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Wojna kinematografów
Pola Negri, who was involved with the UFA production company in Berlin at that time, participated in the fundraising for the plebiscite.
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Pola Negri, who was involved with the UFA production company in Berlin at that time, participated in the fundraising for the plebiscite.
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This article presents the main features of youth culture and offers a lot of examples to illustrate the ways in which teen spirit expresses itself: music, fashion, personal experiences and literary representations. The four major concepts implied by personality modelling – exploration, becoming, maturity and sufferance – are defined and exemplified by some forms of expression that are specific for adolescents: a diversity of music genres, linguistic innovations, fashion styles, etc. The main conclusion of this article is that each of these stages in young people’s development leaves its mark on their personality, as well as on the entire generation they belong to.
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The article describes the features of creativity talented filmmaker who turned to the theatrical tradition of Japa-nese theater "No" borrowed some theatrical techniques that have been handed down to them on the screen, an empha-sis on the relationship between theater and film through the prism of Shakespeare's literary heritage and drama which affected the work of the outstanding Japanese filmmaker Akira Kurosawa, who gave the works of Shakespeare his per-sonal interpretation of Japanese cinematic version.
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The article compares contemporary films based on motives from fairytales (Shrek, Tangled, Maleficent, Frozen) to the Brothers Grimm's originals. It demonstrates that the way storylines and morals are presented in these films is not beneficial either to the old fairytales or the modern viewers. The transformation - through the addition of a psychological dimension to archetypal images such as the witch and the monster; through undermining and irony of the fairytale world; through reshaping of the good and bad characters - denies modern young viewers the ability to find answers and consolation which fairytales traditionally offer. The changes in content and the psychological effects from that process are analysed through Bruno Bettelheim's psychoanalytical framework. The article concludes that the described trends facilitate commercialisation and merchandising, and aim to turn modern children into consumers at a young age.
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It is necessary to discuss our understanding of films with religious themes or of religious films, from the Ottoman period to the present, by categorizing in itself. Since the first Ottoman film about the demolition of the San Stefano monument, directed by Fuat Uzkınay on November 14th, 1914, religious feelings have been represented together with national, historical and cultural feelings and values, beyond being a mere ideology. Starting with the Republican period, new mentalities and values emerged. Thus, we are confronted with fundamental changes in the understanding of the Turkish Cinema. In the first period between 1923 and 1950, the founding philosophy of the Turkish Republic and the dominant ideology of the single party period had a distinctive outlook in the understanding of religious and cultural films, as in all spheres. This period is called “The Period of the Private Production Companies”. The constant theme or the main theme of the religious films, which had very few examples until the 1950s during the multi-party period when the Democratic Party was in power, was the ridicule of religion, religious leaders and values. The unchanging characters for religious leaders, preachers and devout Muslims were portrayed as ignorant, unwise, narrow-minded, uncultured, quack, opportunist, dishonest, amulet seller, and exploiting the dead. From the beginning of the 50s, this understanding would change to some extent. The understanding of religious themed films in the Turkish cinema would gain a new momentum in the 60s, and from the 70s on, many more examples would emerge. The embargo and isolation policy applied on Turkey during and after the Cyprus Peace Operation; consequently, the revival of the religious and national feelings, and the government’s efforts in this direction induced a significant increase in the production of religious themed films. However, the 80s were like an interregnum not only for the religious films, but also for the intellectual films that reflected ideas apart from the dominant ideology. During the 80-90s, when Цzal was in power, as color televisions and private televisions came into our life, the religious film market livened up, and religious films were produced with higher qualities compared to the past. This period may be taken as a new beginning for the understanding of national and domestic cinema. Especially from the beginning of the 2000s, although the producers backed up by the religious foundations, associations, or the state considerably raised the quality, unfortunately, they have not reached the desired and expected level, yet. As a former administrator and expert in the Ministry of Culture, I believe that some problems are primarily required to be solved for the international quality in the production of religious films. The insufficiencies of technical infrastructure, of qualified personnel, of good actors, of educated and questioning audience, and of active consultants are the most significant problems of the present religious film sector.
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Product placement is a marketing approach for integrating products or services into selected media content. Studies have shown that the impact of advertising on children and youth are large, and that it can affect their preferences and attitudes. The aim of this article is to determine the existing level of product placement in cartoons that are broadcast on Croatian television stations. Content analysis of cartoons in a period of one month gave the following results: in 30% of cartoons product placement was found; most product placement were visual ads, in 89%, however, auditory product placement and plot connection was also found. Most ads were related to toys and it is significant that even 65% of cartoons are accompanied by a large amount of products available on the Croatian market. This is the result of two sales strategies: brand licensing (selling popular cartoon characters to toys, food or clothing companies) and cartoon production based on existing line of toys with the sole aim of making their sales more effective.
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The article presents the making of the first documentary film depicting the traumatic events of the anticommunist uprising in Poznań in June 1956 as well as the difficult fate of the documentary after it had been completed. Its authors, Tadeusz Litowczenko and Mirosław Kwieciński, composed their Poznań 1956 (1981) of two interwoven narrative lines. Archive photographs with off screen commentary make the first narrative line while cinéma-vérité-like interviews with the participants of historical events make the other. The film analysis is aimed to underline the formal means employed in the film to present the opposing sites of the conflict. It also focuses on the historical context from the times when film was being made in the so called ‘festival of Solidarity movement’ in the early 1980s.
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In comparison to other theoretical orientations of recent years, postsecularism does not seem to off erfavourable conditions for studying Polish culture. The possibility of transferring postsecular literature studies (J. McClure) to the field of Polish literature may seem disputable; the hitherto taken attempts, briefly presented in the article, show that as a potential “cornerstone” of new readings in Polish literature, postsecularism has been rejected. Presenting potential benefits which could be yielded by adopting postsecularism as a foundation for an alternative history of selected phenomena within modern Polish culture (chiefly literature, but also cinematography, visual arts and music), the author points at research problems whose complexity and importance can be revealed only by a failure which threatens each attempt at formulating a holistic history of literature and culture. Those research problems include: the intrinsically non-religious uses of religious language in literature; the diversity of poetics of profanity and blasphemy, the role of Communism in literary texts using the language of religion, the performative and political character of literary theologies of the Communist Poland; and secularization of the West as the topic and context of Polish-language literary texts.
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The paper focuses on the experimental work of Stefan Themerson (St. Francis and The Wolf of Gubbio or Brother Francis’ Lamb Chops, an Opera in 2 Acts, text and music by Stefan Themerson, drawings by Franciszka Themerson, De Harmonie – Gaberbocchus Press, Amsterdam–London 1972) and the question of intermediality in general. An interpretation of the ‘semantic opera’ (written in 1954–1960, as a continuation of Semantic Divertissements [1962] and factor T [1956]), places Themerson’s idea in the context of the aesthetics of intermediality. The author signals a terminological confusion connected with the understanding of St. Francis and The Wolf of Gubbio (semantic opera; hybrid work; intermedial work, etc.) and argues that the aesthetics of intermediality appear to be an important and inspiring context for the interpretation of Themerson’s text and life. In this case, considerations on the subject of textuality show, on the one hand, different relations between literature, painting, music and theatre (artistic intermediality), and, on the other, the phenomenon of intermediality as the aesthetics of existence.
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The motif of the apocalypse has fascinated mankind from the very beginnings of oral history and is present in various myths and religious traditions, finding its expression in the art of all time periods. Even today it hasn't lost its grip on human imagination. In modern Islamic contexts, the phenomenon of the apocalypse incorporates anti-western ideologies, which reflect, to a large extent the socio-cultural heritage of former anti-colonialist struggles, as well as the anti-imperialist attitudes which are present in a large number of contemporary Muslim societies. When paired with apocalyptic narratives, these notions can lead to negative essentializations of so-called "western morals and ethics", which are subsequently interpreted as a clear sign of the End times. Aside from the wider consideration of the symbolism of Islamic apocalyptic narratives, the paper will deal with a critical analysis of the visualizations of the Signs of the Last Day books by religious author Hayrun Yahya, who considers the topic of the apocalypse, as presented in the Koran and hadiths, in an affirmative light. We will attempt to puzzle out why the textual version of Signs utilizes certain quotes from the hadiths, while other, equally relevant quotes are avoided. We will rely on the so-called "interdiscursive" aspect of the enclosed quasi– documentary film, or rather, the heterogeneous elements which make up its audio-visual "text". This analysis should uncover the ideological notions behind this specific instrumentalization of scripture for the aim of religious, cultural and moral critique of contemporary (both Muslim and non-Muslim) societies; however, we will also attempt to point out the multifunctional idea – suggested to the viewing/reading audience of apocalyptic narratives – that Judgment day is near, and can come around at any moment.
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Teza: Głównym celem artykułu jest przedstawienie i analiza sposobów przedstawienia zjawiska szaleństwa w kulturze popularnej.Omówione koncepcje: Wyróżniłem dwa częste sposoby obrazowania szaleństwa w dziełach kultury popularnej: rozumienia szaleństwa jako niedopasowanie społeczne oraz wykluczenie społeczne. Zasygnalizowałem, że gry komputerowe są i powinny być ważnym celem badań. Oprócz tego dokonuję rozróżnienia terminów „chory psychicznie” i „szalony”.Wnioski: Nie istnieją oczywiste kryteria, pozwalające na scharakteryzowanie czym jest motyw szaleństwa w popkulturze, mimo to da się wyodrębnić najczęstsze sposoby przedstawiania tego zjawiska. Gry to medium prężnie rozwijające się, w którym tematyka szaleństwa jest silnie obecna.
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This research paper has got two aims. The first is related to the idea by Wolfgang Iser, that is the so called medial turn which has dicplaced literature from the central position in the cultural paradigm and transformed it to media equal to all the other forms of it. Analysis of the novell „Mi kais ateina ruduo“ by Marius Katili kis is linked to the idea by German cultural theorist Oliver Jahraus about literature as the media system, which allows to interpret literature as a part of the theory of a modern subject. In this way literature has been restored to the dominating position in culture. The second aim of this research paper is to analyse an encounter of the tradition with the different technological linguistic, acoustic and visual media in the novel by Marius Katilikis, to show a reflection of human being in the mediated reality, which seems to be for the first time so consistently accomplished in the whole history of the Lithuanian critical thinking.
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Today’s theatrical art sometimes utilizes modern electronic technologies of visualisation that may be, especially if we use a certain amount of simplification, generally defined as “video”. This kind of technology consists of acomplex set of devices: shooting cameras, recording devices, trick equipment, broadcasting devices, screens. Theatrical mise en scènes once used to involve film; however, mostly before the emergence and refinement of digital video technologies. It is beyond any doubts that compared to film, video has many advantages – one of the most significant of these advantages is the fact that video technology allows to provide simultaneous online streaming of both image and sound. In case creators and producers of a theatrical mise en scène decide to use such a technology, they tend to favour it over the theatrical elements, which may lead to a shift from mimesis towards virtualisation of the performed spectacle. On the other hand, classic theatre, along with its long-term tradition and solid forms, is a strong, persistent sphere of art; even the video is rarely able to prevail and change the scenic reality into a virtual, abstract electronic world. We have decided to discuss these theoretical notions in relation to the theatrical mise en scène Fanny and Alexander by Ingmar Bergman, which was directed by Marián Amsler and performed at the Slovak National Theatre in 2016. Our analysis reflects on the forms of hybrid convergence merging theatrical art and video art in this particular case. However, as the conclusion suggests, video art and its technological possibilities may have influenced the mise en scène’s overall setting, but the given theatrical workwas able to preserve its own integrity without sacrificing any part of the true nature of theatre as such.
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The anthropology of seeing is discussed in the article which focuses on the interdisciplinary approach in the studies of visual culture. The works of French researchers (Alain Mons, Alain Gauthier, Marc Augé and Règis Debray) are considered and visual communication of television is analyzed by the author. The anthropological point of view pays attention to the perception of visual image and reveals how audio-visual communication acts on the regard and the practice of looking. The article discusses the practices of looking and the effects of television, the specificity of moving images and the changes of regard in contemporary society and culture. The visual communication of television as an everyday life ritual practice proposes to the society an actuality and infuses it with the “real effects”. The informative image causes changes in perception, regard, mental life and artistic life. It also stimulates discussions about visual identity.
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Sarah Ruhl‘s adaptation of the Woolfian text inscribes itself, as well as its predecessor (Sally Potter‘s screen adaptation of the same novel, Orlando: A Biography), in a very important historical context for the modern woman, i.e. the Women‘s Liberation Movement and the empowerment of women characteristic to the 1990s. Woolf, herself a feminist, provides the perfect text for the manipulation of her feminist views into even more powerful feminist messages widely displayed, in this particular case, by means of cinema and theatre. Thus, in an attempt to identify the hidden politics involved in the process of transformation, the present paper sets forth to investigate how and to what extent the manipulation of meaning takes place.
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The paper brings forth the issue of the relevance and/ or contemporaneousness of Shakespeare‘s plays for the twenty-first century audiences. It scrutinises the impact that the globalized contemporary means of mass communication have had on the Bard‘s work by considering phenomena that Richard Burt calls Shakesploitation or Shlockspeare, which have been introduced on the film market by the Hollywood film industry. In addition, it looks into the problems related to the authorship of all these adaptations, given the numerous (ab)uses that the Shakespearean texts have been subject to lately.
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The article considers the fantastic idea of some mythological king of the world and its presentation in medieval and modern literature and modern visual art. The medieval literature is represented by the treatises of Thomas de Cantimpré and Joinville; the books by Ferdinand Ossendowski, Roerich, and James Hilton represent modernity. The movie by Frank Capra and Mikalojus Konstantinas Čiurlionis‘s painting Rex represent the examples of modern visualization of the idea.
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Research background: In order to achieve systematic development and growth of creative industries, instead of its being a random process, effective cultural policy tools need to be implemented. This task is greatly burdened by the fact that creative industries are a heterogeneous concept. Evidence suggests that indirect state aid is one of the most effective ways to stimulate growth and development of audiovisual segment. Lithuanian indirect state aid case suggests that there is still a great deal of confusion and misconception with the implementation and exploitation of this tool.Purpose of the article: To analyze how effectively indirect state aid is constructed to stimulate growth and development of the Lithuanian animation industry.Methods: This paper uses two methods to gather data. The first one is a quantitative questionnaire design to evaluate the overall situation of Lithuanian animation industry. The second method involves qualitative semi-structured interviews to collect specific data about Lithuanian film tax incentive from representatives of government institutions that administrate local fiscal incentive scheme and representatives of audiovisual industries.Findings & Value added: Results show that although Lithuanian film tax incentive can be considered as a successful cultural policy tool that brought a noticeable inward investment to the local film industry and economy in general, it had no positive effect on the local animation industry. The gathered evidence suggests that indirect aid tool should be constructed with more of surgical precision for each industry, rather than a fit-for-all cultural policy tool.
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The paper provides critical analysis of the latest wave of Russian national cinema (2005-2013), considered one of key instruments of Vladimir Putin’s nation-building cultural policy. The analysis, focused mostly on historical film and war film, reveals the concept of an ‘imperial nation’ as the main concept underlying this policy. The new Russian nation-concept is calculated to binding elements from two former Russian imperial traditions: tradition of the Russian Empire and the Soviet tradition, thus trying to overcome the identity crisis in contemporary Russia.
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The aim of the article is to analyse representations of genetic engineering in chosen science fiction films: GATTACA (1997), The Island (2005) and Never Let Me Go (2010). In the first section of the article, the author delineates the emergence of the concept of ‘biotechnology’ and the moment of its identification with genetics and molecular biology. In the following, she draws attention to sociocultural functions of genetics and the dynamics of forming public understanding of the scientific subdiscipline. In film interpretations, the author focuses on genetic engineering technologies depicted and the ethical issues raised by the depiction. She argues that science fiction creates images of the future immersed in the past and the present; and that science fiction should be recognized as an important space of negotiating the meanings and roles of genetic engineering; both reflecting and shaping the public concerns on the rapidly expanding domain of biotechnology.
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