Bosna kao granica Evrope: Andrić i Angelopulos

Author(s): Dragan Kujundžić / Language(s): Serbian Publication Year: 0

Bosna, kakav primer. Bosna, kakav primer? Poslušajmo u ovom ponavljanju dve mogućnosti definisanja prostora: jedan, koji će spominjati prošlost, katastrofičku ruinu poznatu kao «istorija», suviše poznatu u svojoj pretskazivosti, gramofoniju prostora znanog kao «Evropa» – Bosna, kakav primer – i drugu, pitanje, mogućnost mesta/prizora (site/sight) ili graničnosti radikalno osobite u svojoj singularnosti, u svojoj još neoblikovanoj, raščinjenoj egzemplarnosti, do koje tek treba da dođe, jedno nečuveno pitanje – Bosna, zaista, kakav primer?

All Eyes in Swinging London: Antonioni’s “Blow-Up” and the Maze of Violence

Author(s): Sławomir Masłoń / Language(s): English Publication Year: 0

Antonioni’s “Blow-Up”, released in late 1966, is usually taken, on the one hand, to represent (celebratingly and scandalously) the youth culture of Swinging London and, on the other, the problems of (tenuous) relation between reality and its representation (the main protagonist thinks he discovers a murder by analysing photographs he has taken). Although most critics have attempted to link these two levels by means of some existential metaphor (most often: the main protagonist who represents the image-crazed youth of Swinging London encounters its biggest taboo, death, which is unrepresentable to boot), the paper proposes a more literal and political interpretation arguing that the abstraction of blurry grain of silver halide into which the image of the corpse finally dissolves in a series of photographic blow-ups is a way of representing something which also cannot have a proper image: the all-pervasive but no longer perceptible lowkey everyday violence which constitutes the propelling force of the supposedly emancipated “swinging” lifestyle.

ROMI U MEDIJIMA BOSNI I HERCEGOVINI

Author(s): Mladen Lakić / Language(s): Bosnian Publication Year: 0

Kako ustavno uređenje BiH u povlašten položaj stavlja pripadnike konstitutivnih naroda, onda se često opisuje kao zemlja većina. S druge strane, oni koji su u manjini, bilo da su ustavna kategorija Ostalih ili zakonom priznate nacionalne manjine ili faktičke manjine, trpe različite vrste diskriminacije. BiH je ratifikovala niz međunarodnih ugovora kojima se regulišu prava nacionalnih manjina. Preciznije rečeno, trebalo bi da su osigurana prava nacionalnih manjina. Jedna od preporuka pomenutih ugovora jeste odgovarajući medijski tretman i uopšte pristup medijima kada je riječ o nacionalnim manjinama. Upravo medijska slika BiH pokazuje koliko je naše društvo neosjetljivo i zatvoreno za sve one koji nisu iz reda konstitutivnih naroda. Zakon o javnom radio-televizijskom servisu BiH jasno precizira u članu 8, paragrafu 2 da će „programi biti prilagođeni potrebama konstitutivnih naroda i građana BiH, uređivani i emitovani ravnopravno na tri jezika u službenoj upotrebi u BiH i dva pisma.“ ( Zakon o javnom radio-televizijskom servisu BiH, Službeni glasnik BiH,37/03). Nacionalne manjine i njihovi jezici se ne pominju.

MATRICA KOJA OBEĆAVA?

Author(s): Iva Nenić / Language(s): Serbian Publication Year: 0

Globalna popularna kultura, shvaćena u najširem smislu kao skup društvenih praksi koje dominiraju u popularnoj umetnosti (muzika, književnost, film), oblika reprezentacija u medijima (novine, radio, televizija, Internet) i kulturnih artefakata mahom namenjenih širokoj upotrebi, predstavlja važan prostor za nastanak, menjanje i sukob različitih formi ženskih identiteta. Sam pojam popularne kulture često se koristi sinonimno sa izrazima masovna/medijska kultura ili kultura (post)industrijskog doba, čime se prevashodno referira na ulogu savremenih medija u procesima kulturne proizvodnje, ali se podrazumeva i opozicija prema tzv. visokoj kulturi u koju ulaze specijalizovane društvene prakse poput visoke umetnosti – delatnosti koje su istorijski proizvod zapadnoevropskog društva i preimućstvo elita koje poseduju odgovarajuća znanja, veštine i kompetencije.

Filmska umjetnost o Isusu Kristu

Author(s): Petar Jeleč / Language(s): Croatian Publication Year: 0

Isus iz Nazareta kroz stoljeća je izazovna i neiscrpna tema mnogim umjetnicima, piscima, teolozima i običnim ljudima. Isusov lik je upravo zbog te svoje izazovnosti i kontroverznosti, prouzročio mnoge polemike i krize unutar kršćanske zajednice koje su se onda morale rješavati na crkvenim saborima. Kalcedonski koncil je 451. godine dozvolio prikazivanje Isusova lika u umjetnosti, a cijela priča o ikonoklazmu riješila se 787. g. na II. Nicejskom saboru čijim su odlukama umjetnici ohrabreni da mogu slobodno prikazivati Isusov lik.

EMLÉKEZÉS FÉNYKÉPEKBEN

Author(s): Andrea Virginás / Language(s): Hungarian Publication Year: 0

I will speak about movie protagonists who, in the strictest sense, store their memories in photos. Their memory functions only by this technology – ant thus, the agents of this access will be not only the protagonists, but also us, viewers, who will construct a more or less coherent identity for the protagonists on the base of these pictures. My protagonists do not only use photos to remember by: they also have notes, drawings and novels to dispose of. What is common in all these forms, is the externalization of memory. The photos constitute a core of self-identity that can be accessed in need, and identified with, over and over. What I investigate is the implications of using photography in such techniques, and the roles of mediatized pictures in these fictional worlds.

Micro-dystopias as Socio-political Constructs in Post-apocalyptic Narratives

Author(s): Ksenia Olkusz / Language(s): English Publication Year: 0

Czym są gnostyckie dystopie?

Author(s): Fryderyk Kwiatkowski / Language(s): Polish Publication Year: 0

The inquiry delivered in Fryderyk Kwiatkowski’s chapter of possible affinities between ancient Gnosticism, perceived as an interpretative and heuristic category, and utopian/ dystopian texts has not been performed in comparative studies. The aim of this article is therefore to fill this void to demonstrate that gnostic thought is replete with notions that may have served as the verifiable pre-modern source of the constructive characteristics of utopias and dystopias. Alex Proyas, the author, examines "Dark City" (1998) as his primary case study for his investigative research on gnostic thought characteristics in utopias and dystopias. Other sources of his substantive research include twenty-first century American film. It is worthy to note that Proyas classifies all of his research sources as “gnostic dystopias”. Proya’s notion of “gnostic dystopias” refers to texts embedded with structural and narrative traits of classical examples of dystopias. Novels such as the likes of "Brave New World" by Aldous Huxley or "Nineteen Eighty- Four" by George Orwell can be construed as being literarily consistent with gnostic ideals.

Widmowy status utopii w klasycznym Hollywoodzie

Author(s): Rafał Szczerbakiewicz / Language(s): Polish Publication Year: 0

Rafał Szczerbakiewicz’s chapter looks at the intriguing aspects of the subtle utopianism of the main trends in classic Hollywood cinema. During the thirties, forties and fifties of the twentieth-century and at the peak of liberal modernity there was an omnipresent yet transparent capitalist paradigm. This was a time in cinema where the theme of utopia was obscure. Utopia, in cinema, was more a symptom of a frame of mind and the background to a social state of awarenesss. Within the supportive or critical portrayals of capitalism, the utopian/dystopian elements were notable signs as to the filmmaker’s attitude. Amongst films, the utopian impulse is merely an understatement. However, there is one film with an overt utopian stance. This film is based on the novel, "Fountainhead" (1949) by King Vidor. It was tranformed into a memorable screen adaptation by the enthusiast and theorist, Ayn Rand. In this surprising constructionist vision, the socio-architectural utopia is explicitly portrayed giving the utopian impulse the direction towards what would, years later, come to be known as individualistic neoliberalism.

Miasta-światy

Author(s): Monika Rawska / Language(s): Polish Publication Year: 0

Monika Rawska’s chapter focuses on two modern movies "Equilibrium" (dir. Kurt Wimmer, USA 2002) and "Inception" (dir. Christopher Nolan, USA—Great Britain 2010) with an analysis of the city spaces depicted in these films. Progress is the basis of the analysis. Progress is the impulse pervasive in utopias and it is an important motivator for human actions presently perceived as negative—imperialism, colonialism, racism. Margaret Mead’s notion that Utopia should be seen as a historical category while revealing an essential ambivalence is well summarized in her work, “One man’s dream is another man’s nightmare”. This is also represented in select films depicting a new society with a visual representation of order. For example, in Libria and architect’s city both of which were created with a positive and beneficial premise, though over time they became a burden for the characters. Change in perception of reality is one of the significant elements in dystopian narratives, that are also present in film adaptations, in what Ludmiła Gruszewska-Blaim calls a „utopiacrime”. Libria is depicted as the only city in the world in the film, "Equilibrium". Libria is a dystopian cityfortress contrasted with the surrounding Nether and an appropriated enclave space of Offenders. It functions as a simulacrum of the past at a time before the war. The film vision of the future is an intertextual collage of conventional representations of the totalitarian organization of both space and society. Dream city is the creation of an architect couple in the film, "Inception". It is a very different space, imagined and fictional and it perfectly captures the impossibility of utopia as revealed by its very name that means non-space. Reality, which the couple created for themselves, demonstrates an interesting tension between the architectural utopia and the solitary eutopia as well as a conflict of planner vs. wanderer (as described by Michel de Certeau). In both movies the city space becomes a threat in spite of its projected function as a safe and/or familiar space. In "Equilibrium", it imposes on and disciplines its inhabitants as tools of the state. In Inception, the city is the accumulation of the protagonists’ entire world and it turns unto its own ruin, a memory maze swallowed by the sea.

Polskie formy adresatywne w rosyjskich przekładach filmowych

Author(s): Anna Paszkowska-Wilk / Language(s): Polish Publication Year: 0

The article discusses the difficulties in translating Polish forms of address in film dialogues based on the Russian translation of the series „Tajemnica twierdzy szyfrów” (The Secret of Code Fortress) (2007). Forms of address perform a significant role in linguistic communication. In film dialogues, they additionally carry information about relations between the characters, their position, and rank. In the process of film translation, forms of address are frequently omitted to shorten the translation due to technical requirements of captions or a voice-over. The analysis of the material shows that as a result of such processes, the recipient of translation is deprived of information which is indispensable for the true interpretation of the film.

Queerowanie Frankensteina. Motywy inności i nienormatywności w serialu Dom grozy

Author(s): Barbara Braid / Language(s): Polish Publication Year: 0

In the chapter “Queering Frankenstein: the motifs of otherness and non-normativity in »Penny Dreadful«”, Barbara Braid offers an interpretation of Frankenstein’s creatures presented in the series from the perspective of queer theory. The queer is understood here as a wide range of non-normativity and difference, including subjectivities and actions which subvert stabilities and norms. The author identifies the links between queer theory and the gothic, which allow to see the characters which are monstrous, undead, abject—or simply Other—as representations of difference. In this light, the presented analysis shows the three creatures made by Frankenstein and Victor Frankenstein himself as characters related to each other in non-normative ways, creating a queer quasi-family. This discussion is also contextualized by references to Mary Shelley’s original novel and some of its classic film adaptations and their comparison with Penny Dreadful. Frankenstein’s creature is, due to its nature as the undead made of fragments of corpses, an abject thing, an embodiment of Otherness. In the series, Victor creates three beings, which are in a constant tension with each other. The firstborn John Clare murders the second creature, Proteus, out of hatred for their “father” Victor; the third being is Lily, another embodiment of the Bride of Frankenstein, destined to be with the creature, but desired by Victor. She becomes a dangerous fiend, femme castratrice, who desires a new world order and subordination of human beings. These two surviving Others—John and Lily—represent two different attitudes to their otherness. John Clare yearns normality and tries to achieve it by establishing a family with a human woman; Lily, a demonic man-eater, terrifies him. On the other hand, Lily strikes a relationship with Dorian Gray, equally non-normative, in order to achieve a queer monstrous supremacy over the world. However, both Frankenstein’s creatures fail and become alone. Therefore, the chapter is concluded with suppositions that question whether the motifs of otherness play an unequivocally subversive role in Penny Dreadful.

Tito i popularna kultura

Author(s): Zoran Janjetović / Language(s): Serbian Publication Year: 0

The paper tries to depict Tito as a lover, a user, an object and a manipulator of popular culture. Based primarily on surviving testimonies of contemporary personages from the world of show-business, it is both a contribution to the study of Tito's personality and to the study of the Yugoslav socialist society. The conclusion is that Tito, as a conoseur, enjoyed the products of popular culture - particularly music and films - but that he also used them to enhance his own popularity. After the collapse of socialism, his person also began to be turned into an icon of popular culture.

Slika Josipa Broza Tita u partizanskom ratnom spektaklu

Author(s): Nemanja Zvijer / Language(s): Serbian Publication Year: 0

This text should provide a sort of sketch for a film portrait of Josip Broz Tito. Partisan war epics were taken as examples for Tito’s cinematic image. Among the selected films, attention is particularly focused on those about seven military operations of German army and its allies against Yugoslav partisans during the World War Two. Those battles became very significant (in real and symbolic sense) for ideological discourse of Yugoslav communists, while the films about them were an important segment of the socialistic Yugoslav cinematography and popular culture in general. The modes of film construction of Tito's image will be observed through these films. Also, partially will be considered the role of the J. B. Tito in production of these films. In a broader sense, this kind of analysis should provide insights in mechanisms of visual ideologization and ideologization the popular culture in socialism, in which the partisan film was a kind of brand, and Tito's charisma formula that could not fail.

„Zamknięty świat samobójstwa” – opowiadanie Fiodora Dostojewskiego "Potulna"

Author(s): Mirosława Michalska-Suchanek / Language(s): Polish Publication Year: 0

Apart from inherently associated with Fyodor Dostoyevsky ‘calculated’ egoistic, fatalistic and escapist suicides became one of the major themes in the writer’s work. The article attempts to analyze the image of the title character of the story titled "Potulna", which combines the features of both types of suicidal death. The starting point for the analysis is the writer’s belief that the suicide is situated in the center of the “suicidogenic space”, understood as the whole of dynamically growing circumstances and conditions that, extended in time, determine the final solution. The true meaning of suicide is constituted through the process of cognition, and the final act itself is the tragic culmination of a tangle of interrelated factors.

O różnicach w podejmowaniu decyzji ostatecznej

Author(s): Halszka Witkowska / Language(s): Polish Publication Year: 0

The text addresses the process of making decisions about taking one’s own life, depending on whether it is a decision made individually or influenced by the behaviour of the community. The examples given are the suicides of nineteenth-century Russian skoptsy, whose decisions were made not only under the pressure of time, but also thanks to a charismatic leader. On the other hand, the author presents the thoughts expressed by Venedikt Yerofeyev, who describes in an accurate and literary manner his feelings related to making decisions about death. What is the function of time in making the final decision? Is suicide always related to loneliness? And finally, can the idea of taking one’s own life be a result of imitation? The author of the essay tries to answer these and several other questions, which not only concerns the decision-making process to take one’s own life, but above all points to the importance of time in it.

Realizm – między kąpielą, brakiem nazwiska i omnibusem

Author(s): Filip Mazurkiewicz / Language(s): Polish Publication Year: 0

In the text, I ask a question about the status of realism in 19th-century realistic literature in a situation where it is subjected to various social or moral taboos, as well as to political and patriotic censorship. In this theoretical circle, I try to include the problem of representing suicide in those texts, adding to it the parameter of biopolitics.

Izolacja

Author(s): Katarzyna Szymańska / Language(s): Polish Publication Year: 0

The present paper approaches the self-destruction mechanisms in Thomas Bernhard’s prose works – at the level of the construction of characters, language and the image of the disintegrating world and objects. The protagonists stay in places of extreme isolation, which is both a prison and a salvation, and they put their own destruction (die Selbstzerstörung) under obsessive control. The existence of these disturbances (die Störungen) in the analyzed texts has a psychological but also a historiosophical basis.

Sosyal Medyada Mülteci Olgusu Çerçevesinde “Öteki” ve “Biz” Yaratımı: Sessiz İstila Kısa Filminin Çok Modlu Analizi

Author(s): İlkay Ceren Sönmez,Osman Vedüd Eşidir / Language(s): Turkish Publication Year: 0

İnsanlar, tarih boyunca daha iyi yaşam standartlarına ulaşabilmek adına göç etmek mecburiyetinde kalmıştır. Göç arkasında ekonomik, sosyolojik ve politik birçok boyutu barındırır. Göç, bu boyutlara bağlı olarak kişinin kendi ülkesi sınırları içinde yer değiştirmesi ya da farklı ülkelere gitmesidir (Aksoy, 2012:293).

Vančura v intermediálním průsečíku literatury, filmu a hudby

Author(s): Radomil Novák / Language(s): Czech Publication Year: 0

Film Marijka nevěrnice z roku 1934 (dále jen Marijka) je v mnoha ohledech výjimečným uměleckým počinem. Dokazuje to mimo jiné cena za DVD v kategorii Nejlepší znovuobjevený film na mezinárodním festivalu Cinema ritrovato v italské Bologni v roce 2010. Tato cena se uděluje filmům, které byly ve své době něčím výjimečné, a tato výjimečnost trvá i v současnosti (Štráfeldová 2010). V dobové české filmové produkci Marijka téměř nemá obdoby, což se odráží i v její rozporuplné recepci. V záplavě prvorepublikového filmového kýče neuspěla ani u diváků, ani u filmové kritiky. V kontextu současného filmového umění je vnímána jako nezávislý film. Ivan Klimeš (2003, s. 161) onu nezávislost spatřuje v oblasti stylu, produkčních podmínek a politické orientace. V uměnovědné perspektivě představuje tento film aktivity umělců kolem Vladislava Vančury v přímém přesahování k jiným druhům umění, a to nejen k filmu (scénář, filmové libreto, režie), ale také k výtvarnému (filmový obraz) a hudebnímu umění (filmová hudba). Marijku tak můžeme považovat za mimořádný intermediální projekt, v němž se díky jeho tvůrcům spontánně propojilo několik druhů umění, aby vytvořilo umělecky působivou a vizuálně autentickou výpověď o životě na Podkarpatské Rusi.