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Episodic television drama is currently one of the most popular, profitable and variable forms of audio-visual media production. The author of the study focuses on its ability to appeal to people preferring ‘traditional’ modes of reception as well as to media audiences that spend a lot of their free time in the virtual world. New trends in production of dramatic television series and serials refer to importance of multimedia distribution platforms and fully acknowledge social networks as communication and advertising channels that are capable of actively encouraging the emergence and evolution of so-called “institutionalised fandoms”. The text aimsto offer a set of theoretical outlines related to post-television era, placing emphasis on “brandcasting”, a term that has been developed in order to thoroughly reflect on processes of television branding which often resultin hybrid communication forms merging media content and promotional material. The author also focuses on specific modes of producing, distributing and consuming episodic television drama in the context of so-called “over-the-top” television (OTT TV) or rather “connected” television. The addressed development tendencies are explained through an analysis of successful cooperation between two popular entertainment brands (Marvel Television and Netflix) that is built upon the contemporary ‘boom’ of superheroes and their stories. A basic assumption here is that television drama serials produced by Marvel and exclusively distributed by Netflix can be seen as hybrids of content and promotion which significantly expand Marvel’s global popularity and Netflix’s increasing influence in the sphere of digital media production and distribution.
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The Beat Generation is deeply rooted in the message of the American Transcendentalists. Therefore, tradition is present in a subtle way even in the literary-artistic movements. Counterculture is not similar to underculture – and therefore it is quite natural for it to include a tradition which clearly moves away from the mainstream.
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Assia Djebar is among the contemporary woman writers, who mark both Algerian and French literature through her works that deal with the changing station of Algerian woman during the history of colonialism. Djebar, who is also Algerian, turns towards authoring since she is troubled with the situation that Algerian woman are in. She aims to be the voice of silenced woman of her country by narrating the sensations and thoughts of Algerian women through the medium of her novels, short stories, poems and films.Algeria, which is characterized as a conventional society, is averse to becoming contemporary, urbanization, industrialization, individualization, technological advancements and innovations. This society that is attached to tradition blindly, enforces the individuals to live in the direction of determined boundaries. Hence the customs that are inherited from generation to generation, cause women to lapse into silence by defending that men are predominate to women. This situation of Algerian woman undergoes a drastic change with the arrival of French colonialists to their country. During the early times of colonialists’s settling into Algeria, Algerian women become more introverted because bad attitudes of the settlers frighten them. But then over time, the statuses of women who have the chance to observe the French and who take sides with men in Algeria’s resistance against colonialists, begin to improve positively. Consequently, Algerian women’s changing statuses in the processes of colonialism, revolt and Algeria’s independency will be scrutinized in this study through Assia Djebar’s novel named as La Femme Sans Sépulture and film called La Nouba Des Femmes Du Mont Chenoua.
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The documentary film Archiwum istnień tells the story of research by Nazi anthropologists searching among the population of occupied Poland for representatives of the Aryan race. In her film, the director makes use of archival materials from World War Two (above all, photographs, propaganda film chronicles and letters). Not only does Justyna Łuczaj-Salej incorporate the above into the cinematographer’s box of tricks, but most of all, she exploits them counter to their authors’ intentions, thereby initiating a process that de-contextualizes and re-contextualizes these archives in a deconstruction of the past.
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This article deals with the mechanisms that affect film production in a society with radically shifting socio-political, economic and cultural conditions, in conflict socio-political context in Bosnia and Herzegovina (further Bosnia or BiH). Its focus is on the mechanisms that support, manage, regulate, and control creativity in film production, how they shape the conditions in which the films get made.
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This article provides an overview of the recent trends and problems of Hungarian popular cinema with special regard to its cultural context outlining the process of recognition of popular cinema over the past twenty years in Hungary. In general Hungarian cinema is characterized by middle-range genres (dominantly comedy) and not by a large scope. This was the case in the 1930's and 1940's during the ’golden age’ of Hungarian comedies and popular cinema. And this typifies contemporary Hungarian popular cinema as well. However, the first decade after the political changes, the 1990's was characterized by a return to the tradition of the classical Hungarian comedies and only the 2000's brought the modernization of Hungarian popular cinema.
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Medialized way of perceiving and continual stuffing of reality with moving images have substantial impact on viewer’s perception, and thus on the interpretation of cinematic work. We cannot create contemporary cinema without understanding changes that the film and audiovisual audiences currently undergo. Contemporary audience has become nomadic more now than ever, and the spectator takes part in a grand spectacle that shapes their identity.
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The purpose of the work. The study focuses on television advertising as a special form of audio-visual products. The author studies audio-visual promotional videos, their classification and the specificity of their creation process. The methodology of research consists in using methods of observation, analysis and theoretical generalization of the data on the practical activity in the field of audio-visual art. In particular, television is one of the renderers of commercials and the most effective methods of address to a consumer. Through a combination of sound and image with directional effect on the viewer, the television provides great opportunities to influence a consumer effectively in a short period of time during the viewing of various television programs. Scientific novelty. The research has studied Ukrainian advertising audio-visual works as cultural product of modern Ukraine. It has analysed the art of creating of audio-visual commercials and has revised the variety of audio-visual advertising pieces. Conclusions. Modern economy and society cannot exist without advertising. Video advertising was not considered the subject of scientific studies until recently, because they did not see any signs of a cultural product in it. The video is a new kind of artistic audio-visual production – an audio-visual mini-masterpiece, a short film, which briefly and clearly transmits the main point of advertising message. The author proves that the process of advertising development is turning into an art form, and promotional videos – into little masterpieces of audio-visual art.
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Łódź is often called “the capital of Polish film”. The cultural history of this town from the end of World War Two to the present day is closely connected with the movie industry. Marek Hendrykowski’s study on Łódź as a cinematic city offers the first comprehensive critical guide to the many films, interviews, published writings and individual memoirs of the Film School’s students and professors. This panoramic view presents the process of the historical transformation of cinematic images from Łódź between 1945 and 2013, as well as the profound influence this town had on many filmmakers. It serves as a reference work that will allow readers to navigate the subject’s wide range of examples: from Antoni Bohdziewicz, Jerzy Bossak, Kazimierz Kutz and Andrzej Wajda to Krzysztof Kieślowski, Wojciech Wiszniewski, Janusz Kijowski and Polish filmmakers of new generation.
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The article focuses on the relationships between high culture and popular culture in relation to film music. To this end, the author conducted a thorough analysis of the works of George Gershwin used in Woody Allen’s film Manhattan. The article consists of two parts and a conclusion. In the first part, the author presents a brief history of the continuous grinding together of high and popular culture in music, resulting in symphonic jazz, which came about in the 1920s, and whose precursor was George Gershwin. The second part is a cinematic and musicological analysis of all the works of Gershwin appearing on the soundtrack of Manhattan, and an attempt to find associations between the director and composer. In conclusion, the author notes that the phenomenon of mixing of popular culture and mass culture (both on the music, as well as its use in the work of the film) is subordinated in both George Gershwin and Woody Allen’s work to attempts to find their own identity, and one of the sources of inspiration of both artists is the same New York City, which is a city-myth.
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This essay discusses three Polish films from the last 10 years: Bailiff (Komornik, 2005), directed by Feliks Falk, Edi (2002), directed by Piotr Trzaskalski, and Silesia, directed by Anna Kazejak-Dawid, which is the first part in the omnibus film Ode to Joy (Oda do radości, 2005) of which the two remaining parts were directed by Jan Komasa and Maciej Migas. The main methodological tools are the concepts of neoliberalism and bare life. The article argues that the fall of communism led to the neoliberalisation of Polish society and the production of bare life. The aforementioned films attest to these changes and offer an assessment of them which conveys a specific ideology. By focusing on the construction of their narratives and characters, the article attempts to establish its main features and offer its explanation.
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The author of the essay considers Leszek Wosiewicz’s Kornblumenblau as a film about art and focuses on the self reflexive elements present in the film, particularly those referring to film conventions. This analysis examines the film in the context of the reflections about the meaning of art in totalitarian systems and situation of the artist in the reality of the concentration camp. Kornblumenblau depicts degenerated art as depriving of freedom and rescue, becoming another tool of oppression. Dehumanizing power of this art points at the final decay of man in the epoch of gas chambers.
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In the article the main aspects of using of innovations in art practices of modernity are analyzed. The author pays attention to the art of theatre, particularly its visualization, cinematography and electronic music. It is underlined that the important peculiarity of the modern art is the openness and its ability to combine the traditions with innovations.In the research the most attention is paid to interactivity of modern art as a means of active influence of a consumer of the fine culture on artistic work of art in specific spatial mode.However, the modern researchers of interactive art can not articulate a clear understanding and basic characteristics of this phenomenon. According to R. Ascot, an English art critic, researcher of innovative trends in contemporary art, the scientists tightly approached to the right understanding only in 1989 when the magazine "Kunstforum" and festival "ArsElectronica" attempted to understand the new artistic direction, and, as it turned out later, "finally and irrevocably brought him into the canon of Western art."Let’s consider more properly the features of the using of communication and computer innovations in modern network art. It is the most important feature of forming of a new space such as cyberculture.In the theater the virtual technologies have manifested the most clearly. An interesting art idea was the idea of virtual theater, which, at first glance, it is not so new as its author is considered to be A. Artaud, a prominent French film director and theatrical critic.In the 90-es of the XX century, The Research Institute of Virtual Realities of Kansas University implemented a series of performances using virtual realityIn 2010 S. Bezrukov, the People's Artist of Russia, launched a new project supported by STD – Russia's first internet-theater "Free Platform". Certainly, we provide various examples of internet technologies in theater, which show us a single thought that the Internet theatre is needed, at least, as a mean of communication. In addition, playwrights often include its ability to plot points, for example, Internet dialogues and other things are projected on theatre backdrops.The use of digital special effects has become a selected story in cinematography and was greatly realized in the movie "Terminator 2" (1991), which won the award for best sound and visual effects. Thus, D. Cameron’s film after "The Abyss" won the director award for "Oscar" for best visual effects again.The popularity of the latest computer technology is evidenced by the fact that all the films of "Star Wars" of the director not only gained the "Oscar" for best visual effects, but also it is planning to translate (all 6 episodes) in the 3D-measurement. Of course, we cannot mention the most recent movie box office of D. Cameron – "Avatar", the creation of which began in the mid of the 90-s.Digital technology has significantly affected the modern music, which also requires today the impact of interactive response from the audience. Thanks to the "digital" e-culture has arisen ("drum'n'bass", "chaos", "easy", "techno"), which has been leading in the non-academic music for four decades.The illustrative example of the combination of tradition and innovation is the admiration of the traditional Ukrainian culture of Oleg Skrupka, a leader of the rock band "Vopli Vydoplyasova". Oleg Skrupka combines folklore groups and rock bands, working with Ukrainian folk material (especially "VV", "Mandry", "Karpatiyans").At first glance, innovative art forms, using all means and possibilities of cyberculture, have just been opposed to traditional art. However, we can see the bucking trend due to the innovations the modern art has become more opened, and therefore it should to develop in the context of artistic quest as traditional as new – and to interact with them.Therefore, we can say that traditions of innovations in the artistic culture manifested in a close relationship, sometimes even promoting creative research to combine artists from different artistic fields, is becoming an important factor in developing its creative expression in the present. This analysis of modern relationships of innovative technologies with art, including theater, cinema, music, shows us that the artistic and aesthetic potential of new technologies are discovered partially. It allows us to say about inventions of new artistic practices in the near future.
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Intertextuality is accompanied with the conditionings of the socio-political history as well as the cultural and ideological indicators of every certain historical period. Considering the Turkish social history, it is possible to see these conditionings as ‘data of the same era’ in the relationship between literature and cinema. There are links between the Kemalist ideology, which had been one of the constitutive tendencies in Turkish political life approximately up until the 1980s and which takes the problematics of ‘progress, enlightenment and development’ as the departure point of its politics and the discourse of the ‘social-realistic’ literature of 1950’s. This discourse was reproduced between the years 1960-65 in connection with the New-Kemalist ideology in ‘social-realistic’ films, one branch of which is literary adaptations. This intertextual transfer from literature to cinema can be detected in Yılanların Öcü. This paper intends to associate intertextuality with the indicators and conditionings pertaining to the Turkish political life. To this end, firstly, it will focus on the fundamental assertions –peculiar to the Turkish political life- of the politico-ideological context nourished by this intertextuality, which are also echoed in the aesthetic culture. Next, Yılanların Öcü, both the novel and movie, will be analyzed in connection with the ideology and the fundamental assertions of the historical period they are shaped in with respect to a Bakhtinian perspective of intertextuality, which is based upon the interplay between different discursive genres materialized in a certain “historical period”.
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Fairy tale, re-born in every time it’s told and migrate from one land to another is a traditional oral culture product. However, the everyday life transformations in modern world also affected the context of fairy tales as we used to. Now tales are transferring from one generation to another not in a traditional way but mostly in written or electronic ways. When tales were immigrating rural to urban, the context of it also transformed. Because, the new context of tales is cinema in urban culture, this article focuses on rural-urban paradox by analyzing the movie Anlat İstanbul. Anlat İstanbul is a movie shown in March 2005 and about fairy tales and its heroes in İstanbul. Concepts like modernization, tradition, urbanization, cultural erosion will be discussed within the context of urbanization process of the oral culture and traditions over the movie Anlar İstanbul. In addition, depressions and failures of the fairy heroes will be explored.
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In this context, ideology of family, as a construction, identifies both what is “normal” family and also defines women’s position in private sphere. In addition to that the ideology of family makes a distinction among women and identifies “independent” women who has no family bonds as a threat to the institution of family. The main aim of this study is to understand the crises of family and how patriarchy is legitimised in the process of solution of crisis by analysing some examples of social realist cinema, which produced during the years between 1960 and 1965 in Turkey. Ideology of family has been reproduced by the representation of ‘tamed woman’ and ‘independent woman’ and the critics of bourgeoisie family. Sexual division of labour, motherhood, sexuality, and honour are used in order to understand patriarchy and ideology of family.
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Object the present study is the Bulgarian film industry, the subject of the analysis are the crises in its genesis during the transition. The main research hypothesis is that crises have a form of market and non-market failures, and are a reflection of the specificity of the product, the national cinema market and cultural policy during the period under review. And part of the defects are a reflection of the global crises of the emergence of new business models related to digitalization. In the course of the study outlined the paradox in the Bulgarian film industry: a serious economic contribution of macro level (value added, employment, number of firms), in combination with the instability of micro producer companies and monopolized and integrating markets of distribution and exhibition. As a result-limited access of the audience and the low efficacy of film production. Output from this harrowing development through crises are transformations-transformations to new business models through new sectorial policies
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In article discusses creative path of prominent Ukrainian filmmaker Sergey Parajanov who was producer-innovator of the twentieth century and artists of Ukrainian poetic cinema which left a footprint in the world cinema. Producer was a prominent representative of Independent art which was formed in Ukrainian during the political “thaw”. Parajanov received wide recognition as a producer in Ukrainian, Georgian and Armenian cinematography of his films include professional skill profound philosophical thinking, knowledge, of national folklore and music expressive language film. Poetry? Pictoral and musicality are imbued with all his films.
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The proliferation of digital technology requires from us to think about images in a new way. We should no longer refer to them only as Greek eikon, that is, reflection or representation, but as experiences, events and special kind of appearing. In contemporary digital culture pictorial appearing is the symptom of the most recent turn towards images, the one that is happening after the “original” pictorial turn that was described by W. J. T. Mitchell and Gottfried Boehm almost three decades ago as the epoch-making new kind of relationship between images and language. Today we witness a different kind of urgency: the one that will exemplify the relationship between analogue images and digital images, representations and post-representations, reality and virtuality, semiotics and phenomenology. In this article I will propose a “transitional” theory of the image that takes into account the wide gap between objects and perceptions, that is, between eikon and pure sensuousness. To this end, I will introduce the four basic modalities of pictorial appearing: temporality, transparency, mediality and referentiality.
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