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The article discusses one particular film, “Man, don’t get angry”, with director Ivaylo Trenchev and script-writer Kiril Topalov. By analyzing published opinions and reviews as well as archival materials the author notes specifics in the functioning of the socialist mass media and traces out institutions and mechanisms for controlling the cinema process. These are mechanisms which affect the view/perception and visual re-creation of the world, the writing and talking, the thinking and attitude of the people in their different roles – (film-) makers, spectators and readers, journalists and reviewers. blicistically carnival. The reader of the novel and the spectator of the movie ejaculate with one voice: this is impossible be¬cause it is...true! From Aleko (Konstantinov) to Alek (Popov) – it‘s all true...
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Documentarism is a dominant gene in TV nature. The ‘participation effect‘ on the scene has been part of the immanent specifics of the e-media ever since their advent. It is believed to protect major civil liberties because of ensuring publicity to the processes going in the society and allowing for investigative journalism and media control. The development of technologies and media markets during last decades, however, established the phenomenon of the ‘reality format’, which, in its essence, is a transformation of documentarism into a popular entertainment, replacing its civil significance. This transformation is subject to an overview and analysis in this article.
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The Balkans’ Newest Film: Highlights in the Dialogue The text deals with films from Turkey, Serbia, and Romania made in 2013, showing new dynamics in their national film industries and the general stylistics of Balkan film. The most important trend in this respect is giving up on overexposing the local exotics and a categorical shift of the works’ focus from the social orbit onto the existential frontiers.
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In the paper the author analyses and presents through practical examples the use of storytelling as the bearer of the persuasion and change ideology. The course of usage is presented through its inception in film industry, mass media to virtual reality. The author has explained how storytelling became part of the panoptic view and participation in the hegemony of power in such way that it assures the rules for behaviour as well as the pedagogy of change. In this paper storytelling is presented as the memory keeper and bearer of strategic project because it possesses the power which cannot be manifested in the control and discipline but in the collective story and memory.
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Masada is an ancient fortress, which during The First Jewish–Roman War (66–73 CE) served as a refuge for the last bastion of Jewish resistance. In the first half of the twentieth century, the history of the Masada’s defenders was absorbed by the Zionist movement and transformed into a vital national myth, which became an important element of the identity and culture of future Israelis. The main purpose of this article is to show the deconstruction of the Masada mythical narrative made by Israeli director Joseph Cedar in his movie Beaufort.
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The eighteenth‑century English writer matthew Gregory Lewis wrote one of the most dramatic Gothic novels, The Monk; over 200 years later, a film of the same name appeared, based on the novel and directed by dominik Moll. The film, a free adaptation of the book, presenting the story of the moral downfall of the monk Ambrosio, has inspired us to philosophical re‑flections on sexuality, carnality and physical desire. In the context of these issues we have attempted to analyse and interpret this cinematic work of art. The method we have adopted is based on a thorough discussion on the topics developed in the film and related issues. This method, while not pre‑tending to scientific objectivity, enables us to outline an interesting field of research as well as to identify a number of theoretical problems and ques‑tions which remain open.The formula we have adopted is to quote lines from the film The Monk which permit the analysis of selected issues related to sexuality, carnality and physical desire. Moreover, these quotes serve to order the text and en‑able the precise identification of interpretive trains of thought.
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In 2012, the Slovak cinemas screened award winning Iranian film A Separation, with numerous awards from international film festivals, among others American Film Critics Award Golden Globe and American Film Academy Award for foreign language film, Oscar. It was the first ever Oscar awarded to an Iranian film and the first Iranian film in our distribution. Last year’s Cannes Film Festival premiered Farhadi’s latest film The Past, which follows the theme of family relationships in crisis. Along with the film About Elly from 2009, these films offer an extensive insight into the internal affairs of the society, seeking a balance between the requirements of theological state and pressure of modernization and secularism on the needs of everyday life. The content and dramaturgical structure of these stories additionally refer to artistic constants such as Persian poetic tradition and Islamic mysticism, and thus bring distinctive features into the concept of European approach to relationships among the people.
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A collection of studies, essays and memories Jacques Copeau hier et aujourd´hui (Jacques Copeau Yesterday and Today), dedicated to one of the key personalities of 20th-century French theatre, Jacques Copeau (4 February 1879 – 20 October 1949), is not a common book publication in our cultural, theatre and scholarly context. It was initiated by the Slovak editor and author Miloš Mistrík and issued in French as a co-edition of VEDA, the publishing house of the Slovak Academy of Sciences, and Editions de l’Amandier based in Paris. It includes contributions by experts from six countries and three continents. The international team of researchers describes many aspects of Copeau’s legacy, which seem highly topical again today. As a bonus, the publication contains a play written by Copeau’s disciples Jean Villard Gilles and Michel Saint-Denis, Les jeunes gens et l´araignée ou la Tragédie imaginaire (The Youth and the Spider, or a Seeming Tragedy), which has been made available to the public in France and elsewhere for the first time.
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Television and radio programs can endanger the healthy development of minor percipients. Therefore, several tools have been developed to prevent this. They are legislative, psychological and educative tools. However, according to an original research, the claim about the protection of minors is not quite true. On the island of Saint Helena in the south of the Atlantic television was not introduced until the 1990s. Prior to and after the introduction, an English research team did an in-depth research into the behaviour of minors on the island. This showed that watching television had not had a negative impact on them. However, this research is in contrast with the finding that there is an unacceptable practice of sexual harassment and abuse of young girls and women on the island. This study compares these two facts and raises a question whether youth-threatening television programs can endanger youth who already display an unsuitable or criminal behaviour, or whether the introduction of television cannot have an opposite effect and positively influence youth by bringing in advanced civilization values and models.
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The actuality of a paper is stipulated by nessesity to study the sources of Soviet identity and gender ideals of post Soviet society on the material of film, literature and songs as forms of culture which are the best representations of the gender ideals. The aim of the studies is to analyze the evolution of gender politics and myths, owing by to socio-political changes in the Soviet and post-Soviet societies. The methods of research are gender critics, psychoanalysis, poststructuralist deconstruction, semiotics. The sources of Soviet identity and gender ideals are typologized in the conclusion.
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The article is devoted to the comparative analysis of the four songs about Moscow, written in different epochs of the Soviet period of history. These are “The song of the old horse carrier” (1935), “The song about Moscow” from the film “The pig-tender and the shepherd” (1941), “I walk around Moscow” (1964), and “Alexandra” from the film “Moscow does not believe in tears” (1979). The analysis allowed the author to reveal the significant features of the mental and the artistic style of the four different epochs, which had reflected in those songs. Each of them marks a unique model of the world, specified by a certain emotional and ideological orientation of the world view. The first model (the early 1930s) is defined as a compromiseconformist: it attempts to conciliate the everyday patriarchal habits of the NEP-period with the desire for comfort, scientific and technological, and social advance. The second model, appeared in the pre-war years, can be called pseudo-sacral and to the highest degree utopian. It most adequately expresses the essence of the “socialist dream”. In the years of the Khrushchev thaw the third model emerged, combining the fashionable in those times neorealism with the utopian idealism, expressed in the relatively soft form. And, finally, the forth model of the world, in which the 1970s’ mentality has reflected, and which logically completes the Soviet period of history, - the organic model, with a slight touch of historic fatalism. It appealed to the “eternal”, objective laws of nature and traditional values.
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Correlation of communal apartment images in Soviet films and anecdotes is considered as a basis for categorization of communal everyday life, interpersonal relations of neighbours and communal psychology. An integrated image is developed on the basis of the analysis of similarities and differences of images from different sources.
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The paper considers the characteristics of the image of a bureaucrat in the soviet multiplication of the late 1950s – the 1960s. The author reveals the main features of this image, offers the approaches to the work with animated text as a source of study of the socio-cultural history of the Soviet Union, and analyzes the satirical cartoons of the considered period devoted to the problems of interrelations between the authorities and the society.
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The article studies two works belonging to political cinema «Ordinary Fascism» by Mikhail Romm and «Die Welle» by Dennis Gansel) as examples of superficial criticism of the Nazi ideology. Yet, a true analysis of the fascist propaganda mechanisms needs shifting the point of view to the nature of ideology. The idea of strictly external and forcible methods of ideological influence should be contrasted with the idea of ideology as a form of everyday life. It is platitude, ordinariness, natural character of ideological structures and even the ugliest aspects of ideology that need understanding.
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