully inbuilt by René Goscinny. Venelin Proykov’s good translation successfully rendered the realia of the French authors in a Bulgarian lexical and social environment. The latter are universally readable but with elements of an intellectual play, where attentive readers would find a plenitude of signs and a number of references to various issues facing contemporary societies.
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The parameters of time and space are quite broad in the world of comics. The conventionality of the depicted representation allows for quick transition in space and over time. The panels of the comic strips could also be perceived as single forms of fine arts, whose two-dimensional composition is subjected to all fundamental laws of fine arts. Still, with the succession of several such frames one after another their function is complicated. Now they already create an illusion of a dynamic composition, showing key moments of a motion through space and over time. The succession of the frames in itself suggests the development of a certain element (motion, character, space or time). The artistic time continuum in comics exists like an illusion, as a result of the motional, behavioural and even historical experience of each of us. Time and motion exist mostly in the imagination of artists of comics and their proper perception by readers underlies a successfully told depicted story. The artistic time continuum in comics (very much like that in animation) often stops going in only one direction and runs backwards. The succession, spatial and causal relationships are broken. Time is now a vector. Still, it has to be well organised and structured to be perceived properly.
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Though the so-called ‘stories in prints’ were pioneered in 1830 by Swiss writer Rodolphe Toepffer, the US are believed to be the birthplace of comics. Comics emerged in the late nineteenth century to meet the need of visual communication with the influx of non-English-speaking immigrants. The framed illustrations were graphical metaphors of the writings. Great film director Alain Resnais called comics the ‘essence of framed and privileged moments’. It is the time factor that unites comics and film. The earliest authors of animated films have created comics as well. With its structure of representation, comics influenced feature film and were used to diversify media of expression in animated films. The storyboard could be said to be the common denominator between comics on the one hand, and feature and animated films on the other. A storyboard is a visualized rendering of a written script, which goes beyond the common comics. A storyboard offers the composition of the shots and the range of colours therein, the point of view of the camera, the links between the shots … Storyboard artists on animation films develop further the character types, adding new storylines to the action and enriching it with a number of gags. The power of comics, defined by some as the ‘ninth art’, shows also in its impact on contemporary fines arts. Opening up new horizons for the artistic potentials of comics is a task to be undertaken both by the contemporary and the future generations of artists.
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The Sky over Veleka was Eduard Sachariev’s feature film debut, based on the eponimus novel of Diko Fuchedjiev. Along with cinematic methods typical of the 1960s, Eduard Sachariev established his own manner, both visually and socially. Very much like Lubomir Sharlandjiev’s The Prosecutor, Eduard Sachariev’s experiment with The Sky over Veleka to try and review the period of the coercive methods of collectivisation of the farms in the early years of socialist government failed. The 1960s were among the most dynamic periods in the history of Bulgarian socialist film. The ups and downs of liberalisation of the part of the Communist Party brought forth some of the most emblematic Bulgarian films such as Monday Morning, The Prosecutor, The Attached Balloon. Despite all their superior art qualities and innovative cinematic language, these works remained ‘locked’, becoming ghost movies, repository films. The Sky over Veleka was one of them. Archival materials kept in the film’s dossier allow following the chronology of the making and the destruction of the movie. The Sky over Veleka was not officially banned by censorship: the Central Committee of the Bulgarian Communist Party had already adopted and skilfully honed other methods for destroying people’s lives and careers and robbing Bulgarian cinematic art.
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The article deals with problems facing the newest Bulgarian feature film. Key titles are under consideration related to the latest achievements in attracting audiences as well as the reasons for diminishing interest in national movies following the undoubtedly renewed buoyancy in the late 2000s. Renewed hopes are aroused by such works as Alienation (2013) and The Lesson (2014), showing prospects for a successful future development. The former shows the way for renewal of the so-called art-film, while the latter, of the realistic and critical line.
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Recently, there has been talk of a ‘New Wave’ of Bulgarian film and more often than not, of Bulgarian feature film. Still, the processes behind the making of these movies rarely suppose fitting into the same category. New Bulgarian movies are now quite distinct from each other, built on different auteur and technological principles. To what extent is the term ‘New Wave’ appropriate and who are the real actors of change: private financing, new art quests, commercial genre formats or just the new technologies, are issues that would be the subject of much debate and in-depth studies.
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The new Bulgaria animated film and use of modern technologies could be treated in several aspects: at a level of choices of animation techniques to build a film work, at a technological level and a mode of production as well as a distribution pattern. Most directors would not leave technologies behind, but rather introduce these as an active and major component of the very essence of the film. Hence the trend of diversity and innovation in technologies comes to life in Bulgarian animated film. For the first time for years now, Bulgaria’s animated domain was ‘stirred up’ by exhibitions on a particular film or anniversaries occasioned by events in Bulgaria’s film history. The comic novel Rabies by scriptwriter Sybilla Koritareva and artist Ivan Koritarev broke the ice in transferring a work to various media formats and situated in a field close to animation. It was released as a glossy quadrilingual publication (in English, French, German and Bulgarian and the following editions were by Bulgarian artists as well). Rabies is available as computer games for iPhone, iPad and iPod, a video game soundtrack by a Bulgarian performer once again.
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The article deals historically with the legislation in the film industry in Bulgaria. A comparative analysis is made of the adopted regulations of filming in this country over the years, focusing on the latest Film Industry Act. On this basis, ideas are developed of the future dynamics of Bulgarian film-making that would underlie the philosophy of the legislative initiatives in the field of film industry in this country.
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With the president’s blessing, his biopic director, Rustem Abdrashev, is shooting a series reimaging the birth of the first Kazakh state.
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The interaction between humor and gender provides a wide variety of possible directions of research.In the context of antihermeneutics psychoanalisis, materiality and meaning in Foucault terms are becoming porous and plastic realities. Sexuality as an “enigmatic signifier” (Jean Laplanche) renders playful, romantic, or dirty, scatological traits to comedy. From the discursive sexuality (Foucault) to the sexuality and the lack of sense (Lacan), different codes of erotism and comic effects are juxtapossed to different comedy subgenres. The standard “boy meets girl narrative” (Mc Donald, 2007) invites the public into a love triangle that involves the lovers and the public itself as a participant to the sensuality and comedy all together. The viewer could experience the humor of the unconscious materialized in jokes (Freud) as well as the visual sensual experience of sex scenes and their emergence in the plot.The objective of the paper is to observe what are the effects of this hetero-temporality for the assignments and explorations in/ of contemporary comedy.This paper will analyze different codes of erotism and comic effects designated as clichés or as controversial aspects, analyzing two American comedies Friends with Benefits (2011) and Don Jon (2013) (and their consequential developments in the movie genre). Another objective of the analysis is to analyze and depict male and female character’s constructions and behavior.
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The text discusses the term “real time” in the early video art (1960s – 1970s). Since video is an art form where the image is moveable, the problem of the time appears to be of particular significance. The article focuses the attention on early critical discourse in respect of the video, reviewed in the context of leading ideas in art criticism and theory of media during the discussed period. It introduces the views of not only of critics but also of video artists as well, while the problem of “real time” is commented in respect of the actual image itself (instantaneous reproduction, processuality, interaction with audience). As far as the attempts to theorize the early video art have been directed to description of its unique features and visuality, the debate about time is traced in accord with its role in previous media and arts (particularly cinema and TV). Having in mind the genealogical link, a specific accent is emphasized on relations between TV and video art and the different ways in which the “real time” is treated in them. The comments are supported by examples of early video art (installations, performances). Clarification of the problem of time in the early years of that art will serve as a base for comparison in the analysis of the same problem today – in the era of digital technologies.
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Graffiti – this already not so newest way of expression has been known since Ancient times – they have been attested in Greece and the Roman Empire. In contemporary epoch this so called “scratching” is accepted most of all with the negative aspects of vandalism: “visual contamination”, voice-suppression, mutilation, etc. But graffiti do not imply only this. Mystery of the “lonely runner”, the anonymity of the readable only for “selected” signs and of the encoded creative language, and, last but not least, the opportunity for free creative expression are attractive to young groups in our country.The article discusses the etymology and the entering of graffiti art in Bulgaria after the political changes in 1989. It outlines the different periods through the eyes of graffiti “Writers” in the country, agreed to unveil some of the mysteries of this dynamic art. Normally for these artists is to lead a dual life: one of students, artists or people with a profession, with names on personal documents and another one of the “midnight lone-wolf,” with a spray in hand – known in circles with their so-called graffiti – tag (signatures). By all means the interviewed graffitists have yet rejected to say their true names.The article discusses the relationship of dance with graffiti, the common ways of work and some famous groups in the country. Interesting though is the rapid transition of this kind of “illegal” practice into the publicity accepted art and even into fashion events in Bulgaria. Young people today are showing great interest in graffiti, some of them traveling frequently and participating in festivals. NBU is the first university in the country which, at the initiative of the students has already organized several graffiti competitions and a festival with a number of participants. Changes in graffiti are very dynamic, they are quickly assimilated by popular culture becoming part of it. Emerging as a rebellious art graffiti art is about to be “tamed” by industry.
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In the present century of information technologies, communicative design has the advantage of playing an increasingly significant role in a neocultural human society. Today, in the era of information technology, the urban environment is so saturated with visual information that modern man needs a new kind of poster. This poster should not only have bright colors and a perfect spatial composition; it should also be able to satisfy our spiritual needs and develop our intellectual capacity. The common viewer does not bestow his attention on posters where old, traditional methods of attracting it have been used - posters which may have an emotional impact but are quickly forgotten; he/she now pays more attention to those posters which use the method of suggestive visualization of content. The language of the contemporary poster should be understandable for people coming from different ethnocultural societies, as it plays the role of a significant element of intercultural communication exchange in the conditions of our modern urban environment.
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The article deals with the works of art and exhibitions of contemporary Bulgarian artists, which are similar – with respect to their attitude towards images and expressions – to advertising activity. A presentation is made of different artistic ways of adopting means of expression from advertising and popular culture, as well as of relations with the surrounding cultural and social environment. The author raises the issue of art in its function of advertising message in large-scale artistic events. Cases of curatorial methods which are similar in ideas and purpose to advertising strategies, are also discussed.
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Ahhoz, hogy az írás témájául szolgáló Európai Utasok – kolozsvári képzõmûvészet az ezredforduló után címû kiállításhoz érdemben hozzá tudjunk szólni, elõször az ún. „Kolozsvári Iskola” brandrõl és az azzal dialógusba kerülõ budapesti Mûcsarnok intézményérõl is szót kell ejtenünk.
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Jarmo Valkola: Thoughts on Images. A Philosophical Evaluation, Zeta Books, Buc., 2012.
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A fényképezésrõl, fényképhasználatról beszélni, írni nem túl ritkán vállalt, mégsem könnyû feladat. Mindjárt az elején leszögezném, hogy a fényképezés megannyi területe közül csupán egyet kanyarítok ki, a családi fényképhasználatot. A megközelítések közül is egyet jelölök ki, a (tágan értelmezett) társadalomtudományos igényût, melyre képzettségem (néprajzkutató) és korábbi kutatásaim (a családi fényképhasználatot elemzõ doktori kutatás) talán feljogosítanak.
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Magyar Fotográfusok Háza – Mai Manó Ház, Vivian Maier. A kiállítás idõtartama: 2012. szeptember 20. – 2013. január 6
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This article examines various approaches and methods used to develop musical thinking in students. It also reveals some of the principles, developed by a number of scientists to facilitate the process. One of the new principles of developing musical thinking is internalization of music, proposed by the Moldovan professor and musicologist Ion Gagim, who in his works justifies its use from the philosophical, musicological, psychological and pedagogical perspectives.
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