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The interview focuses on opinions of the photographer, lecturer, and Assistant Professor Jozef Sedlák. Last year, on the occasion of his 60th birthday, the photographer organized a recapitulatory author exhibition. The interview discusses the photographer’s creative concepts, his approach to photography as a medium, and it also comprises the function of photography in society. One of the topics he deals with from a long-term perspective is social documentary. However, the photographer deals in parallel with staged figurative photography, later on with the conceptual pictures. Each of his documentary photographs captures an event that articulates anonymous personae connected by momentary chance and situations. The author presents his authorial philosophy and stances to work with the medium of analogue photography. The practical experience and theoretical philosophy of Jozef Sedlák reflect his opinion and ideas regarding theoretical questions, such as the sense of family tradition, allusive warnings on evaluation and societal ladder, the need for lively humanistic tradition, decoding of developing and current tendencies in art, questioning the autonomy of photography, relationship patterns of artists and theoreticians, the necessity of critical thinking development among students and the continuity of an artist’s and creator’s life. The given interview declares the author ́s strong concept of creativity and provides an evaluating perspective of an influential figure in Slovak photography. The interview focuses on the author’s less presented productions. The same as with his other outputs, they have a certain mysterious depth and timelessness. This part of his production may reveal the personality of Jozef Sedlák, as a photographer in a broader context. It will be definitely interesting to have a look together with the author beneath the surface of the medium of photography, but especially, I dare to say, beneath the surface and thus into the depth of the author ́s intentions as a photographer, educationalist and last but not least a truly faithful person.
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Coriolan Petranu – Referee of the Historical Monuments Commission and His Expert Art Reports Written in Romania during the Interwar Period. Scattered Letters. The present study is a welcome and useful completion of the chapter published by the author in the volume entitled Istoria Artei la Universitatea din Cluj [Art History at the University in Cluj] (Nicolae Sabău, Corina Simion, Vlad Țoca. Coordinator Nicolae Sabău). The article focuses on previously unpublished letters on the topic. The teaching activity of Professor Coriolan Petranu, founder of the Art History Department at the University in Cluj, was beneficially completed after 1920 by his contributions in the field of historical monuments protection in Inter-War Romania and his expert reports in the field of fine arts and of the restructuring of the museums in Transylvania according to the modern principles of European museums. Among his numerous expert reports, the documents/letters under analysis record his observations, actual art historical studies, on projects related to town planning, architecture, public monuments, street furniture and technical works, urban systematization plans etc. (the building sites, liturgical furniture and wall paintings of the Orthodox church in Târgu Mureș and of the Orthodox cathedral in Cluj, the fresco of the festive hall of the Academic College in Cluj painted by master Costin Petrescu, 1938-39), the analysis of certain folk art objects from museums and collections in Transylvania, public and institutional monuments (Avram Iancu’s statue in Cluj, the Union Monument in Arad, Pârvan’s bust from the University in Cluj etc.), expert reports on Romanian vernacular monuments, wooden churches (Poiana, Tălgi, Honțișor, Bocșa Română, Roșiori etc.) and masonry churches (Criscior), his correspondence with artists of the Inter-War Period and the exhibitions he organized (Catul Bogdan, Emil Cornea, Atanase Damian, Aurel Ciupe, Aurel Papp etc., the exhibition Collegium Artisticum Transylvanicorum, Cluj, 1921), his expert reports on works of painting, sculpture, graphic arts and European bookmaking. The correspondence of the art historian from Cluj with intellectuals, professors, art historians, museum directors and library directors of upper and general education institutions from Great Romania, from Bessarabia and Bucovina, was impressive (Petre Constantinescu, Oreste Tafrali, Vasile Ciurea, Al. P. Arbore). He also made generous donations of books and photographic materials to these institutions.
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My study aims to reveal the connections between visual propaganda and pedagogy during the Hungarian state-socialism by analyzing different variations of a single picture of Vladimir Lenin. The ideological indoctrination played an important role in the socialization of children, even teachers; thus, the communist power tried to create a new ceremonial-ritual order and a socialist identity. The following analyzed images (photos and paintings) show different functions and meanings; by reframing and transforming photographs and contexts, we can demonstrate how the viewers could have been manipulated. The starting photo comes from my studies (based upon the corpus of Hungarian pedagogical journals) published in 1970, showing a seemingly unconventional representation: Lenin as a child.
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The Increasing information and developing technology have caused many fields to enter a rapid change process. These changes gained momentum with the Industrial Revolution (1760-1840), in which mechanization began in almost every field, so the fields of art and design were also affected by this process. The work on photography started and gained momentum with the Industrial Revolution. The aim of this research is to reveal the collaboration process they have gone through since the day advertising and photography came together in this developing process and the importance of this process with literature scanning techniques. Work; It is important to reveal the importance of photography as a visual element for advertising and the place and importance of photography in graphic design.
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Report from the research project carried out by the Town Museum in Wadowice in 2017-2019 as part of the „Folk and traditional culture” program with the financial support of the Ministry of Culture and National Heritage.
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An interview with Kasia Syramalot, author of The Belarus Book – a visual story of Belarus over the past decade. Interviewer: Anastasia Starchenko
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The author of the article, Walentyna Sobol, analyzes documentary and literary books from Morocco and two émigré writers about Morocco. These are “Spells of Morocco” – the Ukrainian forgotten author Sofia Jabłońska (1907–1971) and “Moon in Tears” – contemporary writer Morocco Ouard Saillo, born in Morocco in 1974. Ouardy Saillo’s book, decorated with photos of the Saillo family, was written in German. For the first time is published in Polish translated by Barbara Otwinowska (published in 2005 in Warsaw). In 2018, in Kiev were published 107 photographs of Sofia Jabłońska from her times of work and travel around the world, including Morocco. The goal of the article is to reveal the phenomenon of persistence and bravery of both writers, different, but sometimes very similar intertextuality . The narrative of the documents is examined using a methodological approach, especially in terms of: “intertextuality is a study of the memory of literature” (Tadeusz Sławek). Using modern research in anthropology, including the lexicon of the culture of memory “Modi memorandi”, the author of the article investigates the phenomenon of intertextuality in the narratives of Jabłońska and Saillo. This comparative study of the autobiographical works of Ukrainian and Moroccan writers in Poland not only reveals the conclusions, but also opens wide research perspectives.
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In this article I analyze the chosen examples of fan comics. In the first part of the article I describe the history of comics, how and by whom they were created. Then I show the comic’s role as part of Transmedia Storytelling. In the second part I introduce the term fan fiction and I describe the circumstances of the creation of this specific form of fan art. Moreover I write about the most important fan fiction theories. In the last part of the article I analyze 3 selected authors of comics who publish their works on social media platform Deviant Art. Also I describe their style, inspirations and references to original works. Fan comics are a very specific phenomenon. However the many possibilities given by this art is not used by the fans. There are no experiments with a form contrary to the fan fiction literature. On the other hand the selected comics are an exception. Maybe the authors are not very innovative. But the interesting thing is that they use humor and autobiographical themes in an unusual way.
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Wiesław Godzic ‒ Gdy paparazzi robią zdjęcie: maski, twarze i gęby popkultury
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The author presents the results of an analysis of Instagram profiles of ten European presidents. Photos posted there have three persuasive goals: they build the image of a particular politician, image of the office of the president and strengthen the sense of community and national pride. The Presidents appear in several roles: a star, an ordinary person, a guardian of memory, a representative of the state and the nation, a host. The author analyzes the style of visual rhetoric and proves that Instagram can be an effective tool for building civic awareness.
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This text is focused on the socialisation process of the photo image since its appearance in the 19th Century to this day. In spite of its timely occurrence which catered to the growing need for image memory of industrial society, this type of photography was perceived diversely at the beginning. The scientific, technical and cultural elites gladly embraced it and immediately found application for it, whereas the prevailing population, immersed in its daily routine, perceived it with suspicion, and in countries that were rather backward in their pictorial tradition, even with hostility. It took some time for it to become part of everyday life, and, later, to make the next cultural revolution after Gutenberg‘s, so that we arrive at today‘s fast-paced world, which is undoubtedly prevailed by the image. This text outlines the main visual constructs through which this happens, and tries to answer the question of why today's new or rather modified types of photography are constantly appearing.
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The article discusses the possibilities of the emergence of a neo-materialistic aesthetics of the poem. Each of the analyzed examples—Ewa Partum’s active poetry, Adam Kaczanowski’s toy-art and Andrzej Tobis’s photographic archive—reveals different aspects of this aesthetics. The case of Partum shows that the material concreteness of poetry—today also associated with virtuality— requires other ways of perceiving / commenting / documenting the “poems” happening between the media. Active poetry consists in drawing the text (which eventually turns out to be a jigsaw made of letters) out of the formula of the finished object and making the medium of writing/language the material from which the object of artistic attention is “made”. I call Tobis’s project neo-materialistic, since it shows how we move from the human hybrid level we move to normalization and stabilization (and vice versa). Tobis seems to reach the moment when this normalization is actually happening and, at the same time, he shows levels of transformations, mutations and deviations. Kaczanowski “invents” for his poetry a medium different from the traditional record and the traditional form of the book. This principle of “invention” turns out to be very important, because it decides whether some materializations are poetic objects or not, without specifying any initial aesthetic, political and ideological criteria. In the most general terms this new-materialist aesthetics has been linked here with the transmedia horizon of art and the transformations of materialistic thinking made under the influence of the non-anthropocentric imagination.
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The Leopolis Collection (at the Museum of Independence) constitutes a valuable source of knowledge on the past of Lviv and its surroundings as well as the fate of the Polish people living there. Created in 1992 as a result of the efforts of Borderland circles, its contribution is used for research by museum specialists, professional historians and researchers of the Borderlands past. The artefacts, archival materials and publications collected there are made use of for preparing exhibitions, scholarly articles and monographs. These valuable collections in relation to exhibitions are still awaiting a systematic study. Research undertaken so far has borne fruit in the form of valuable monographs and studies, but there are many valuable materials still waiting to be unearthed. For the purposes of accessing the museum materials the creation of a Leopolis Collection catalogue is necessary so that its contents can be more broadly made use of – both in historical research and that pertaining to museum-based studies.
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This paper discusses one of the most important collections of photographs from the Austro-Hungarian period by František Franjo Topič, a Czech photographer. This collection is stored in the National Museum of Bosnia and Herzegovina. A significant part of this collection are photographs of Sarajevo, around 500 of them, which are divided into thematic units and have a very diverse content. Certain places in the city are often photographed continuously, over a longer period of time, so we are able to follow the phases and changes in the development of the city in the Austrian period through these photographs.
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In addition to its thematic collections, the Sarajevo Museum also has its own photo library. At the time it was founded, in 1949, the Museum’s modest museum holdings included a small photo library. Over the next few years much effort went into collecting material, including a considerable number of photographs. Some of these photographs, many of which dated from before the Museum was founded, were acquired by purchase and cooperation with other cultural institutions or individuals who made their negatives, duplicates or original photographs available. The photo library now has 9,037 inventory items with more than 20,000 photographs, ranging from photographs of everyday life to those of a variety of buildings and cultural and historic monuments.
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The relationship between film and philosophy commonly appears as the reflection of philosophical problems on the silver screen or as a discussion of the aesthetic problems of cinema with the concepts of philosophy. Stanley Cavell’s film ontology is significantly different with respect to the relationship between film and philosophy. He approaches film from an ontological point of view. In doing so, he refers to the theoretical framework that Wittgenstein presents in his late period. Cavell, with reference to Wittgenstein’s theory of meaning, denies the distinction between appearence and reality, image is not an image of reality; on the contrary, it is the reality itself. For him, the attitude of modern philosophy that separates appearance from the reality is an illusion. Cavell bases this Wittgensteinian attitude on the ontology of the photographic image. According to this ontological position, photograph is not an image of a reality but an autonomous reality. Cavell then tries to understand cinema with this ontological structure that he attributes to the photographic image. The reality of the film world and the contactlessness of the audience’s actual world with the film world create a dual ontological structure. Cavell makes an analogy between the effect of this ontological duality on the audience and philosophical skepticism. Hence, he calls the film the moving image of skepticism. For Cavell, the world of the film is a magical world in which the audience is in doubt between existence and non-existence. In this study, I aim to clarify the ontological status that Cavell attributes to the photographic image and the relationship between film and philosophical skepticism In addition, I will claim that the relationship Cavell established between film and philosophy, has an unusual quality because he uses the film as a philosophical scene.
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Female athletes’ media representation is an object of scientific attention during the last forty years, but few studies analyze the situation in Eastern European countries. Meanwhile, there is no research on sportswomen’s representation in Ukrainian media. Using a content analysis methodology, we analyzed women’s sports coverage in the sports section of the online version of popular Ukrainian daily newspaper Segodnya (Today). We found that most articles in the sports section are dedicated to men’s sport, and women’s sport is poorly covered. Female athletes are controversially framed in news stories. While ‘sports stories’ depict sporting achievements of female athletes and are accompanied by photographs of female athletes in action, the percentage of stories that are not related to sport is quite high. These «non-sports» stories are dedicated mainly to sportswomen’s appearance and sexuality, as well as their private life.
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Literature and photography have always encouraged critics to explore interactions between text and image. Within the scope of culture, they also show significant potential in terms of their scholarly application, since the photograph becomes a practical tool for studying literary works within the cultural matrix. The paper aims to use this means of visualisation in order to examine the picture bride phenomenon illustrated in Yoshiko Uchida’s novel Picture Bride (1987), which reveals that behind the veil of apparently prosperous and lifelong marriages, there is a harsh matchmaking system which - solely on the basis of personal networking and Japanese marriage intermediaries - allows for shipping prospective wives from Japan to Japanese immigrants who settled in the United States a few decades earlier. Thus, the photograph constitutes a tool of analysis, which doubles as a tangible means of representation and a factual visualisation of metacognitive imagery.
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