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The main focus in this study is the unique individual reception of the Expressionism in some of Eugene O'Neill’s plays from the 1920s: "The Emperor Jones" (1920) and "The Hairy Ape" (1922). A strong source of influence is August Strindberg and his experiments at the Chamber Theater in Stockholm. This can be traced by pointing out common thematic and stylistic features in Strindberg's trilogy "The Road to Damascus" and O'Neill's "The Emperor Jones". Another major source of influence is the German Expressionist movement from the first quarter of the 20th century, especially some of the leading playwrights like Georg Kaiser and Ernst Toller. Yet another source of influence are the German Expressionistic films of R. Wiene, F. Lang and Murnau, which followed most of the principles of the avant-garde trend.
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The research explores the interoperability and information exchange between 3D photogrammetric survey software and Building Information Modelling (BIM) software. It is based on a case study of a real traditional Bulgarian house. It proposes a proven and reliable workflow for data transfer for use in the practice of digital documentation and preservation of cultural and historical heritage.
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There is a separate segment in 3D computer graphics called product visualization. In general, product visualization includes various activities, such as modeling, animation, lighting, prototyping and shape analysis, technical drawings and sketches, as well as product documentation. This type of visualization has been used a lot lately, especially in the presentation of new electronic products, food, household goods, print advertising, billboards, websites, video networks, television. It turns out that it is much more convenient, and also more cost-effective, to recreate a product in 3D and then visualize it realistically. This gives much more freedom in recreating different, in many cases impossible in reality situations, related to the presented object - for example, levitation, morphing between different forms and other similar special effects. Three-dimensional visualization allows instant change of materials, backgrounds, use of many and varied cameras to recreate different points of view of an object. In many cases, the visualization of a particular product precedes its physical creation. This allows the manufacturer to detect possible defects in it and improve its product on time.This article aims to acquaint the reader with the methods of lighting and composition of product design visualization used in classical photography, and to compare them with the ways of reproducing reality in the three-dimensional software for realistic visualization 3D Studio MAX, as well as to give guidelines for proper sequence of actions in creating a virtual photo studio, by explanation of the main factors for quality and realistic reproduction of three-dimensional product design.
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This article aims to present the work of some of the most successful contemporary fashion illustrators. An attempt has been made to analyze graphic techniques and digital means of expression in the design of a fashion sketch. Current works of world-famous authors are presented, which define the new trends in fashion illustration.
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In the time we live in, music is a cult. The musical style brings with it not only the worldview, but also the whole lifestyle of its listeners. Very often walking on the streets we can see girls with Rihanna's hair or boys dressed as Justin Bieber. But this is by no means a novelty or a fashion - the music that is listened to reflects on the appearance. The Beatles and the Rolling Stones, considered to be one of the symbols of the 60's and recognized as the most innovative and popular performers in the history of pop music, are considered to be one of the first major music waves to flood in and create their own style. As a period, the time in which the two bands quickly gained popularity coincided with the mass distribution of television. The performers quickly imposed their own lifestyle, behavior and dress, supporting the idea of avant-garde music of their time
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Well is one of the important sources to reach water in rural areas where technological opportunuties are limited in. It’s seen that, this source has a place in Turkish culture, in the world of literature and thought in both real and figurative meanings. The reality is well theme has been using as a powerful symbol in daily life idioms and proverbs, mânis and folk songs, tales, mythes, legends, classical poems, modern literature apart from it’s worldly meaning. Therefore, the reflection of well theme to Tukish movie theatre has a parallel direction with its’ common using in both Turkish culture and literature. It is seen that; material, legendary and psychological aspects of well are emphasized in dramas and horror movies. In this article, the transfer of well theme from folk culture and Turkish literature to movie theatre is examined with a functionalist point. It is tried to be analysed over the well theme that; although there is a thought of a materialistic factor has lost its’ function apparently, with the changing of context, it has gained new functions. With this research besides its’ water resource, these functions of well are determined; it is a socialising means, a source for taboo, useful as a witness for people who fix their faults, a milestone in the life of people who are seen as holy figures, a symbol to describe impossibilities and desperations. Also, it is a way to descibe beauty of lover in classical literature, has various functions as a metaphor to impress the “death, sexuality, past, unknown” and complicated feelings in both modern literature and movie theatre.
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The review of: Binark, Mutlu (2019) Kültürel Diplomasi ve Kore Dalgası “Hallyu” -Güney Kore’de Sinema Endüstrisi, K-Dramalar ve K-Pop; Ankara: Siyasal Kitabevi, ISBN: 9786057877321, 183 sayfa
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The purpose of the article is to present the evolution of television networкs and services and streaming them through analogue TV to full digitalization to the introduction of IP technology and advanced smart smart equipment. The networкs of cable TV operators are being transformed into triple play networкs, кnown as triple play. In addition to standard television, they also carry telephony and the Internet. As a result, it can be considered that the equipment converges and becomes more intelligent and highly functional. To date, networкs are switching to the IP core and offering high-speed and broadband IP services. Television is undergoing its metamorphosis and is being transformed to IPTV - (Internet Protocol TeleVision). The authors' contributions are related to the analysis of the main components and processes for the acquisition and processing of television content in IPTV.
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The article reconstructs the model of discourse present in Polish culture since the 1940s. Border Street (1949) is one of the first implementations of this model. An antisemite who becomes a righteous gentile is a pars pro toto of the Polish community. Violence is invoked, but its range is limited: Polish antisemitism stops when it comes to harming Jews. Violence that was, according to historical research, the dominant behavior toward Jews during the Nazi occupation is presented as an exteriorized exception. Two other Polish films of the same type are discussed in the article: Just beyond this Forest (1991) and In Darkness (2011).
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The focus of the study is to track the extent to which video games allow religious organizations to spread their ideas, views and beliefs among young people and believers in general, as well as the extent to which games influence the formation of certain stereotypes in the player. Of particular interest to the researcher are the websites of the officially registered religions in Bulgaria and their preaching and educational activities
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The article introduces the adventure videogame, it’s features and sub-genres. The focus is on the narrative and how it’s change over the years. Seven video games, published between 2000-2019, were analyzed through a single matrix. The various narrative structures and their influence on storytelling are analyzed. In the last part an object of attention are the hybrid genre of action-adventure videogames and it’s spread in various media. The text is part of a thesis successfully defended at FJMC in 2019
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The main name and the set of the headings of Masha and the Bear animated film, as elements of the paratext, play an essential role in determining the characteristic properties of a product. They point to the national and cultural factors conditioning the animated film which manifest themselves on various (audio and video) levels of information transfer. The set of the headings is characterised by a high level of saturation with national and cultural elements such as sayings, phrases, quotations from classic literary works as well as from folklore, quotations from the songs which the Russian audience is familiar with, allusions to films and other television broadcasts. The translation of such names is more difficult and poses a real challenge for the translator. Three types of translation have been observed: literal translation, free translation and substitution. At the same time, it was neutralisation that was the leading strategy of translating headlines containing national and cultural elements. One of the justifications for the approach selected may be the type of the audience – children who – because of their insufficient cognitive experience – will not be able to decipher the coded connotations.
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The border shifts and population exchanges between Central and East European states agreed at the 1945 Potsdam Conference continue to reverberate in the culture and politics of those countries. Focusing on Poland, this article proposes the term “border trouble” to interpret the politicized split in memory that has run through Polish culture since the end of the Second World War. Border trouble is a form of cultural trauma that transcends binaries of perpetrator/victim and oppressor/oppressed; it is also a tool for analyzing the ways in which spatial imagination, memory, and identity interact in visual and literary narratives. A close analysis of four recent feature films demonstrates the emergence of a visual grammar of cosmopolitan memory and identity in relation to borderland spaces. Wojciech Smarzowski’s Róża (“Rose,” 2011) and Agnieszka Holland’s Pokot (“Spoor,” 2017) are both set in territories that were transferred from Germany to Poland in 1945. Wołyń (“Volhynia,” released internationally as “Hatred,” 2016) and W ciemności (“In Darkness,” 2011), also directed by Smarzowski and Holland respectively, are set in regions that were under Polish administration before the war but were transferred to Soviet Ukraine in 1945. All four productions break new ground in the memorialization of the post-war legacy in Poland. They deconstruct hitherto dominant discourses of simultaneity and ethnic homogeneity, engaging in Poland’s wars of symbols as a third voice: anti-nationalist, but also refusing to essentialize cosmopolitan identity. They show the evolution of border trouble in response to contemporary political and cultural developments.
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The article invites the readers to approach the city itself as a text of culture. We are to read it alongside other narratives/narrations (literary, artistic, and cinematic) devoted to it. The author traces how Katowice’s space has been transmuted into politically- and culturally-charged places, by distinguishing consecutive layers of the palimpsest (Polish village, building patterns of German and Polish times: the old and the new). The foregoing examples allow the author to indicate the traces of conceptions and ideologies reflected by architecture. He also includes some methodological recommendations/tips pertaining to reading the space.
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For many generations of women, Lucy Maud Montgomery’s Anne of Green Gables (1908) has been a faithful companion in the process of coming of age. Nevertheless, when judged solely by its setting and timeframe (1870s and 1880s), and the moment of its publication (the beginning of the 20th century), the book might appear some¬what anachronic. Several attempts at bringing Anne’s story to life on both the big and small screen have been made, but only one of them – Moira Walley-Beckett’s Anne with an E (2017–Present), produced for Canadian public network CBC and widely distributed by Netflix − can be said to have captured the novel’s spirit by re-embedding it in a truly modern context. The main goal of this paper is to analyse various elements of Walley-Beckett’s take on Montgomery’s opus with regard to their potential usefulness in therapeutic practice with young adults. The reflec¬tions made in the article are accompanied by contextual references to Hanna Lib-erska’s general model of identity development and Małgorzata Kozubek’s theory of cinema therapy.
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The article discusses the metaleptic and metafictional elements present in Lemony Snicket’s A Series of Unfortunate Events (1999–2006) as adapted for the TV series based on the novels (2017–2019). The aim is to demonstrate how, as a result of the creators’ views on the particularities of the film medium, these elements are reduced, meanings are made more explicit and less ambiguous, and the plot is subjected to traditional narrative conventions.
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The aim of the paper is to discuss A Monster Calls (2016) by J. A. Bayona, a film adaptation of Patrick Ness’s novel (2011) of the same title, based on an original idea by Siobhan Dowd, from the empowerment theory perspective. The author of the article indicates that there are some significant changes between the book and the motion picture, especially when it comes to the ways of empowering the protagonist and the works’ potential young audience. The results of this comparative study show that the film is more affectively empowering than the novel. This is mainly because in the book, Ness skillfully uses verbal narration (accompanied by Jim Kay’s illustrations), while in the film, Bayona takes advantage of the possibilities offered by the audiovisual medium, therefore providing the audience with artistic and psychological empowerments.
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The aim of this article is to speculate on the meaning that Lewis Carroll’s (1865, 1871) Alice’s journey through dark Wonderland has acquired in two examples of contemporary YA fiction, Tim Burton’s 2010 film adaptation and A. G. Howard’s 2013 Splintered novel, both depicting Wonderlands that are more dangerous and threatening than what Carroll himself envisioned in his novels. The study shows how Alice’s gender and the fact that she is now portrayed as an adolescent affect her narrative. Among other reasons, the author of the paper argues that the fact that Carroll’s books feature a girl protagonist who wanders alone in a strange land, together with a long-standing tradition of warning girls against doing precisely this, has resulted in the proliferation of YA narratives that turn Carroll’s ‘golden afternoon’ into a Gothic nightmare.
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