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Theory of Mediamorphosen by Alfred Smudits looks at the revolutionary changes in the relationship between art, cultural creativity and society caused by the subsequently emerging mass media. On the basis of this theory the author traces in an academic manner some of the conflict points of the relationship culture - mass media in order to better evaluate the achievements of Smudits’ theory in media science.
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Is man capable of choosing his own direction of his fate? Since ancient times a number of philosophical and religious doctrines present controversial answers to this question. Today the newest forms and experiments in narrative art direct us at this problem. This is a result of the recent discoveries in technologies necessary for their creation. The digital revolution makes possible the materialization of the multi-linear dramaturgic model that allows the viewer/interactor to choose his own direction through the versatile narrative structure. Some of the masterpieces of world cinema have been created on that principle. Regretfully, in Bulgarian cinema such works of art are almost missing.
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The end of the century offers new visions of film reality. Both modern and postmodern structures exist on the global screen. Special attention is devoted to the problems of the audience – how is the global audience structured in this new reality, what are the relationship between author, audience, film market in the new global market. Defined are such terms as mass audience, distribution, etc. Some of the most recent world tendencies in film production are examined but attention is devoted also to the problems of the Bulgarian film production and film market.
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Praised or ignored postmodernism is a fact in cinema. The original contribution of postmodern film aesthetics is basic regarding form and structural know-how but one cannot deny the underlined, repeated interest of postmodern works for specific stories and problems. Among those one can outline such themes as manipulation, the power of mass media, alienation, our hectic life, the motives of the perfect race or the end of the world. Postmodern cinema shows a pronounced interest for them. And in spite of the fact that they cannot be classified as postmodern, they certainly are subjected to a determined postmodern interpretation in the cinema at the end of the 20th century.
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Jerzy Domaradzki started to work in Australia after his film “Wielki bieg” [“The Great Race”] had been presented at a film festival in Sydney. During those first years he had been mainly teaching at a film school, but after some time he began to make feature films and documentaries. The text examines the films he made in Australia, analyzing the way he selected characters and the problems he had in developing stories and images of people of different nations, cultures and times.
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The Polish reaction to Peter Weir’s film “The Way Back” (2010) was centred on a discussion about the credibility of its literary prototype, Sławomir Rawicz’s book “The long walk” (1955). The author of the article does not discuss this controversy; she prefers to concentrate on the adaptation that was chosen by the director, who combines different interpretations of the phenomenon of freedom in his movie. Weir’s approach can be regarded as transnational and such a perspective is suggested as a context for the interpretation of “The Way Back”.
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The article presents the summary of the 2015 season of Polish filmmaking. All movies mentioned in the article are chosen and described according to that which would be interesting for a foreigner or a person who studies Polish as a foreign language. The following films are described here: “Król życia”, “Chemia”, “Obce niebo”, “Demon”, “Klub włóczykijów”, „Panie Dulskie”, „Disco polo”, „Listy do M. 2”, „Moje córki krowy”, „Mur”.
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Bulgarian cinema developed during the totalitarian period an extensive film epos about the central myth of the communist Utopia - the myth of the so-called positive hero, determined to destroy the old world, and to impose a new social order. This myth, adopted from the Soviet culture as an element of the social-realistic aesthetic, had been modified on Bulgarian screen accordingly to national characteristics and reality changes. The Hero evolved from a Warrior to a Demiurge in several films, shot from 1950’s to 1990’s. Following the ideological transformations, he appeared as a Victim, Martyr and Saint of the Utopia, acting in narratives which shifted from the metaphor of ultimate combat to the allegory of a permanent fight. Bulgarian cinema had an ambivalent approach to the Hero’s metamorphosis from a rebel to a victorious ruler (the archetypal transition from a Warrior to a King.) The few films dealing with this conversion put queries to the opposition Utopian myth/social reality - therefore, in most cases, these works were disapproved by the censorship and their authors suffered political condemnation. The political changes in the 1990’s started a process of discrediting the Utopian Hero. The new Bulgarian films criticized exactly the Hero’s position of power and opened a discussion about the methods with which the Utopia had been imposed on society. Regarding the style, the most of these last decade films are still bound to a social-realistic aesthetic. Distracting the Utopian myth, Bulgarian film-makers simply reversed the opposition's of the totalitarian cinema and kept using the old formulas, stuffing them with opposite contents.
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Children’s film evinces all the elements of the processes of human individualisation. Children’s movies show key moments of the way worked up by or lying ahead for human consciousness. The issues of on-screen vision in contemporary children’s stories could be addressed in the light of receptive aesthetics, whose roots underlie various theoretical platforms (phenomenology, psychoanalyse, cognitive psychology, etc.). This methodology focuses on the meaning of the work, on the way in which the messages are generated, rather than on the analysis of the stylistic and aesthetic specifics of a movie; it does not search (as is the case) for the roots of a screen work in reproducing the fairy story, but rather accentuates the shaping of the meaning of the work itself, of the outcome of the process of its active perception and intercommunication with viewers.
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Media effects have been debated for decades. There is no doubt, due to their pervasiveness, that media is incredibly influential as a teacher of social norms. Moreover a lot of research has proven that the media is very influential in fostering stereotypical portrayal of femininity. This is because the media is seen to play a significant role in offering a socializing influence on the attitudes, beliefs and behaviours. Since it is generally agreed that children are most vulnerable to being influenced, the research has been done to analyze the messages being delivered through children’s cartoons, especially Disney films, which are a huge part of many childhoods. Although Disney movies possess positive messages and values, they are also responsible for the negative media messages being reflected by our society. Children assume from the films that women are supposed to be beautiful, skinny, and seductive, which may promote to children the self-image.
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