Transitions Online_Around the Bloc-Movie Cancellations at Armenian Film Festival Spark Controversy Over Gay Rights
Golden Apricot drew criticism after cancelling entire slate of films that included two films on LGBT themes.
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Golden Apricot drew criticism after cancelling entire slate of films that included two films on LGBT themes.
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Jedan od najefektnijih filmova o Endiju Vorholu završava se njegovim višeminutnim neprekidnim pogledom u kameru. Tim upečatljivim krajem, koji se isteklom vremenu opire instinktivnim iskorakom ka izvesnosti početka, neizbežno započinje i podsećanje na ono što mu je neposredno prethodilo. Najpre, umetnikove reči da može netremice dugo da gleda u jednu tačku, a potom njihovo potvrđivanje koje pretpostavlja određeno značenje izrečenog i učinjenog.
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Pre, bezmalo, četvrt veka, godine 1981, u januarskom, 263-em broju, objavio sam prve pesme u "Poljima". Čudno sam čekao da se taj primerak časopisa obrete u mojim rukama, da grozničavo preskočim sve va`nije i bolje tekstove, i ugledam svoje ime i prezime unutar korica kultnih "Polja". Jer, objaviti, tamo, tada – iz perspektive pesnika-početnika, napaljenog studenta književnosti.
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Tehran denies training and funding Islamist assassins during Tajik civil war.
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The article discusses several screen adaptations of the drama Dybbuk or Between Two Worlds by Szymon An-ski. Written on the basis of an old Jewish legend, An-ski’s play has provided inspiration for many movies. The four analysed works represent different cultural traditions and film genres and come from different decades of the cinema history. Diverse as they are, these four works emphasize different issues. They are: Dybbuk by M. Waszyński – the best Polish movie in Yiddish exploring the Jewish folklore; A Serious Man by the Coen brothers, with a ‘dybbuk’ prologue that redefines their art towards the Judaic tradition, as well as two other works that are strongly characteristic of the film genres that they represent: The Possession by O. Bornedal, using the poetics of religious horror, and the Polish thriller The Demon by M. Wrona, drawing from the tradition of the national drama as defined by Wesele [The Wedding] by S. Wyspiański and its screen adaptations and travestations.
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The article concerns with still not well-known part of the artistic work of Zdzisław Beksiński (a famous photographer, painter and graphic designer). In the 1960s the artist was occupied with literature as well. He wrote short prose which reflected many modern literary fashions and trends, and even anticipated some of them. In his literary works Beksiński was especially influenced by the suggestive aesthetics of the onirism, geometric architecture, and anti-Utopian novels. Sometimes, his narration refers to modern pop culture: the technique of film or the convention of comic strips; what is more, he applies the style of commercials and propaganda slogans. The artist from Sanokalso adored writing different variations of the same story which let him play with various genres and plots. But, whatever he did, it was all about the construction, the form. His literary texts record their narrator’s consciousness in a minimalist way, without any traditional literary frills. Therefore Beksiński unconsciously realized the idea postulated at the same time by Cortázar: each prose work should not be a “sum”, but rather a kind of “difference”. This prose substantially complements our knowledge of the whole art of Beksiński, a natural genius, and remains another alternative part of his creative activities.
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Još u antičko vreme književno delo je u značajnoj meri smatrano produktom božanske volje koja se putem medijuma (umetnika) objavljuje. Antičko verovanje u postojanje muza (boginja pesništva) koje nadahnjuju pesnika putem zanosa (sacer furor), zagovaralo je ideju o božanskom poreklu i izuzetnosti pesničkog dela. I Platon je verovao da muza nadahnjuje pesnika bo`anskim zanosom, dok je Aristotel isticao pesnikov talenat i potencirao značaj veštine (tehne).
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A film about the love affair between the canonized last czar and a ballerina is finally bound for cinemas after months of debate.
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The paper intends to present only preliminary results of an extensive study. As such, the paper attempts to systematize the aspects of body discourse in the film. The analyses of the presentations of body and the relationship towards them is based on the sample of over 1000 films.The analysis encapsulates all the most significant achievements by covering all the films classified as cult films. Cult films determined the culture of the time in which they originated either as a product of the culture or as direct or indirect modelling of the culture. Films that are not on the official list of cult films of the world's cinematic heritage are also included as being highly ranked by the public. Furthermore, it is evident that such films played a noticeable role in shaping the body's consciousness and the way we perceive the physicality.The results of the analysis point to the existence of relatively clear categories of physical appearance in the film as well as confirmation of the tendency to reflect certain principles, receptions, understanding and physical fitness.
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The author explores main subject of Kaja Silverman’s diverse ouvre. The theoretician combines linguistics, psychoanalysis, feminism, philosophy, art history and film studies to focus on a concept of a subject, with special interest for a feminine subject. Silverman promotes a concept, that signification cannot be in any way separated from a subject and cultural system, which generates it.
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In this essay the author discusses Cinema in the work of Witkacy, particularly its absence. He refers to many of Witkacy’s Western contemporaries as being fascinated by this increasingly dominant 20th Century medium, which Witkacy seems to have ignored despite his interest and participation in a wide range of modern aesthetic practices including painting, photography, mass produced portraits, and theatre. Part of the explanation for this, it is suggested, may lay in the relative underdevelopment of cinema in Poland prior to World War II; most of the local cinema produced was in the form of highly conventional romances, with an avant-garde cinema only developing towards the end of Witkacy’s life. The author continues to present a very succinct account of how Witkacy’s work has been transmuted into the medium of Film and Television.
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The position of Polish film after 1989 has significantly deteriorated. Previously admired and respected, Polish cinematographers are now battling against a profound crisis – a creative one, but also a financial one. In the meantime, American films, i.e. Hollywood films, dominate in European cinemas. And as, according to Lawrence Venuti, a translation strategy concerns also the choice of texts to be translated, this is the point in which translation commences. Therefore, why do the majority of films selected for translation by European distributors come from Hollywood? Since the 1980s, a period of extraordinary prosperity for Hollywood, and a period of crisis for the European cinema, the manner of perceiving of motion pictures has changed, and that, in turn, has changed the balance of power in the world cinema. We shall briefly present those changes and factors that influenced them, and shaped the current situation. In order to better illustrate it, we shall base the presentation on Zohar’s polysystem theory. This situation influences the position of Polish cinema: recognized and appreciated for its artistic value in the period between 1950s and 1980s, despite censorship, and now – a marginal phenomenon, which may seem surprising, even paradoxical. We shall attempt to demonstrate also possible explanations for that situation. At the end of our paper, we shall briefly comment on the status of the television, which is slightly different than that of the cinema.
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The article is devoted to an important aspect of modern aesthetics – intertextuality, which is discussed on the example of film adaptations of Russian classics. Adaptation is considered in the framework of literary-scientific reflection on “translating” verbal text for the audiovisual channel. Procedures connected with intertextuality and game-based technologies are subjected to interpretation in the context of contemporary cinema’s avant-garde artistic searches.
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The autobiographical documentary has a number of elements which resemble those of a reality show. Such documentaries can be considered to be young directors’ responses to this TV genre and its celebration of voyeurism. The purpose of this article is to outline the similarities and differences between these two genres. The article consists of four parts: the first discusses the essence of the autobiographical documentary, the second focuses on the reality show, the third analyses the movie Moje dwadzieścia okrążeń by Łukasz Konopa, and the fourth is a summary of the considerations made in the text.
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The article aims to present the experience of the selected cultural institutions (Polish arthouse cinemas and theatres) in customer value management. The value for customer is the foundation for building a competitive advantage in the market dominated by popular culture. The empirical basis of article is a survey conducted in 2014 among managers employed in these institutions. The studied niche cinemas and theatres differentiate the benefits provided to customers, design a deal that has the potential to accumulate values and combine traditional and modern tools of marketing communication. At the same time, they too rarely include the customer in the co-creation of value. They also do not use the full potential of cooperation with external organisations. The findings may provide inspiration for the surveyed institutions to improve their skills in the managing of customer value. This is research article.
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Issues related to the eroticism frequently appear in the media and this is the context in which the authors of the following text concentrated on a closely related and yet opposing matter. They decided to ask about the broadly defined chastity and the purity of heart, mind and body (the terms chastity and purity,as well as unchastity and impurity, shall be used interchangeably). How is this topic presented by the contemporary media? Simultaneously, they ask how the issues related to the lack of such purity, e.g. in the physical context, are treated by the media.The authors made an attempt to explain this by presenting a comparative analysis of two films they chose as serving best for their purpose. The first is 50 Shades of Grey, directed by Sam Taylor-Johnson, and the other Caroline,directed by Dariusz Regucki. During the first stage of this research of notions and chastity and unchastity have been defined, on the basis of the proper reference books. Next, the chosen movies were analysed thoroughly, in order to define the true look of the purity and impurity noticeable in both movies – in their activities, as well as in the behavior and dialogues of the main protagonists. The third stage of the research assumed creating a synthesis of the material achieved on the basis of analyzing the two pictures. At this moment it became possible to present the conclusions, pointing out, first of all, that the media are rather poorly interested in the subject of chastity. However, this inspired the authors to drawing other conclusions in the form of the postulates, concerning how the media presents the subjects of purity and impurity
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Fantasy literature has enjoyed a vast increase in cultural prominence in the last quarter-century. What was once considered a marginal genre of scant literary merit is now enormously popular, enjoying huge sales and steadily increasing critical respectability. This change is partly due to the fashion in the early years of this century for cinematic adaptations of fantasy novels. Film “franchises” such as The Lord of the Rings and Harry Potter sold tens of millions of tickets apiece and prompted sympathetic reappraisals of their source material among both popular and academic audiences. Though this trend seemed to have run its course by about 2010, the television show Game of Thrones (2011-present) appears to have taken it to a new level. After six seasons the show continues to break ratings records and seems likely to be remembered as part of the zeitgeist of this decade. This success has naturally prompted renewed interest in George R.R. Martin’s A Song of Ice and Fire, the series of novels on which the show is based. Recent editions of Martin’s books have become runaway bestsellers and the forthcoming installments will no doubt do the same. Martin has also become a success with the critics, who praise the complexity of his characters and the moral depth of his work. Long-time readers and scholars of fantasy obviously welcome this.
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This paper illustrates which themes were used to present terror problem in the movie through the discourse and semiotic analysis and the effects of that the movie was made in Diyarbakir are examined. As the results of the analysis, in the movie there is a hegemonic conspiracy discourse that the terror incidents in Turkey have been caused by foreign countries; the movie focuses on the external links of terror problem and their collaborators in the country,; the economic, social and political problems were mentioned only implicitly, hence the problem is isolated from its context. Additionally, it is discovered that Diyarbakir enhanced the visual and esthetical features of the movie with historical and social features, especially the folkloric songs in Kurdish and Turkish strengthen the emotional aspect of the movie as well as the brotherhood messages among the people.
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The struggle between good and evil, darkness and light is one of the most common themes from ancient narratives onwards. In modernization period, comparison of teacher-science representing the good, and religion and imams representing the evil, had had always a great relevance in Turks literary works as in Western literary works (In the novel Vurun Kahpeye, teacher is a woman and it makes the comparison and contrast even sharper.) Halide Edip’s Vurun Kahpeye is a novel featuring the struggle between good and evil, darkness and light. Some similar works who has similar beginning points have a relevance in new forms and new narration techniques, today as well. Cinema can also be evaluated as one of these new techniques. "Vurun Kahpeye" has been filmed with this new narration technique. In other words, it has been approached with the potentials of cinematic language which is one of new narration forms. However, these different versions have several differences in terms of its approach to religions and imams. Even they are different from the original novel in these terms. One version of the film directed by Lütfü Akad(1949) had got reaction from conservativereligious people while the film directed by Halit Refiğ(1973) had been more tolerated by the same circles. Muslim stereotypes before the Halit Refiğ’s film, had been told as horrible, reactionary, zealots. However, Refiğ added Ömer Efendi character in his film that represents the good Muslim figure, besides the Fettah Hoca representing zealots. Message is evident: Islam is not comprised of zealots like Fettah Hoca, there are people like Ömer Hoca. In other words, religion phenomenon will have a place only as allowed by the enlightenment of science.
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This article analyzes the spectator practices as they relate to the strategies of auteur cinema.Traditionally, the viewer experiences in the film are discussed in the context of engagement and clinging. The author tries to actualize a different perspective, associated with the specifics of the contemporary art Cinema – a situation of emptiness, lack of events, in which the audience is bored in the cinema hall. Therefore, the article attempts to justify usage of the phenomenological and ontological philosophical language for film analysis through thematizing the cinematic experience.The specific method is phenomenological reduction, embodied in the act of contemplating the cinematic experience as a phenomenon. Heideggerian analytics of boredom sentiment and the direct experience of contemporary cinema are fundamental for this article. The analysis of Bela Tarr’sfilm “The Turin Horse” demonstrates that the film can cause boredom by means of its unique time technique, as it requests the viewer to remain in its not-clear-how-much-lasting time for excessively long. The viewer finds oneself put in the position of extreme aesthetic, where one is to contact with the film in a blank way, by no means. The viewer is passivated, experiencing the movie through every moment of the present, embracing the film “as a whole”. Due to the long time, through lack of sharpness of thought the bored is both detached and involved. By means of non-public, personal passivity, the viewer is immersed into the cinematic and, therefore, focused on the film “as a whole”,but still dispersed towards putting together the grains of the film: its details, repetitions of everyday situations. Therefore, it is not through reflection, but through the location in the event and affect,through questioning, that the viewer gets closer to the meaning of the film.
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