We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
The text discusses the basic tenets of media linguistics: a transdisciplinary sub-discipline, combining culturally oriented linguistics with media studies, whose aim is to analyse all media-motivated linguistic phenomena. The main theoretical foundations of media linguistics (apart from media studies and contemporary culture) are cognitive linguistics (such approach involves treating media as essential epistemological formations of reality) and critical discourse analysis.
More...
Anthropology suggests a particular type of reading and, therefore, it is always an anthropology of something. If it is to be an anthropology of classical and digital-wave audio-vision media, certain conditions must be fulfilled. The first step is choosing the module. In relation to this module communication will be understood and its field will be organised. Conversion is based on repetition and differentiation of cultural contents by means of accessible powers. When the point of reference is man, the recurrent elements are corporeality, tools and contents. Variables are regulated by conventions of particular cultures. The second step is defining the field of studies. In the Euro-Atlantic context it is an endotic field. Practicing communication with the use of numerous media makes the field familiar and transparent. Currently the field is comprised of: audiovisual images, 3D objects and their mutations, multi-sensual media events. The third step towards the anthropology of media is defining conditions for media forms to function in the role of reality. The precondition is space and its relations with the user. Recognising a visual form as space is fundamental for the establishment of the real. The anthropos module involves both reality and its classes: real, imaginary, fictions, abstractions, virtuality. Subsequent steps in media studies, when man is a point of reference, require taking account of the apparatus (media and cognitive). Such a reflection leads through cultures of context and cultures of a sociological group.
More...
Contemporary culture is saturated with images. The expansion of the visual and the growing importance of visual representations in all spheres of human activity are mirrored in humanistic reflection, giving rise to Visual Culture Studies whose nature is interdisciplinary, built, nonetheless, upon a wide anthropological base.As pointed out by, for instance, Hans Belting in the study of image anthropology allows for determining both the subject and method of research: images communicate a certain reality, and, at the same time, they provide a particular interpretation of the reality. Anthropology requires a hermeneutic approach whose important elements are both subjectivity and externality, the very act of seeing and the way it is understood. A hermeneutic interpretation of film works allows the recipients to understand themselves and their situation in the world within the context of image that carries meaning encapsulated by references. The hermeneutic approach in the studies on perception and understanding of cinematographic works enables creative analysis and significant interpretation of works of film art on an equal footing with genre cinema and digital cinema. In fact, image, which is significant for the interpreter, is at the root of all film productions, regardless of whether it is an analog or electronic image, being a reproduction of reality or a virtual one.
More...
It is difficult to juxtapose the actor with the performer. Their encounter in their most extreme versions may result in interesting conclusions. In the era of global performance, which is how contemporary media is described by Jon McKenzie, the cinema itself, entangled in technology as no other discipline of art, needs refreshing in terms of self-reflection on its artistic and technological aspects. Considering technical potential of modern cinema, it has reached the stage when a basic question should be asked – where is the limit of the so-called realistic acting? The query about the status of the performer – the actor in the film – remains an open question until the revolution of complete digitalisation of the film picture takes place. But is it going to be the same cinema we all know?
More...
Almost from the beginning of Fritz Langs’ oeuvre ("Der müde Tod", 1921) till his last film ("Die 1000 Augen des Dr. Mabuse", 1960) media constitute the major theme of his film output. The media are present in diegesis of Lang’s films either as technological inventions (videophone, intercom, pneumatic post, teletypewriter, radio, television, film, microphones, cameras) or are shown metaphorically (e.g., a chamber of candles as a control room of Death in "Der müde Tod" or intersubjective hallucination of concert hall audience as an allegorical representation of cinema in "Dr. Mabuse, der Spieler"). In narratives of these works media and means of communication also enable managing control over subordinates ("Spione", "Das Testament des Dr. Mabuse"), hotel guests ("Die 1000 Augen des Dr. Mabuse"), society ("Spione", "M") or mankind in general ("Der müde Tod"). Thus, it is not surprising that in Lang’s films the theme of media evokes a gloomy Orwell-like vision of pan-invigilation and total control. Its particular expressions are panopticons: places from which a ruler/controller/manager can observe and eavesdrop the part of world subjected to his/her power. As regards cinema, the medium is presented ambiguously: it is illusion and hallucination deceiving its spectators with unreal phantoms ("Dr. Mabuse, der Spieler", "Die Nibelungen"); it can fulfil the function of reviving dreams which are in reality censored by superego ("The Woman in the Window"). However, it also has the potential of revealing the truth about reality – which is demonstrated by using film as a proof of crime in first Lang’s American film – "Fury" (1936).
More...
This paper is an attempt to research the phenomenon of the biopic in film culture, to identify and organise narrative strategies and types of contemporary biographic films, as well as to describe and establish new trends of the genre evolution. The author of the essay proposes a number of theories and research strategies that allow for better understanding of this cultural and film phenomenon; furthermore, those theories and strategies facilitate the analysis of the contemporary viewpoint the authors have on the biographical film (a film adaptation of a biography) itself, as well as on the image of an authentic protagonist (a person). The paper begins with a brief introduction concerning the beginnings of the biographic film genre from the perspective of film history.
More...
The article argues that film noir, though its definition remains problematic, is a living and developing trend of the modern cinema. Although the classical film noir period is usually considered to be over, the so called neo-noir films are still being produced. Evidently, there is a connection between the two and they need to be related to one another and analysed comparatively. In her paper the author takes account of this fact by showing film noir as a part of the wider cultural trend having its roots mainly in the French existential thought. Providing that the term noir is not employed exclusively in relation to films, but also literature and arts, she claims that the films regarded as noir or neo-noir are the most significant symptoms in the history of noir idea, being one of the dominating intellectual categories since the beginning of the 20th century.
More...
Paranoid conspiracy thrillers, as a fully developed genre, emerged in the American cinema of the 1970s. Among the reasons for its development film critics enumerate both social and political situation in the US in the 1960s and 1970s, and the tendency towards paranoid conspiracy thinking prevalent among Americans. In her article, Elżbieta Durys analyses paranoid conspiracy thrillers of the 1970s as well as the context of their development. She focuses on: "The Parallax View" (1974), "All the President’s Men" (1976), "Network" (1976), "Capricorn One" (1978), and "The China Syndrome" (1979), i.e. movies with the motif of media. A critical perspective towards the role and place of mass media in American society is attenuated by the introduction of a journalist, who tries to reveal the truth. Thus one of the key myths of American culture is reestablished – the one of the lone figure capable of defying the whole world.
More...
Povodom filma Poslednji i prvi ljudi Jóhanna Jóhannssona I „Obraćam vam se iz epohe koja se nalazi nekih 2.000 miliona zemaljskih godina u budućnosti. Astronomi su napravili zapanjujuće otkriće, koje predviđa skori kraj čovečanstva. Možemo da vam pomognemo i potrebna nam je vaša pomoć“. Ovim rečima preuzetim iz romana Poslednji i prvi ljudi (Last and First Men,1930) engleskog pisca Olafa Stapledona počinje istoimeni film islandskog kompozitora Jóhanna Jóhannssona. Rečenice izgovorene besprekornom dikcijom glumice Tilde Swinton, koja je narator filma, idu uporedo sa crno-belim kadrovima svedene arhitektonske figure. Spori pokret kamere postepeno otkriva da je kvadrat betona koji se ocrtava prema mutnom nebu zapravo jedno krilo Spomenika revolucije naroda Moslavine vajara Dušana Džamonje, snimljeno iz donjeg rakursa. Vizualni sadržaj filma sastoji se, u potpunosti, od snimaka spomenika revolucije sa lokacija širom bivše Jugoslavije. Oni su, pored Stapledonovog naučno-fantastičnog romana i Jóhannssonove muzike, jedan od tri osnovna elementa prvog i poslednjeg režiserskog ostvarenja ovog cenjenog kompozitora. Naime, ubrzo po završetku Poslednjih i prvih ljudi, ovaj autor muzike za filmove kao što su Sikario i Dolazak iznenada je preminuo 2018, u svojoj 48. godini.
More...
FILM „TOMA“ – ŠTA SE ZGODI KAD SE JUGONOSTALGIJA RODI Ekavica, ijekavica, crnogorski, makedonski. Činilo se da je većina jugoslovenskih naroda i narodnosti bila zastupljena te oktobarske noći u Geteborgu. Već na prvu psovku i Silvanin prenaglašeni bosanski naglasak kojim se žalila na blato palanke, veliki dio publike se zacenuo od smijeha. Negdje na pola filma su se čuli prvi šmrcaji, na „Ljiljani“ se tražila maramica više, a na kraju filma je dio sale tiho pjevao „Što te nema“ skupa sa oživljenim Zdravkovićem, Montenom i Popovićem u još neporušenom Sarajevu. Pitao sam se ko su ova djeca koja ne znaju ni za Miću Orlovića ni Zorana Radmilovića, ali koja iskreno jecaju na „Ljiljanu“? Ko smo mi koji smo proživjeli pionirske dane, neostvarena obećanja o boljoj budućnosti i koji nemamo za šta da okačimo sjećanja, a da ih ne okaljamo patetikom?
More...
Spot kruži regionom – spot ljubavi. Dobro, ne baš ljubavi, ali svakako protiv mržnje. Spot je deo kampanje e-magazina Buka protiv mržnje na društvenim mrežama. Donkihotovski posao, reklo bi se. Ali očigledno i zabavan. Iza spota u vidu reklame za recimo lanac supermarketa ili neku mesnu (s obzirom na sataru u prvom planu s početka spota – koljačku) industriju autorski stoji Predrag Ličina. U spotu glume Hristina Popović, Goran Bogdan i Severina (Kojić). Do sad je, kaže Buka, spot na raznim mrežama otvoren oko pet miliona puta. Na youtube kanalu Buke, spot se bliži milionitom otvaranju.
More...
Nedostaje „R“, naravno, jer je reč o Science Fiction, odnosno o ulazu jugoslovenske ikonologije, njenog specifičnog dela u ovaj poštovani žanr. Desilo se pre četiri godine, na Islandu of all places, a zvanično je film prikazan u Rusiji prošle godine i na 70. Berlinskom festivalu, takođe prošle godine, pod imenom Poslednji i prvi ljudi, u sekciji Berlinare Special. Režiser i kompozitor muzike za film, Johan Johanson, umro je 2018. Film je (okvirno) napravljen po motivima istoimenog romana Olafa Stepldona iz 1930.
More...
Pogledavši ovih dana na Klasik TV prvu sezonu Boljeg života naknadnoj mi se pameti s odmakom od trideset godina nametnula misao da se tu seriju može gledati u određenom onodobnom političkom ključu. Središnja radnja se, naime, vrti oko pitanja hoće li se dvoje glavnih likova razvesti. Te godine 1988. još uvijek neizgovarano pitanje mogućeg razlaza jugoslavenskih republika stvaralo je ozračje u kojem je mogući razvod braka Dragiše i Emilije Popadić postao stvar od općejugoslavenskog interesa.
More...
MIKSER, Ivana Anđelković, Ivan Velisavljević: Za združene filmove o krovu nad glavom; ŠTRAFTA, Aleksandra Sekulić: Bor, nasleđe u prolazu; ZID, Skver: Kristalno jasno; VREME SMRTI I RAZONODE, Džej Nišel: Probuđena sam u šest ujutru u subotu, jer sam „ostavila proklete sudove u sudoperi“
More...
MIKSER, Aleksandra Sekulić: Hvatač snova u vozu iz Kijeva; ŠTRAFTA, Zorana Simić: Dve muške knjige; ARMATURA, Nikola Gajić: Osmomartovska dešavanjau Jugoslaviji; ZID, Goran Đorđević: Sećanja na jednog Mondrijana
More...
MIKSER, Tara Rukeci i Galina Maksimović: Suđenje gospodinu Kapitalizmu; CEMENT, Vladimir Bjeličić: Oni žive – a ko su oni?; ŠTRAFTA, Aleksandra Sekulić: Tranzicije – Oberhauzen 2022; VREME SMRTI I RAZONODE, Bojana S. Knežević i Vladimir Bjeličić: Epitaf Prestonici Kulture; ZID, SVI U AKCIJI!
More...
MIKSER, Tara Rukeci: 9. festival dokumentarnog filma „Da nam živi, živi rad“; ŠTRAFTA, Aleksandra Sekulić: Mrsite rese! – o filmu „Duga resa“ Dragana Protića Prote; VREME SMRTI I RAZONODE, Vladimir Milojković: Sudbina jednog Vladimira; BLOK BR. V, Radovan Popović: Evropa; ZID, Sekundarna arhiva
More...
Fond za otvoreno društvo po drugi put se predstavlja našoj javnosti kao inicijator i kreator jednog kulturnog događaja. Posle prošlogodišnjeg festivala Alterimage 96, kojim je u okviru 30. Bitefa predstavljena jugoslovenska alternativna scena, ove godine Fond zapoćinje novi niz akcija zaokruženih u manifestaciju “Žudnju za životom" u Zabrinutom septembru, godini stogodišnjice rođenja Vilhelma Rajha.
More...