Hipnoza i kritika: filmska muzika za Balkan

Author(s): Stathis Gourgouris,Dušan Đorđević-Mileusnić / Language(s): Serbian Publication Year: 0

Potreba za mišljenjem o Balkanu danas nas upućuje s one strane radikalne neposrednosti događaja. Ovo kažem, iako se može učiniti da je to protivno rezonu, zato što se, čak i u ovim neuobičajenim prilikama brzog razumevanja veličine događaja, ne{to uvek oseća kao nedokučivo, tajanstveno, neomeđeno. Možda zato što duboko promišljanje, na kraju, ne može da izdrži paljbu stalne neposrednosti – ili, da kažem to drugačije, zato što misao o istoriji-koja-je-u-dubini ne može da izdrži paljbu istorije-koja-se-događa – očigledan neuspeh konceptualizovanja Balkana s one strane njegovih elementarnih istorijskih/kulturnih/političkih granica postaje sve više akutan.

The Portrait of the City in Wim Wenders’s “Lisbon Story”

Author(s): Sonia Front / Language(s): English Publication Year: 0

The paper addresses the depiction of the city in Wim Wenders’s film “Lisbon Story” (1994). The film meditates on the “death of the cinema” resulting from the commercialization of the image and globalization of culture, accompanied by the destruction of space. Wenders protests against the postmodernist consumption and homogeneity of space by presenting Lisbon as a city arrested in time, beyond the impact of corporate culture. Expressing his distrust of images, he creates a heterogeneous portrait of the city, superimposing soundscape over the landscape, whereby sounds, particularly music, encode the emotional attitude to the city, experienced in a kinesthetic manner.

Amidst the Wonders of the City: Countenances of Moscow in Barbara Włodarczyk’s “Wide Tracks”

Author(s): Monika Kowalczyk-Piaseczna / Language(s): English Publication Year: 0

The article analyses the various countenances of Moscow which have been presented by Barbara Włodarczyk in the cycle of television reportages “Wide Tracks”. The text focuses on illustrating the specific features of a film report that allow its author to present the wondrous picture of the Russian capital emerging from the particular fragments of the discussed reportages. Moreover, as a result of juxtaposition of the reports from that part of the city, which overwhelms one with its richness and splendour, with the accounts from these corners of Moscow in which the continuous struggle for survival takes place, the article examines the internal contradictions which may be observed within the depicted urban space. The analysed cycle also exposes the series of political conflicts which undermine the immaculate image of Moscow as a wondrous city, presented by some of the characters of the discussed film pictures, and simultaneously, it allows one to discover some new, less known countenances of the metropolis.

Egy 80 éves történet

Author(s): Márton Maczák / Language(s): Hungarian Publication Year: 0

“Rewriting” Turkish-German cinema from the bottom-up: Turkish emigration cinema

Author(s): Ömer Alkin / Language(s): English Publication Year: 0

Films from Germany dealing with any aspect of Turkish-German migration, such as the box-office successes Fack Ju Göhte (2014) and Almanya – Welcome to Germany (2011) are often considered as “TurkishGerman cinema”. Nevertheless, what first comes to mind with this problematic term of “transnationalism” in the field of film (Higbee & Hwee, 2010) are the internationally celebrated films Head On (2004) and Edge of Heaven (2007) by Turkish-German director Fatih Akin. However, the term is to be questioned. Which parameters determine the belonging of a film to Turkish-German cinema? Is a film by a German director with Turkish migration background already a Turkish-German film due to the transcultural biographical reference of the director, even if the film does not contain any references to the social reality of Turkish migration, as it is the case in the Hollywood mystery film Premonition (2007) by director Mennan Yapo – which would be an essentialist and biologistic understanding of national cinema? For a discussion of the term it is crucial to analyse comprehensively the historical context. The fact that this does not happen becomes apparent in the marginal position of the Turkish films in the discourse regarding Turkish-German cinema. The Turkish films about emigration from the 1970’s and 80’s by Turkish directors like Serif Gören or Yavuz Figenli are not considered as a part of this transnational film history. But ‘Turkish-German film’ history has already attracted a considerable amount of academic interest (e. g. Burns, 2006, 2007, 2013, Göktürk, 2000a, 2000b, Ezli, 2009, 2010, Halft, 2011, Hake & Mennel, 2012) without really considering what the term actually refers to. I want to critique such writing because I will argue that it reproduces Eurocentrism and an epistemological one-sided-ness. Before giving arguments for a more comprehensive understanding of Turkish-German cinema, which includes Turkish emigration cinema, it is useful to understand the discussions surrounding the academic writing of the history of Turkish-German cinema first. It offers an insight into film history that can be read as a two-stage process of the appropriate representations of Turkish emigrants in Germany.

Grounded theory and transnational audience reception

Author(s): Deniz Özalpman / Language(s): English Publication Year: 0

The aim of this study is to shed new light on debates about Turkish migration studies using a grounded theory (GT) method. My case study for this research is Magnificent Century, an internationally viewedand acclaimed popular television series that refers to the sixteenth century Ottoman Sultan Suleiman the Magnificent associated with the pinnacle of Ottoman power in the world. The series dramatize the intrigues of his harem and court and most of the incidents and actions are based on real events and fictionalised subplots.

The Term “Film Music” against the Background of the Research on Music Preferences of Czech University Students to Artificial Music of the First Two-Thirds of the 20th Century

Author(s): Ondřej Musil / Language(s): English Publication Year: 0

The introduction of this contribution is focused on a classification of film music and its theoretical, aesthetical and general artistic bases. The main part of the paper deals with partial results of a research on the music preferences conducted by the Department of Music at the Faculty of Education at Masaryk University. Concretely, it was an analysis of free answers given from the respondents, who did an assessment of chosen music samples in an audio questionnaire, where representatives of the „neo-styles“ as well as the avant-garde turned up. Many answers referred to parallels between classical and film music. On basis of the results some possible reasons was set out, that might be responsible for the mentioned similarities. All is followed with music samples from both areas of music production, purposefully chosen in order to compare similar ways of composing.

“Minör Sinema” Olarak “Duvara Karşı”

Author(s): Süleyman Kıvanç Türkgeldi / Language(s): Turkish Publication Year: 0

Deleuze ve Guattari, Franz Kafka üzerine yaptıkları incelemede “minör edebiyat nedir?” sorusuna “minör edebiyat, minör bir dilin edebiyatı değil, daha ziyade bir azınlığın majör dilde yaptığı edebiyattır; ama temel özelliği, dilin güçlü yersizyurtsuzlaşma katsayısından her koşulda etkilenmiş olmasıdır”(2015: 45) şeklinde cevap verir. Majör sözcüğü köken olarak büyük, temel ve önemli gibi anlamlara gelirken, minör sözcüğünün küçük olan gibi anlamlara geldiğini söyleyebiliriz (Nişanyan: 2016). Bu noktada felsefi açıdan bakıldığında minör kavramının neden önemli olduğunu postmodern düşünce bağlamında görmek önem arz eder. Batı düşüncesinin 20. Yüzyıla kadar genel anlamda bir “aşkınsallık” temelinde şekillendiğini söyleyebiliyoruz.

Svazáci a páskové - „jiná“ padesátá léta

Author(s): Jaroslav Pinkas / Language(s): Czech Publication Year: 0

This study applies Alf Lüdtke’s and Thomas Lindenberger’s concept of a wide spectrum of the society’s attitude towards ideological directions into school educational environment. Following the research of Matěj Kotalík, Martin Franc and Jiří Knapík it comprehends two youth groups living in the fifties: Svazarmists and the rebels (in Czech called “Pásci” – it literally means “Belts”), that represent two completely different youth attitudes towards the regime. Phenomenon of the rebels is analysed in this study as independent, in part socially pathological subculture of young people, which shaped itself politically just under the influence of the regime. The political views were often imposed on it. The study also comprehends the representation of the rebels in the film from the 1950s till present day. Didactic application is based on the confrontation of multimedia, utilization of memories depicting life in the rebel gangs and period ideologically influenced cartoons. The theme of nonconformist young people makes it possible to draw the multi-perspective image of the fifties and demonstrate the oppressive actions of the regime on the basis of adequate social and cultural context, call attention to the limitations of these actions and to strategies some youth groups used to avoid these actions.

Intelektuál v normalizační propagandě Proměny obrazů intelektuála a jejich didaktické využití

Author(s): Jaroslav Pinkas / Language(s): Czech Publication Year: 0

First part of the text focuses on relationship between communist establishment and intellectuals. It describes two instances of intellectual involvement in a project of new society – at first in the bounds of Stalinism in the fifties, then in the bounds of the Socialism with Human Face in the second half of the sixties. Suppression of Prague spring and coming of normalization meant for most of the intellectuals ultimate break up with establishment, which projected itself in the way intellectuals were portrayed. Whereas the presentments of intellectuals in movies and later in television in the fifties and sixties granted them a decent portion of dignity, in seventies and eighties is the intellectual portrayed either as apolitical figure or as a seditious element. Intellectuals were ridiculed and lampooned, their function in society was taken over by other social groups (medicine doctors, educated engineers, party office holders, “wise men of the people”). The main focus of the second part of this text is the utilization of this topic in a classroom. Emphasis is stressed on legitimacy of this topic and its educational value (the values of intellectuals are to a large extent same as the educational objectives of the school). Specific methodical techniques are proposed, especially analyses of final portraits of intellectuals from a movie Hyppo (Hroch, director Karel Steklý) and 30 cases of major Zeman (Třicet případů majora Zemana) (episodes addressing year 1968). Possibility for comparing normalization portrayal of intellectuals with contemporary movies, for example from movie Walking Too Fast (Pouta, 2009, director Radim Špaček) is also introduced. Text also describes other possibilities for combining medial images with memories of personal observers.

Občan Brych a spol - Film, televize, intelektuálové a KSČ

Author(s): Petr Kopal / Language(s): Czech Publication Year: 0

The first part of the study deals with specific function of the movies and TV in the communist system. Together with the repressive actions was the quasi-religious imagination a substance of modern totalitarism. It was quite similar to film propaganda, in other words – film was a main communist and Nazi tool for ideological manipulation. This tool provided the totalitarian regimes with the ability to change the whole society (including intellectuals) however it liked. Intellectuals of course played an important role as the enthusiastic creators of the film propaganda. In 1950s and 1960s the television became the principal “mouthpiece” of the communist ideology. Very soon a regimes own “think tank”, intellectual elites turned around and used mostly movies but television too to express critical opinions of many young dramaturgists, screenwriters and directors. The second part describes basic types of portrayal of intellectuals in television and movies: 1) Intellectual – asocial (enemy). He refuses to take part in creating of the new society, he undermines it and spreads ideological “infection”. Quite often we can find especially in the movies an example of hesitating intellectual, who “opens his eyes” and sets to work on the new society – becomes a member of the working class. In 1960s a perspective from “the other side” emerged and so did the type of intellectual-enemy/victim – Joke (Žert) and Larks on a String (Skřivánci na niti). 2) Intellectual-neutral. Intellectual is an apolitical person forced by the circumstances to express explicit view. In the 1950s is the most common intellectual the wavering, hesitant one, who eventually finds his way to the “right side”. 3) Intellectual-hero. The TV serials of the normalization era introduced rows of skilled specialist-communists with a college education. It was no longer true, that the right background was enough for holding a professional office.

Summaries

Author(s): Author Not Specified / Language(s): English Publication Year: 0

Ironie et humour populaire – de la critique sociale à la guerre politique

Author(s): Mariana Anastasiei / Language(s): French Publication Year: 0

Comedy, laughter, is both a presence and a social necessity. Irony, humor, joke, satire, caricature are all forms of manifestation of laugh in art and society. Art of relationing by excellence, comedy supposes, in order to achieve its purpose, an emitter and a receiver equally informed and competent. The purpose of this work is to follow the evolution of this relationship of complicity when the transgression of art frontiers occurs.

Ridley Scott’ın Bıçak Sırtı Filminde İnsan Arayışı

Author(s): Mahinur Gözde Kasurka / Language(s): Turkish Publication Year: 0

Ridley Scott’ın yönettiği Bıçak Sırtı (Blade Runner 1982) bilimkurgu türünde önemli eserler vermiş olan Philip K. Dick’in Androidler Elektrikli Koyun Düşler mi? (Do Androids Dream of Electric Sheep? 1968) romanından uyarlanmıştır. Film, 2019 Londra’sında distopik bir evrende geçer. Filmin yalnızca son sahnesi haricinde hiç güneş ışığı görünmez. Bu sebeple tüm film karanlık bir evrende geçen olaylar bütünü olarak değerlendirilebilir. Sürekli yağan yağmur, neon ışıklar, kitleler halinde gezen insanlar da bu karanlığa eklenince filmde sunulan distopik dünya tasviri güçlenmektedir. Filmin başlangıcında Tyrell şirketinin Nexus 6 kopyaları-nın üretimiyle birlikte robot devrimini gerçekleştirdiği bilgisi verilir. Bu kopyalar “kendilerini yaratan genetik mühendislerinden güç ve çeviklik anlamında üstün ve en az onlar kadar zeki’’ olarak üretilmiştir (Blade Runner 02:10-02:50). Üretilen bu kopyaların dünya dışı gezegenlerin kolonileştirilmesi için köle olarak kullanılması filmdeki insan-kopya ilişkisini çözümlemek adına önemlidir. Bu duruma isyan eden Nexus 6 kopyaları illegal bir şekilde dünyaya giriş yaptıkları için polis memuru Rick Deckard bu kopyaların peşine düşer. Deckard’ın görevi, zamanı geldiğinde bu kopyaları “emekliye ayırmak’’ (retire) yani öldürmektir (Blade Runner 02:48- 02:50). Filmin terminolojisinde kopyaları öldürmenin emekliye ayırmak ile eş tutulması kopyaların varoluş amacının insan merkezli kapitalist sistemin ön gördüğü düzende çalışmak olduğunu ima eder. Böyle bir sistemde kopya olarak var olmak ancak insan faydasına çalışmakla özdeş olabilir. Aksi takdirde, insanların perspektifinden kopyaların var olmasına gerek yoktur.

Смяната на имената като проблем на историографията и колективната памет

Author(s): Nikolay Papuchiev / Language(s): Bulgarian Publication Year: 0

The article presents the results of a study carried out within the project “The Post-1989 Democratic Transition – Interpretations of Historical Change, Social Experience and Cultural Memory in Contemporary Bulgarian Literature,” financed by the National Science Fund, Ministry of Education and Science. The study focuses on two films: Gori, gori, ogunche (Burn, Burn Fire) (1994), screenplay by Malina Tomova, directed by Rumyana Petkova, and Radiogramofon (Radiogram) (2017), written and directed by Ruzie Hasanova. The subject of the paper is the reflection within Bulgarian society during the so-called “Time of Transition” of one of the most traumatic period of Bulgarian history – the changing of the Bulgarian Muslims’ Turkish or Arabic names which the communist government initiated and enforced, at times using violence, during the 1960s and 1970s. The concept of the modern Bulgarian nation shared after 1989 was characterized by the same heavy nationalistic leanings which had been created and sustained by the totalitarian regime in the previous historical period. Some of them shaped the social representations after the collapse of the Communist regime. Using the two movies under consideration, the article looks at some of the main aspects of the changes in Bulgarian society – the collective images, the attitudes towards history, and the problems of group identities in the new social, political, economic and historical period. Along with mass media content analysis, the study is based on numerous interviews with local people. The chosen methodology aims to reveal and discuss the sites of trauma in the collective memories.

Изобретения, създадени от световноизвестни личности в сферата на музикалния и филмовия бизнес

Author(s): Vladislava Pacheva / Language(s): Bulgarian Publication Year: 0

The subject matter of this paper are patented inventions owned by world-famous personalities. The nature of inventions and ways of protecting innovative products in the music and film business as inventions are outlined. Patent protection of inventions under national patent laws is identified, as well as exceptions to protection. It analyses the role of inventions as a fundamental object of industrial property, which provides its owner with a monopoly advantage and provides him with various opportunities for realization and profit. Examples are given of inventions created by world-famous personalities such as musicians, producers, and actors.