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The sixth book of his life work series spring from an assumption that an artwork hardly examinable in itself, unseparatable from it's mode of existance, it's always gets into new contexts and changes because of this.
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After the communist system has collapsed, the socio-political and economical situation has changed in Central and Eastern Europe. In his essays Zádor Tordai is focusing on the analyses of the socio-political results of the system change in Central and Eastern Europe and its interpretation – from the view of a philosopher.
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The book entitled Cinematic Landscapes of Europe is a review of contemporary European cinema from the point of view of a characteristic shot of a landscape. How do European film-makers employ a landscape? Is it significant for them and does it determine the choice of particular means and ways of filming? These questions are being answered by the authors of the ten essays. Each article takes into consideration a set of films in which a landscape plays an important role. Sometimes it is understood in a metaphoric way, as an element of authorial narration (the articles by Ilona Copik on post-industrial landscape generating social issues and the article by Wojciech Sitek on the films of “broken Britannia”). Another area of investigation is urban landscape, understood in a symbolic way (the article by Andrzej Gwóźdź demonstrating how the Berlin wall has [not] existed in the cinema and the essay by Przemysław Pieniążek which offers the interpretation of the infernal landscape of the films of Dario Argento). A comprehensive conceptualization of cinematic landscape can be found in the interpretation of Spanish cinema, in which Joanna Aleksandrowicz juxtaposes Basque and Andalusian landscapes. The article by Karolina Kostyra conforms to the peregrination of landscapes of nature, which are an inherent element of the coming-of-age films. A completely different function is ascribed to rural landscapes in the works of Jan Jakub Kolski, which are a subject of study by Jakub Zajdel, who identifies a cinematic affection to them in the biography of the director. Finally, Magdalena Kempna-Pieniążek and Natalia Gruenpeter take into consideration the authoral interpretations of landscape in the films by Bruno Dumont and Lucile Hadžihalilović.
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The monograph concerns two fields of studies of a theatre: woman’s studies and popular genres’ studies. The author analyses a double relation between the femininity and the performance using the category of “glamour”, understood as a visual code rising in the city milieu. This code generates and controls the spectators’ desires. The author examines not only the historical genres (in which the actress was glamorized and as result the new model of femininity “glamour” was shaped) but also the attempts of impeachment of this model made in the theatre from the second half of the 20th century.
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Książka Narracje fantastyczne pod wspólną redakcją Kseni Olkusz i Krzysztofa M. Maja jest piątym tomem serii „Perspektywy Ponowoczesności”, zbierającym na blisko siedmiuset stronach trzydzieści tekstów naukowych rozpatrujących szeroko pojętą fantastykę z perspektywy ponowoczesnej, transdyscyplinarnej i światocentrycznej zarazem. Z recenzji prof. dr hab. Anny Łebkowskiej (Uniwersytet Jagielloński): Tom „Narracje fantastyczne” to zbiór studiów poświęconych ważnym współczesnym zjawiskom obecnym w literaturze, filmie, grach komputerowych i szeroko rozumianym świecie kultury. Wśród jego wielu zalet wymienić należy na pierwszym miejscu opracowanie mocnych podstaw teoretycznych. Autorzy podważają paradygmat tekstocentryczny i opisują zjawisko zwrotu światocentrycznego, przekonująco je udokumentowując. Przedstawione w tomie studia pozwalają nie tylko usytuować współczesne narracje fantastyczne na tle przemian światopoglądowych, teorii filozoficznych i kulturowych, ale zarazem ukazać ich wyraźne powiązania z namysłem nad ponowoczesnością. Książka zaleca się także – między innymi – ważnymi głosami na temat sporów wokół współczesnego kanonu fantastyki, rozważaniami poświęconymi figurze cyborga w świetle teorii posthumanistycznych czy zagadnieniu transfikcjonalności. Zgodnie z przyjętą ramą światocentryczną w osobnej części tomu znajdziemy studia na temat przestrzeni: głównie miasta i społeczeństwa, ze szczególnym uwzględnieniem problemu utopii, a także rozprawy, których autorzy skoncentrowali się na kwestiach temporalnych (tu m.in. historie alternatywne). Rozległe spektrum badanych problemów dopełnione zostało przez – poparte gruntownymi analizami – interpretacje zjawisk obecnych w wielu mediach. Należy z całym przekonaniem stwierdzić, że tom oddawany do rąk czytelnika stanowi cenną inicjatywę badawczą.
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The present volume constitutes the first part of the collection of texts devoted to the problem of social media – the phenomenon of contemporary participatory culture. Social media, which have become the indicator of successive stage in the development of the Internet called Web 2.0, organize the social life of their users in more and more extensive range. The effects of the development of social media and their influence on future social relations is hard to anticipate in view of tech acceleration and rapid social changes. Nevertheless, the increase in the number of users and their internet activity forces the researchers to undertake the problem of social media in the context of numerous academic disciplines. [fragment of preface]
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A collection of articles devoted to self-destruction in culture. The authors analyse suicidal acts in terms of culture, taking into account contemporary culture (literature, press, film) in which such attempts become objects of reflexion. The book has a novel structure: each part consists of two articles, in which the authors observe the title problem from different perspectives, entering into an intriguing dialogue and showing arguments which are often debatable in terms of interpretation.
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During the years of the Polish People’s Republic, Poles were cut off from the western world. Travel was restricted, as was access to out- side culture and goods. This unique situation led to a period of great ingenuity in the realm of new media. Not only were media adapted to suit Poles’ needs, but new technology was fashioned to gain access to western television, film and video games. Bringing people together, VCRs, computers and satellite television were thus a window to the outside world and contemporary to the mobilisation of Solidarity and the end of communism. As such, their diffusion is an important but largely overlooked aspect of Poland’s history. Acutely aware of this, the authors of this book recount new media behind the Iron Curtain in a way that will appeal to scholars and non-academic readers alike. Coupling archival research with in depth interviews, they bring to life the talent and determination of the PPR’s new media pioneers, compelling others to dig further.“One of the strengths of this book, which makes it such a delightful read, is the feeling of chaotic technical experimentation with objects and practices whose meaning has not yet been settled, in a context where the authorities tried to be controlling and restrictive but were mostly incapable of understanding what they should do in order to achieve this.”– from the Foreword by Graeme Kirkpatrick
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The collective monograph summarizes the results of the research in the history of the Czech short film of the 1950s, conducted by students of the Department of Film Studies and Audiovisual Culture at Faculty of Arts, Masaryk University in Brno. Studies focusing on particular areas of industrial, agricultural, army, sports, cultural and other kinds of films discuss the cultural-political and economic conditions of developing this type of work, a thematic link with the requirements of the contracting authorities (especially the state), and their relation to other media that contracting institutions used to spread the same type of message. Besides the context, the essays examine also rhetorical and stylistic features of films. Two of the texts focus on specific distribution windows which short films entered namely the People's Film University of and cinemas called Čas (Time). Among others, these texts show that despite the programmatic approach the authorities failed to apply its cultural policy as expected. Studies balance ideological, economical and entertaining potential of short films, a show in which cases which one of them pushed and thus to what extent films understood as useful servants were really helpful.
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Within disability studies, discipline developing for the last thirty years, subject of particular interest were audio-visual representations of physical ‘abnormality’. However, in scientific literature it is storyline and generally understood occurrences that are analysed: personal traits of disabled protagonist, his or her social status, actions, introspections or his or her relationship with the society. The question of stylistic and narration devices, and the aesthetics of display-oriented construction of defectiveness are usually not taken into consideration. In order to add to and broaden this perspective author of this dissertation used selected methods of Neoformalism and Cognitive film theory. Strategy of narration, diegetic dominant and viewer engagement helped in exhibiting how defective bodies were used as visual attractions, distinguishing four modes of contemporary storytelling discussed in context of a long tradition of portraying visible dissimilarities and explaining methods of managing ‘troublesome’ bodies with instances of narrating.
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Ruth Beckermann is an Austrian-Jewish filmmaker, born in Vienna as a daughter of Holocaust survivors. She can be seen as so-called Nestbeschmutzer (German world for someone who fouls their own nest). This term in Austria refers to artists who are not afraid to criticize their own country, who dare to deconstruct Austrian myths and come up with taboo topics. This is exactly what Beckermann does in many of her works. Not only in her movies but also in books, essays, and artistic installations. Nevertheless, Beckermann should not only be considered as a Nestbeschmutzer, since many of her works actually are a form of self-reflection about Jewish identity in the country which presents itself as a first victim of Hitler. This book focuses on Beckermann as a filmmaker. The analysis of her documentaries shows how she portrays Austria and Austrians. For the film analysis, the cultural, historical, and political context appears significant. The references to different aspects of cultural studies, especially memory studies or postcolonial studies, constitute the methodological background for this book.
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The monograph constitutes a compendium of knowledge related to the field of artistic performances approached in their diverse aspects, such as theatre, cinema, television and radio as well as dance, music, circus, press or art. The academic dimension of the work is manifested in the theoretical thorough literature overview, which introduces the reader into the world of artistic performances outlining at the same time their historical development, the interdisciplinary and complex nature of the corpus as well as extensive and rich bibliography. Since the monograph addresses the needs of a wide range of readers (i.e. translators, students, literary scholars, linguists and artistic performance lovers), it has the potential to exert considerable social influence.
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Individual studies on authors as different as Banksy and Bruno Schulz, Bruno Jasieński and Ro-man Dmowski, Vishal Bhardwaj and Mieczysław Berman, or Wacław Nałkowski and Alfred Döblin, show what they have in common - "indifference" to social issues. The humanistic, multi-threaded analysis of these images proves that literature, film, photography, reportage, photomon-tage, theatre, and street art always remain involved regardless of time and space.
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This book presents the interpretation of the films made by Andrey Zvyagintsev, one of the best-known contemporary directors, in the context of the selected texts of Russian literature. Although his films tend to be compared with the masterpieces of the world cinematography (i.e. the achievements of Michelangelo Antonioni, Ingmar Bergman, Robert Bresson, Michael Haneke, Alexander Sokurov, and most often Andrey Tarkovsky) it is easy to note – both in Poland and overseas as well – the lack of thorough monographs that would treat all his works as a complete and consistent art project. This book constitutes the first attempt of such research undertaking. The presented interpretation has comparative character, its methodological basis is the category of cultural memory as expounded in the theories of Astrid Erll and Renate Lachmann, enrooting this term in a broadly understood notion of intertextuality, close to the concept of the memory of the text. Each of the chapters contains the case study of one of the short or feature films (including TV series) and turns attention to metaphors, motives and migratory themes, taking their origin in the literary texts of Mikhail Bulhakov, Ivan Bunin, Fyodor Dostoyevsky, Mikhail Saltykov-Shchedrin and Lev Tolstoy. The monograph offers also a wide overview of articles published so far on Zvyagintsev in Russian, English and Polish. The author takes into account the comments given by the Russian director himself concerning his works.
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Çokdisiplinli Çalışmalarda Posthümanizm, tüm bilimsel ve teknolojik gelişme ve dönüşümleri ele almayı hedeflemekte, posthümanist teorilerin çokludisiplinli çalışmalarda nasıl kavramsallaştırıldığını insanı evrenin merkezine koyan Batı toplumlarının yüzyıllardır ideolojisini ve zihniyetini besleyen insan/doğa, insan/insan olmayan ikili düşüncesini kökten sorgulayarak incelemektedir. Bu bağlamda bu kitap, posthümanizm ile çeşitli farklı disiplinler arasındaki ilişkiyi posthümanist kuramsal yaklaşımlar çerçevesinde derinlemesine incelerken, posthüman yaşam tarzlarının yansımalarını çok disiplinli çalışmalarda tartışmaktadır. Bu tür seçilmiş çalışmalarda posthümanizmin feminizm, ekoeleştiri, biyopolitika ve transhümanizm gibi kuramlarla ve sinema, performans dansları, biyo-sanat, felsefe, mühendislik, uluslararası ilişkiler, siyaset gibi disiplinlerle olan yakın ilişkisi, bu kuramlara katkıları ve bu kuramların posthümanist kuramlardan nasıl beslendiği doğrultusunda incelenmektedir. Posthümanist bakış açısının, insanın artık istisnai bir varlık olarak değil, gezegeni paylaştığı diğer türlerle doğup ortaya çıkan ve gelişen bir “birlik” olarak gördüğü yaşadığımız dünyayı nasıl açıkladığı ve algıladığı bu disiplinlerle sorgulanmaktadır. Kitap, tekno-bilimsel kültürlerin çoğaldığı, küresel ekonomik zorlukların, çevresel yıkımın ve doğal afetlerin arttığı, dijitalleşmenin yaygınlaştığı dünyaya, insanlık ve insan dışı varlıklar için nasıl bir yaşam ve düzen sunduğu sorularına yanıt arar. İnsan ve insan olmayan varlıklar arasındaki geleneksel sınırlar, teknolojik, biyolojik ve çevresel düzeylerde aşınır ve bulanıklaşır. Bu yeni oluşumda alternatif fikir ve düşüncelerin sunulmasında çokdisiplinli çalışmaların katkısını inceleyen bu serinin ikinci kitabı, okuyucuya insanın değişen dünyasını ve diğer canlı ve cansız varlıklar arasındaki ilişkiyi anlaması için farklı çalışmalar aracılığıyla yeni kapılar açmaktadır.
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The topic of the book are Czech technical screenplays between 1945 and 1962. The nationalization of the Czechoslovak film industry in 1945 affected production in many ways. Ideologically suitable films and economical efficiency of production were common goals. The USSR film industry became a dominant inspiration. For example, literary and technical screenplay was established according to soviet manuals. The transfer of soviet experience encountered with Czechoslovak tradition. It resulted in unsuccessfull attempts in the implementations of the new practice. In three chapters I explore 1) screenwriting manuals, 2) changes of formal structure of TS, 3) the development of approval process. I combine metodological frameworks of production studies and screenwriting studies to explore history of technical screenplays.
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The volume consists of two parts, one of which comprises analyses of filmic transmediations of Shakespeare’s sonnets (The Sonnetproject, New York Shakespeare Exchange 2013), the other analyses of literary ekphrases (by W. Szymborska, U. Fanthorpe, J. Stone etc.). It results from an Intermedial studies seminar held in 2021 within the program Literature and Intercultural Communication at Masaryk University, Brno. The contributions display various approaches that fall under two main intermedial methods, literature-centered (introduced by Werner Wolf), which focuses primarily on a semantic analysis of the original text, and literature-oriented (as suggested by Irina Rajewsky), which respects the transmediation as an autonomous representation and observes its relations to the pretext mainly retrospectively; and even a comparative one, which involves a translinguistic analysis of translations as intercultural and historical transfers.
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The book collection Masterpieces of Polish Literature and Film presents important works of Polish literature and their film adaptations, which are distinguished by a high artistic level and are among the classics of Polish cinematography. Each book in the collection consists of literary chapters contributed by Lidija Rezoničnik and chapters written by Seweryn Kuśmierczyk that contain analyses and interpretations of films based on literary works. The literary works are presented in a broader literary and cultural context. This context is also taken into account in the film analyses and interpretations, which are based on the method of anthropological-morphological analysis of the film work. The first book is dedicated to the novel "Pharaoh" by Bolesław Prus (Faraon, 1895) and the film "Pharaoh" by Jerzy Kawalerowicz (Faraon, 1965), the drama "The Wedding" by Stanisław Wyspiański (Wesele, 1901) and the film "The Wedding" by Andrzej Wajda (Wesele, 1972), and the novel "Mother Joan of the Angels" by Jarosław Iwaszkiewicz (Matka Joanna od Aniołów, 1946) and Jerzy Kawalerowicz’s film "Mother Joan of the Angels" (Matka Joanna od Aniołów, 1960).
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The monograph Transpositions of Opera Styles in Works of Culture comprises interdisciplinary reflections on literature, film, music and image in connection with the art of opera and its cultural contexts. The authors of the chapters have used as their point of reference works in which there are various transpositions of operatic styles, both in the art of earlier eras and in the phenomena of contemporary culture (including poetry, novels, music videos, dance theatre, computer games). The conceptual anchor for the issues raised was established by the traditional aesthetic categories of "style" and "work" (styles of opera, work in culture), read in two ways: (1) because of the genre-form specificity and the individual dramatic, musical, theatrical, literary and other components that determine the phenomenon of opera, in addition to (2) a form of all kinds of signum of operatic art and its themes recorded in cultural works, allowing, among other things, the search for a paradigm of "opera-ness", open to various ideological, cultural and aesthetic readings. The approaches, analyses and interpretations of the works presented here take into account the preservation of the memory of the context from which the material to be transposed originated, and the results of creative processes are characterized by formal-artistic reference to the initial original (motif, theme, idea, style, thread, form, the entire work), establishing an indispensable element of the trans-positio process. It is thanks to this that the results of such processes are represented and actualized in art and culture, and with them also in humanistic reflections, the experience of the vitality of tradition, the art of memory and the melding of horizons, all confirming the multi-level symbolic and allegorical rooting of the art of past eras as well as of modern times.
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