Z obrazu na słowo. Kilka uwag o technice audiodeskrypcji

Author(s): Marta Bolińska / Language(s): Polish Issue: 1 (10)/2014

Audiodescription involves recounting (without interpretation and commentary) what is happening, for example, in a film or a theater play, in dialogues between characters,but it also attempts to describe the space, e.g.: monuments or works of art. Translation of visual content into words, or otherwise, verbal description of visible layers of plays, audiovisual productions, art and entertainment events makes them available to the blind and visually impaired as well as to those with poor eyesight.

Youtube.Doc. Dokument otwarty na wpisy amatorów.

Author(s): Weronika M. Lewandowska / Language(s): Polish Issue: 01/2013

YouTube can be perceived as a platform for change in many areas of culture, mainly as “an open document” which reveals performative potential for amateur activities. Receivers become senders, involved in different kinds of activities with video: creation of new content, publishing, digitization, comment and criticism. “Viral meme of performativity”, through You Tube, is changing documentary cinema, art, journalism. The aesthetics of post‐production predominates in online creation. On YouTube, we can find videos of various sources and aims. The most performative are streamed and “remixed/alternative version” footages. The performative video is one in which members of the audience take over the role of the author, co‐creating the original interpretative context, temporarily transforming themselves and the visual surroundings in the video act by changing the environment and contributing to other more permanent transformation, often undermining current norms and releasing energy in a creative activity. In this way, by presenting their activities in the network, amateurs shape the new culture; You Tube becomes an interactive video art gallery, a cinema that we all co‐create.

Antropolog jako dokumentalista zaangażowany. O wrocławskiej grupie Cinema Albert Production

Author(s): Iwona Morozow / Language(s): Polish Issue: 01/2013

The article discuss a proposition of visual, engaged fieldwork, which the authoress conducts among amateur Wrocław’s film group “Cinema Albert Production”, as an answer to the action research paradigm. The aim of this research is to present the possible role of the anthropologist as a manager and promoter who support the emancipative needs of definite people in dialectical perspective, by using documentary as an tool of possible cooperation and means to ex‐ceed the hermetic, academic discourse.

Food documentary jako oręż żywieniowych aktywistów. O metodach prezentacji światopoglądu w filmach Super Size Me oraz Food, Inc.

Author(s): Aleksandra Drzał-Sierocka / Language(s): Polish Issue: 01/2013

The issue of food in film has been analyzed in at least a dozen interesting publications. However, a majority of them pertains to feature movies. Although there is a large group of documentaries in which food plots are dominant and there is a popular term food documentary, often using in descriptions and reviews, this type of documentary is still waiting for detail, academic analysis. In the first part of my thesis I shortly describe characteristics of food documentary. Then I concentrate on the analysis of two of them: Super Size Me (2004) by Morgan Spurlock and Food, Inc. (2008) by Robert Kenner. They have some strong similarities, as they both represent socalled food activist documentary. But on the other hand, there are also few important differences.

Polsko-czechosłowackie kontakty kulturalne i naukowe 1945–1956

Author(s): Anna Szczepańska-Dudziak / Language(s): Polish Issue: 1/2015

The Polish-Czechoslovak cultural and scientific relations were initiated upon the end of the Second World War. An agreement on the cultural cooperation between Prague and Warsaw was signed in July 1947. Most successful in the field of literature, the cooperation begot translations of literary works. In addition, contacts were established in other areas, such as theatre, cinema, photography, art, music and science. It is noteworthy that the cooperation was largely a matter of propaganda, intended to emphasise the achievements of socialism and the mutual friendship of fraternal socialist countries. Monopolized by the organs of state, it nevertheless formed the basis for establishing a number of personal relations between Polish and Czech and Slovak researchers and artists.

DANCE FILM AS A SUITABLE FORM OF PRACTICAL MEDIA EDUCATION

Author(s): Anton Szomolányi / Language(s): English Issue: 1/2017

In contemporary decrease in perception of film and television through classical means, searching for new forms of audiovisual expression becomes indispensable in education of the rising generation. Creation and perception of emotional structure by the means of contemporary film language is a challenging part of education of future film creators. Dance film may be referred to as a psychosenzoric perception without verbal communication, convenient for collective school work. In this work dance is referred to as a form of nonverbal expression in shot by shot continuity, where picture and sound plays active role. The text analyses system of practical teaching of movie language by the means of transformation of scenic art into the art of motion picture. It designates main differences between the recording of scenic art and active creation of dance film. If a student is delimited in the creation of school work, thus he does not use speech, but dance movements recorded by the elements of film language, it is possible for him to learn new forms of expression by the means of motion picture and sound. Furthermore this article offers the analysis of elementary elements of expression by the means of film language in dance movie in the form of dynamic composition, movement of camera, characters and in addition film cut and soundtrack. The text originated from my pedagogical experience during the dance film student project.

Магическият духовен свят и киното. Шести международен фестивал на етнографския филм. София, 2017

Author(s): Elka Mincheva / Language(s): Bulgarian Issue: 3/2017

Artyści na uniwersytecie. Sytuacja zawodowa twórców zatrudnionych na wydziałach nieartystycznych (na przykładzie pracowników Uniwersytetu w Białymstoku). Marzanna Morozewicz i Dorota Świdzińska w rozmowie z Joanną Sacharczuk

Author(s): Marzanna Morozewicz,Dorota Świdzińska,Joanna Sacharczuk / Language(s): Polish Issue: 2/2017

The conversation focuses on the current professional situation of visual artists, musicians, film makers and dramatists employed at non-artistic faculties of universities, illustrated with the example of the Faculty of Pedagogy and Psychology of the University of Białystok. The texts discusses the difficulties these artists experience, as well as the needs and expectations of the University as their employer. The goal of the interview is to describe the professional situation of artists employed at non-artistic faculties before and after the introduction of parametrization of scientific output. We will point to the problems that may arise in their jobs, resulting from the fact that artistic work at non-artistic faculties is not subject to parametrization. We will outline the differences between artistic work and research work and we well enumerate the benefits of artistic education of students at non-artistic faculties.

Two Cinematic Portrayals of Teachers: John Keating in Dead Poets Society and Terence Fletcher in Whiplash

Author(s): Kaja Zabłocka / Language(s): English Issue: 1/2016

This paper is devoted to two selected teacher figures appearing in American film. John Keating (Dead Poets Society) and Terence Fletcher (Whiplash) are going to be analyzed with regard to their beliefs, their methods, and their impact on students. The introduction refers to the prevailing cinematic image of teachers as heroes who inspire and support their students. Another feature common for many onscreen teachers, including Keating and Fletcher, is their being based on real-life figures. The first section describes Keating’s and Fletcher’s beliefs influencing their work. Keating believes his role is to build students’ confidence, make them feel they can change the world, and convince them they should seize the opportunities life provides them with. Fletcher is in favor of the view that students should not be praised, but pushed to their limits for the sake of results. The next part deals with the differences in Keating’s and Fletcher’s methodologies. Keating aims at replacing a traditional approach to education with demonstration and involving students in practical activities. For Fletcher, maintaining a sense of threat in his students is the key to motivating them. Finally, the analysis turns to Keating’s and Fletcher’s impact on their students. Keating’s teaching makes his students pursue new interests or manage their personal matters effectively. Fletcher’s influence is best reflected by his students’ anxiety, exhaustion, and – in some cases – the increased drive to practice.

Przemiany bohatera w powojennym kinie polskim – od Supermana do Wonder Woman

Author(s): Agnieszka Tambor / Language(s): Polish Issue: 2/2017

The article presents the evolution of the heroes in Polish cinema after the Second World War, as well as while showing the characters that influenced the social awareness of Poles, it reveals those which have been created in response to the social needs. Although the Polish postwar cinema for decades used to be exclusively masculine, lately this tendency changed, and thus for, the author shows that the features and attributes of male characters have been transferred to the female characters by the scenarists and film directors.

Piotr Hertel jako kompozytor muzyki do dziecięcych filmów animowanych

Author(s): Katarzyna Babulewicz / Language(s): Polish Issue: 01 (36)/2018

Piotr Hertel (1936–2010) – a composer of film, theatrical and stage music (among others the hit Parasolka to words of Janusz Słowikowski). He is the author of music for numerous cartoons made in the animation studio Se-Ma-For in Łódź, including soundtracks for legendary TV series Miś Uszatek and Plastusiowy pamiętnik. The aim of the article is to characterize music composed by Hertel for the above-mentioned as well as several other movies in the context of his views on the role of music in cartoons and his compositional technique. The broader knowledge on this topic was gained thanks to the interview made with the members of Hertel’s family: his wife Jadwiga and son Michał.

RESIM, EDEBIYAT VE SINEMADAN POPÜLER KÜLTÜRE KÖTÜLÜK PROBLEMİ

Author(s): Cumhur Okay Özgör / Language(s): Turkish Issue: 47/2018

In the interactions of philosophy, literature and cinema, image of evil has come from the subjects that have been aesthetized in the eternal bones. One of the most important typologies of the popular culture, the evil characters / prototypes / anti-heroes are remarkable with their modern interpretations. From the Renaissance to the Dark Romanticism to the Symbolism to the Surrealism, The Devil and witch figures have been moved as human beings to the cinema’s places over time as the canvas of master painters like Bosch, Goya. Similarly Milton; within the terrestrial hells created by authors such as Dostoevsky, Kafka, and Sartre, the painful characters made possible the formation of fictional characters in the art of cinema. Metaphysical evil is abandoned under the influence of gothic literature and black literature, and bad characters are placed in the center of movies in the light of the philosophy. Historical and aesthetic journeys of ideas on the problem of evil of thinkers like Platonis, Augistinus, Hegel, Kant and Nietzsche will become one of the most popular topics of our time. XIX.th In the century and after, moral evil comes into being in the body of modern man. XX.th in century After the 19th century, sociopaths, serial killers, film adaptations were made, XXI. n the century, video games “villain” from television series became the most popular investments by studios. The history, sociological and psychological facts underlying the leading “bad” characters in this article are examined.

Етнографският филм – документ, визуално изкуство или памет

Author(s): Veselka Toncheva / Language(s): Bulgarian Issue: 16/2018

The text interprets the ethnographic film as a document and research tool of visual anthropology, as a form of preservation or renewal of memory, but also as an object of documentary filmmaking, i.e. as a visual art. By presenting of different dominants, the text defines different functionality and meaning of the ethnographic film.

Две къщи и половина: за един етнографски филм и две експедиции в областта Долни Дебър, Албания

Author(s): Veselka Toncheva / Language(s): Bulgarian Issue: 16/2018

In 1912–1913 during the Balkan wars, after declaring of the indepen¬dence of Albania and the constitution of its new boundaries, the region of Dolni Debar was situated on the territory of Albania. The text presents the history of the population from the region according different Bul-garian sources and also the information about the realized in 2015 and 2016 two expeditions by a team of ethnologists. One of the results is an ethnographic film from the collected visual ethnographic materials. It presents the current situation in the region through the narrations of the local Christian population and through the documentation of the feast of the Transfiguration.

Трансформации и метаморфози на термина „дизайн“

Author(s): Dimitar Dobrevski / Language(s): Bulgarian Issue: 16/2018

The term “design” has already become an element of our daily vocabulary. From novelty, design has become something ordinary and ordi¬nary, losing some of its original charm unfortunately. The basic term of several professions – “design” – in the 1960s and 1970s was still an “ex¬otic” word, mainly found in some more spicy jokes, and today it is being used not only by specialists but also in everyday speech and has already become a part of the everyday vocabulary and of the most uninformed cit¬izen. Everyone says: “What design .. !!!” when a shiny new car passes by, or you see a new audio video device or a garment. Popularity often does not prevent the term from being misunderstood and the worse – interpreting quite a bit. For many journalists designers are mainly fashion cutters and seamstresses. This shows that the clarification of the emergence and semantics of this basic concept is still relevant.

Amerykański i brytyjski ruch studencki i jego wizerunek w filmie

Author(s): Marzena Kraszewska / Language(s): Polish Issue: 8/2018

Teza: Niniejszy artykuł przedstawia genezę i krótki zarys historii rozwoju ruchu studenckiego w Ameryce i Wielkiej Brytanii oraz jego wizerunek w filmach z gatunku college movies, które pojawiły się w XX wieku, głównie w Ameryce.Omówione koncepcje: Zagadnienia dotyczące przynależności do korporacji studenckich, klubów sportowych i uczestnictwa w innych zajęciach nadobowiązkowych znalazły odzwierciedlenie w filmach z wyżej wymienionego gatunku.Wyniki i wnioski: W filmach studenckich odzwierciedlane są głównie bractwa i działalność sportowa. Natomist uczestnictwo w wydawaniu gazet i czasopism w kampusach, od lat 30-tych i 50-tych XX wieku, w klubach muzycznych i teatralnych, samorządzie studenckim oraz zaangażowanie w działalność polityczną są zazwyczaj wątkami pobocznymi w stosunku do głównej fabuły. Przedstwiony wizerunek jest więc niepełny i streotypowy, co ma znaczący wpływ na postrzeganie anglosaskiej rzeczywistości akademickiej przez społeczności na całym świecie.Oryginalność/wartość poznawcza podejścia: Przegląd dostępnej literatury związanej z tematem pozwala wyciągnąć wniosek, że dotychczasowe badania nie analizowały zbiorczo przykładów z kina amerykańskiego i brytyjskiego i nie porównywały ich z rzeczywistym wizerunkiem. Zagadnienia te są przedmiotem szerszych badań na temat wizerunku środowiska akademickiego i uniwersytetu jako instytucji na podstawie wybranych brytyjskich i amerykańskich utworów literackich z gatunku powieści akademickiej/kampusowej jak i filmów typu „college movies”, w większości należących do kina amerykańskiego, oraz poszukiwań śladów powieści akademickiej w literaturze polskiej i kinie polskim.

Bez dna: Filozofska autobiografija

Author(s): Vilém Flusser / Language(s): Croatian Issue: 1-2/2018

Riječ »apsurdno« izvorno znači »bez dna« u smislu »bez korijena«. Kao što je, primjerice, biljka bez dna kad je se ubere, kako bi je se stavilo u vazu. Cvijeće na stolu prostrtom za zajutrak primjer je apsurdna života. Pokušamo li se uživjeti u takvo cvijeće, moći ćemo osjetiti njegov poriv da pusti korijenje i utjera ga u bilo kakvo dno. Taj poriv korijena lišena cvijeća raspoloženje je apsurdna života. Namjera je ove knjige da svjedoči o tom raspoloženju.

The Nutshell Studies of Unexplained Death, Doll-house Homicides, Foster Families, and the Subversion of Domesticity in CSI: Las Vegas

Author(s): Zofia Kolbuszewska / Language(s): English Issue: 04/2017

The article explores similarities and divergencies in how The Nutshell Studies of Unexplained Death, doll-house style dioramas built by Frances Glessner Lee in the 1930s and 1940s in order to train homicide detectives, and miniature crime scenes crafted by a protagonist of the season 7 of the TV show CSI: Las Vegas modelled on them, figure female frustration connected with the traditional shape of family and domesticity. The dioramas reveal and simultaneously contain the foundational Derridean darkness underlying the concept of domesticity.

Romans, jedzenie i zbrodnia. Nawiązania do tradycji seder w filmach Woody’ego Allena

Author(s): Kamila Kalista / Language(s): Polish Issue: 02/2018

Passover is one of the most important Jewish holidays. It starts with dinner - Seder. Family gathered on this day drink red wine as a symbol of freedom and happiness. They eat matzo - flat bread to remember that Hebrews left Egypt grabbing unready bread leaven. The central place of the table is taken by the Seder plate with zeroa – shank bone, beitzah – roasted, hard – boiled egg, karpas – a vegetable, maror – bitter herbs, chazeret – bitter vegetable, charoset – sweet dessert. Most of described traditional dishes are visible in Seder scene of films Crimes and Misdemeanours (1989) and Café Society (2016) by Woody Allen. In both films the extended families are gathered together. Their members’ personalities reflect symbols of Seder dishes.

Od jabłka do „chińczyka”. Praktyki żywieniowe bohaterek prawniczych seriali stacji TVN

Author(s): Karolina Walkiewicz / Language(s): Polish Issue: 02/2018

In this article I try to analyze the dietary habits of the female protagonists of TVN legal TV series Magda M. and Agata’s Law. Although there’s been only a five year gap between original broadcasts of Magda M. and Agata's Law and action of both takes place in Warsaw lawyers environment, their lifestyle, food styles and upper-middle class problems are presented in a completely different way. Those TV series start a reflection on whether the protagonists of the series are paying attention to what they eat and whether food can be a determinant of social relationships. Analyzing the jungle of conflicting signals about diets, the growing trends for cooking and healthy nutrition, I ask the question about choices of independent and self-sufficient female protagonists of drama series, whose creators recognize that pro-health attitudes should be promoted among viewers.