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Aurelia Kotkiewicz’s article is devoted to the tragic story of Carola Neher’s life. Carola Neher was an extraordinary German actress and a close associate of Bertolt Brecht. In the 1930s, she escaped from the Nazi regime to the Soviet Union, there to become one of the victims of the Great Terror. The fate of Carola Neher was the inspiration for an exhibition put up by the International Memorial Society in 2017 called “Carola Neher’s Theater of Life” and for the theatrical spectacle Memoria, staged by the Меyerhold Center in Moscow and directed by Anastasia Patlai.
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The text analyzes the interactions between metal, media and audiences, in the context of the COVID-19 pandemic. The author explores the formation and transformation of media images, as well as shifts in specialized media and broadcasts in Bulgaria for the period 2020-2022. Тhe transformations in the local metal scene are also analyzed. The main question is: what is changing in the Bulgarian metal scene and specialized media during the pandemic?
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Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system.In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate. This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
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The phenomenon of fantasy transmediality (Rebora 2016) has been discussed by many researchers and scholars during the last decade. The need for the creation of alluring cultural products in the highly competitive new media environment has led to synergies between many cultural industries and/or cultural producers, such as film, music, literature and videogame industries, etc. Many well-known and fan-developing narratives have been remediated – repackaged and redistributed – through the various media, answering to the contemporary nostalgia of pastness (Williams 2016), the cherishing of the familiar and intimate, as well as the need to further popularize “a pre-conceived merchandising industry” (Ball 2002), create new side-products for a fan community or even offer escapelands, which fantasy narratives succeed in creating. This paper will examine the translation and adaptation of Tolkien’s Lord of the Rings (LOTR) to different media and cultural industries, such as:- Peter Jackson’s films,- role-playing games (RPGs),- the music industry – with reference to well-known songs and bands.Through comparative analysis of certain segments of the LOTR industry market and comments made by fans on digital platforms, the paper underlines the basic story elements of the Tolkien universe, as adapted to each above-mentioned variant and examines the role of fans in the digital semiosphere.
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The paper discusses film education issues in the context of educating on climate. The authors focus on tracing the presence of the concepts of environmental humanities and ecocriticism in educational materials by selecting two lesson projects related to films. In the first part of the paper, the authors give a broader perspective on the theoretical context; in the second and the third part, respectively, they comment on the lesson projects concerning Aga (the New Horizons of Film Education program) and The Biggest Little Farm (distributor’s proposition published on www.edukacjafilmowa.pl).
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In medieval times, the literary nature of the works, including written ones, were determined by contextual elements such as the acoustic and momentary channel of communication along with the domain of gestur-al, instrumental and vocal codes. These elements conditioned writers and performers when they improved and perfected their capacities and perfor-mance, on which the message as a whole depended. Today the media and entertainment industry also use complex and rich connections between verbal and visual signs to produce highly symbolic messages through im-aginary re-enactments of the past.The wide range of discursive productions of the Middle Ages can be ana-lysed through the study of the elements and factors that become carriers of meanings and the way in which they do so. We consider that a comparable perspective is also suitable for contemporary semiotic practices that, when interpreting documentary sources of various types and incorporating them into suitable fictional formats for the general public, constitute playful re-configurations of the historical, literary and fantastic Middle Ages. Accordingly, this paper attempts to examine certain components of mass culture which have transformed narratives, characters and fictional worlds, distinctive of the Middle Ages, into communicative and semiotic practices reinterpreting historical and literary texts as a way of reflecting on people, social life and its problems in the present world. It starts from con-sidering that semantic plurality and diachronic bases of the idea of body and senses enable an interdisciplinary and comparative study, in order to understand their historicity, their ideological effect and the innumerable aesthetic possibilities which they promote in different areas of culture. The reflections take into account the bodily and sensory aspects of the Middle Ages selected by series, films and video games with an impact, as signifi-cant elements, on current cultural orientations and attitudes.
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The broader structural and organisational changes associated with the global expansion of Internet-distributed television have changed the ways in which we perceive the qualitative level and socio-cultural significance of television dramas. Individual transformations can be perceived in connection with the hybridisation of genres, the thematic variability of individual works, the number of episodes and their average length, or relevant considerations about the need to better understand TV dramas as products that are qualitatively equal to ambitious film production and in many respects even overshadow it. A currently resonating area of interest are mini-serials/ limited series, which target audiences often prefer over other types of episodic works with a significant number of seasons and instalments, emphasising their high-end quality and refined production value. The popularity of this type of content results from engaging and complex narrative structures, which often include explicit depiction of taboo topics, such as stories and plotlines related to death (or old age and/or dying), sexual behaviour, various deviations, extreme violence or self-harm. The presentation of these publicly suppressed topics in limited series is the focus of our interest. The main goal of the study is to reflect on the current popularity of television mini-serials in the environment of Internet-distributed television, taking into account the taboo topics that are portrayed in them. We achieve this goal on the basis of theoretical reflection on the issue, analysis of the thematic specifics of selected television works and subsequent synthesis of acquired knowledge.
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The focus of the article is on the language of derogation and hate in Bulgarian news-papers published between 1990 and 2000. The study centers around one of the most famous and most discussed serial movies, “Dunav most” (The Danube Bridge). The 7-series visual project is based on Georgi Mishev’s novel and was sponsored by the Bul-garian National Television. Soon after the projection of the first episode started dis-cussion provoked by the most popular newspapers in the country, in which many jour-nalists, experts, political leaders, and citizens took part. The language of publications is a language of derogation and hate directed towards the movie and the “pornogra-phy” shown on it. So-called pornography is expressed in a few scenes with naked ac-tors and one – very popular and most argued - two men in a bed. One of them – a reli-gious man living in a monastery. Bulgarian newspapers manipulated the discussion pointing at that fact and hiding or diminishing the fact that this person had been an officer of former Secret services of the fallen totalitarian regime. The language of hate is paralleled with “the traditional Bulgarian values,” and in that way mass media present the distortion of a post-totalitarian society. Homosexuality is considered as a huge problem of the modern nation, and that is why it must be pointed at and rejected. This language, in fact, provokes readers’ emotions and turns aside attention from economic and social issues controlled by people of former totalitarian police.
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During the Cold War exporting films was not only a means of obtaining commercial benefits from distribution in foreign countries, but also an important instrument of ideological influence. In the USSR, the AllUnion Association “Sovexportfilm” served these functions selling Soviet film products as well as purchasing foreign films. The purpose of the article is to study the methods and principles of propaganda of “Sovexportfilm” in its work with foreign states within the framework of the foreign policy pursued by the USSR. The article examines the main aspects of the organizational activities of “Sovexportfilm”, the history of the creation and reorganization of the association, the mechanisms and efficiency of its work. The specifics of the export of products to the countries of Western Europe, the USA, Latin America, the countries of Asia and Africa are determined. The article pays particular attention to a comparative analysis of the principles of conducting propaganda aimed at foreign countries employed by the USSR and the United States as far as a number of aspects are concerned, including organizational activity, production capacity, and repertoire policy. The analysis of the sources enables to trace the main stages of the development of “Sovexportfilm” as an agent of foreign policy influence, to identify the shortcomings in the system of export of film, and also to highlight the reasons for the failure of the association’s activities in the last stages of the Cold War. Based on the results of the study, the author comes to the conclusion that “Sovexportfilm”, initially possessing a powerful starting potential for promoting Soviet films abroad, due to a number of objective factors and mistakes in organization of its work by the 1980s, ceased to perform the function of spreading ideological influence through the Soviet cinema.
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In the study examining the representation of women in the context of feminist ideology; In order to understand the conceptual framework and the ideological and sociological structure of the period, first of all, Georgian history is explained and then information on Georgian cinema is given. In order to make the study understandable, Georgian films from the Soviet Union period and the Post-Soviet period were chosen as samples.The films selected and included in the sample were examined within the framework of feminist theory, adhering to the descriptive analysis method, and ideological analysis in terms of social dynamics was also included in the films discussed from time to time. In the analyzed works, descriptive analysis was used to reveal how women are represented within the framework of feminist theory. In the five Georgian films included in the sample, the representation of female characters on the screen was examined with the descriptive analysis method within the framework of feminist theory. By ex amining the patriarchal view in the films that were shot in two different periods historically, the representation of women in the patriarchal Georgian society was tried to be determined by film analysis. It has been determined that the representation of women in Georgian cinema has undergone changes in parallel with political and social events.
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The aim of this study was to analyze the movie "Hachiko: A Dog's Story" in terms of empathy and solidarity with animals. For this purpose, the scenes in the movie were interpreted on the basis of empathic reactions towards animals (cognitive and affective; self/other-oriented) and solidarity with animals (emotions and behaviors such as attachment, belonging, intimacy, and cooperation). The movie is about the attachment between a dog and a human, and it encourages the viewers to understand this attachment. In order for this to happen, audiences should be able to empathize with the protagonist of the movie, Hachi. Through the analysis of the movie, it becomes clear that empathy with animals is depicted in scenes where efforts are made to understand the protagonist's fear, joy, or expectations (self/other-oriented cognitive empathic responses) as well as in scenes where the desire to do something for the protagonist is shown (other-oriented emotional empathic responses). Solidarity with animals is depicted in scenes that include emotions and behaviors such as sharing (time, happiness, sorrow, “bread”), support (helping, assuming care, etc.), and intimacy (desire to be together). Additionally, the movie directs viewers towards a dog's emotions such as joy, loyalty, sorrow, separation, and longing in many scenes.
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Review of: SUNE BECHMANN PEDERSEN, Reel Socialism. Making Sense of History in Czech and German cinema since 1989, Lund 2015, Lund University Press, 326 s., ISBN (neuvedeno).
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The film A Hidden Life, dating from the year 2019, directed by Terrence Malick, has the following subject: Franz Jägerstätter, an Austrian farmer, married to Franziska, with whom he has three children, refuses to fight under the Nazi command, during the Second World War. Franz’s role becomes significant and harrowing, as he has no choice, but following and watching, like a spectator, his own end. Franz’s decision functions the same as a faustic pact, which he dignifiedly refuses to sign. The plot unleashes in the moment when the German army calls Franz to start his preparation for war. Franz represents the prototype of the hard-working peasant, close to the land and devoted to his work, a person who belongs to a coagulated society, to whom he dedicates himself, with complete confidence. The motif of the land becomes a leitmotif in the literary work, as well as in the movie, reiterated and described several times. The time and the space of the movie are settled even from the beginning, as it follows: the German village Ragegund, Austria, the year 1939. The action of the movie is linear, without obeying a presettled scenario, but only following the plot of the novel, entitled Franz Jägerstätter: Letters and Writings from Prison, written by the author Erna Putz. The central character’s positive thoughts determine the movie fans to meditate over the existence, that is the present situation and what could generate his drama, by disturbing the other characters, even the opponent ones. The force of the narration, full of dramatism, generates characters described almost identically with those in the novel.
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The article reveals a lesser-known role of the great playwright Teodor Mazilu, that of a screenwriter. Although he has several collaborations with cinematography, the making of the film "Bariera" is representative. We analyzed the motivations that were the basis of the collaboration with the director Mircea Mureșan, possible satisfactions and regrets, the value of the screening, the similarities and differences between the book and the film, the message and the atmosphere created by the film.
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The aim of the article is to describe the contemporary Russian society, identifying the directions its future development might take, on the basis of a critical analysis of Andrey Zvyagintsev’s fi lms Elena and Loveless. The image of the Russian society with its predominant attitudes towards life, its morality and values conveyed by the fi lms scrutinized in the paper is one of a society demonstrating the logic of war. Adopted as a lifestyle and a philosophy of daily existence, the logic of war is manifested in private lives of individuals, in the functioning of the society as a whole and of its institutions, as well as in the power structures of the Russian state. Such a logic permits unethical behavior and makes it possible for individuals to evade responsibility for their actions justifying them by their personal welfare or an absolute necessity. In the context of the war ongoing in Ukraine, the attitudes adopted by Zvyagintsev’s characters, take on symbolic and prophetic aspects.
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Artificial intelligence is more and more present into all areas of human activity. Art, and music in particular, is no exception to this trend. In the field of sound engineering, there are numerous activities where AI can assist the human sound engineer with great success. For some sound engineering tasks, AI applications are very useful and have great practical positives. In sound processing, analysis and decomposition of a stereophonic mix into its component parts, AI has had considerable success. Cleaning up certain elements of the phonogram is also an area of enviable achievement for AI applications. In a process such as music mastering, AI is again doing quite well (though not perfectly) insofar as its functions consist of application of detailed analytical operations, established algorithms, extrapolation, and synthesis. In more complex tasks such as mixing, for example, where different approaches make the possible variations immeasurably more numerous, AI still has relatively modest success.
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The essay is dedicated to Bogomil Raynov's story Roads to Nowhere and the script of the film “The White Room” based on it. Through parallels with examples of existentialist literature and authors such as J.-P. Sartre and A. Camus, it is shown that the work bears the marks of a literary work created with the pathos of existentialism, which encodes the main stages and dimensions of rebellion (metaphysical, political, artistic). The role of the color white, internal monologue, movement, detail, and the convergent-divergent effect obtained from the use of the second person in the narrative is emphasized. The external signs of chaos and awareness of the absurd are sought. The thesis is defended that with the story Raynov in his way reaches the idea of the conscious choice of responsibility and human solidarity of Je me révolte, donc nous sommes (I rebel, therefore we are!) of Camus.
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For a long time, the Indian subcontinent was under British rule, but more and more Indians fought for independence in the twentieth century, and the British were forced to renounce their rule. In 1947, the British offered independence to two different states, Pakistan and India, which provoked only violence, as the two peoples had lived together for a long period of time and were suddenly being made to choose a side according to their religion; thus began a time of death and sorrow. The traumatic experience of the partition of India from Pakistan is not only recorded by historians, but also by writers, and the current paper will present both the way in which this event is reflected by history and in novels.
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The work of Gustave Flaubert, ”Madame Bovary”, has acquired an international character, under the dome of globalization that has captured artistic fields, such as literature or cinema. Bovarism in the aforementioned novel has been the subject of no less than 18 films made for cinema, from Europe to America and for many other television films. He was also the subject of plays, one of which was performed on the stage of the National Theater in Bucharest in 1941. I considered necessary to make a foray into the performing arts, having as reference the literary work signed by Gustave Flaubert, studing interferences, differences reflection of reality, peculiarities. In the context of the third millennium, an inter-/ trans disciplinary approach can validate a concept specific to the third millennium - complex knowledge.
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