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The Polish Generation X characters came to existence in the period after 1989, when new media started to play a significant role in social reality and were also one of the most important indicators of Polish political and economic transformation. In the author's opinion, new media, such as video capture camera, exerted the most significant influence on the changing perception of reality among the young generation. In accordance with Marshall McLuhan’s popular statement: “the medium is the message”, we could say that video capture camera was not only a new medium but also a new way of reality perception. The consequence was a specific identity created by film characters. The main purpose of the article is to show the phenomenon of video capture camera in films of young Polish directors, such as Łukasz Barczyk, Mariusz Front, Iwona Siekierzyńska and Piotr Szczepański. The author reflects upon the way in which the characters – representatives of Polish generation X – use this medium and how it influences their identity.
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In her article Dagmara Rode describes feminist (new) media in Poland. She analyses several examples (such as websites, forums, newsletters, fan pages, blogs, virtual museums and on-line library projects) of different activities of both non-governmental organisations and informal groups in order to show how Polish feminist activists use (new) media to provide alternative sources of information, create and disseminate knowledge, offer space for debate and exchange of ideas, to mobilise people through media and write history of the Polish women's movement.
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Despite its relatively short history, crowdfunding has established itself as an alternative way of financing production of music, movies and computer games. The paper shows how crowdfunding can be analysed from the perspective of media studies. It is argued that crowdfunding can lead to building new types of relationships between creators and audiences. The paper suggests that concepts such as produsage, participatory culture and free labour may be particularly useful in the analyses of crowdfunding.
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Strategy called ‘crowdsourcing’ is based on the assumption, that people, who are usually reduced to passive recipients of culture, are able and willing to offer much more than that. The name literally means ‘receiving sources from the crowd’ and exists in many forms the most popular of which is crowdfunding: public request to a group of anonymous internauts for financial support for a given project. Nevertheless, the subject relates to many more aspects of creative work in such fields as film, music, commercials, photography or brand development. It takes the form of cloud labour, open innovation, distributed knowledge or crowd creativity in a wide sense, and rewards self-reliance, creativity and passion. Authors of such projects see sufficient effects of their work or receive financial support in faster and quicker way, and without needless bureaucracy or expenses, while ‘the crowd’ receives one more opportunity to express itself through a more or less charitable activity, sharing its passion or admiration for an artist via mass media channel. In the article the author reflects upon different forms in which crowdsourcing presents itself in various fields of audio-visual culture: music videos, documentaries or fictional films. He also studies its relations to concepts of collective intelligence, knowledge community or sharing culture.
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This article concerns the issue of evaluation in announcements. The object of studies is animated motion picture for children. Based on two contemporary Russian animations, evaluative strategies that use the visual aspect to strengthen, complement, interpret, or invalidate evaluation and to convey the independent content are analyzed.
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The article outlines the aesthetic and culturological context of the inception and functioning of the series “Anna Karenina. The History of Vronsky” (2017) by Karen Shakhnazarov. It describes the transformations of the original narrative model of L.N.Tolstoy’s novel and its relation to the structure of the parable (Gabdullina) and the parallel story structure (Nabokov). It also interprets the novel’s narrative assembly with the documentary prose of V. V. Veresaev as a model of presenting Russian history of the end of the XIX – early XX century.
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The Internet is at present one of the most important tools of political communication. From the point of view of politicians, it is a perfect tool, not only for economic reasons, but also because the fact that it offers the possibility of permanent communication, which is especially important in the period in-between campaigns. The present article aims to discuss the use of internet sites and social media (Facebook, Twitter, YouTube) by the presidents of cities with county rights from the Silesian Voivodeship. The research conducted indicates the insufficient and inefficient use of the Internet by the politicians subjected to the study. It also demonstrates the intensification of communicative activities on the Internet during election campaigns, and its gradual suppression in the period in-between campaigns.
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The aim of the article is to present a reply to a research problem concerning the reasons why a demand for song covers on YouTube measured by the number of hits is higher than the demand for their original versions. The problem has been exemplified by the music piece ‘I will always love you’. The article contains the description of the functioning of YouTube as a music market, its basic subjects, the model of the market, as well as the market mechanism in which a song and its cover are goods. An attempt at solving the research problem is the musical analysis of the original song and its cover, as well as the specification of basic determinants that cause greater demand for song covers than for their original versions.
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According to the Turkish Language Association (TDK), migration is; the act of moving of an individual or a community to another country or settlement because of the social or political reasons. Looking at the history of Turkey, the act of immigration has been discussed in the phenomenons of domestic migration and external migration. Theme of Migration in Turkish Cinema can be separated into three groups; domestic migration, external migration and migration of minorities.
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Labour migration from Turkey to European Countries has started with bilateral international agreements signed between Turkey and European Countries around the 1960's. The oil crisis at 1973 decreased the demand for migrant worker resulting with an illegal migration wave to European countries. Those emergent social developments have influenced the Turkish cinema and some films about illegal immigration were shooted at that period. The film "the Bus" directed by Tunç Okan is one of the first examples of this category about first generation illegal immigrants. Another film "the Island of Hope", shooted after 30 years, at 2007 by Mustafa Kara subjected about illegal immigration concerning third generation illegal immigrants. Those two films were evaluated using qualitative content analysis technic in the context of the question of how first and third generation illegal immigrants are represented in Turkish cinema. Graphic image and dialogues were used as analysis unit. The contents of the two films were analysed within the framework of questions such; personal details, expectations, the country of immigration, the ways of immigration, the problems faced by immigrants, the realisation of the expectations, and the final status. First generation immigrants represented in the film "the Bus" are male with rural backgrounds, muslims with sunni sect, unskilled agricultural worker and their immigration incentive is economic. At the film "the Island of Hope" not only men, instead women, couples and even pregnant women were among the illegal immigrants. The main incentive of immigration is also economic, but the immigrants are not only the illiterate and the unskilled worker. For the first-generation immigrants, the image of Europe is expressed negatively such as; death, unemployement, deportation, being victims of sexual abuse, nostalgia and fear. For the third-generation immigrants however, even they experience similar problems and disappointment, Europe is represented such a home for the survivors, who could find a job and could realize their dreams. In both films, the loser was facing endings such death, alcohol, drug addiction and prostitution. To be deported to Turkey was one of the most prevalent options for the illegal immigrants.
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The article analyzes popular film adaptations of works by Bulgarian writer Yordan Yovkov and outlines the difficulties Bulgarian filmmakers are faced with when elaborating quality screenplays and adequate cinematic expression.
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The text comprehends the relation between the politics and culture (movies), everyday life of the filmmaker – especially after beginning of the normalization. It analyses the subject on the bases of the life of director Karel Steklý (1903–1987) and his long Barrandov career and quite a different example of Jiří Menzel (1938), the representative of the “new wave”, young but internationally famous holder of an Oscar for Closely Watched Trains (1966). At the beginning of the 1970s Barrandov’s new leadership made it impossible for him to work in the field. Menzel like other filmmakers naturally wanted to do his work and shoot movies. The conditions were clear: try to come to an agreement with normalization authorities, who on purpose dragged out the time of uncertainty, vagueness and humiliation (from the viewpoint of the cultural anthropology it could be specified as the clear linear phase of transition) with those “sinners”. Steklý became a holder of the Venice prize Golden Lion for the movie Sirens (1947) and in 1952 created movie Anna the Proletarian. After the beginning of normalization he certainly did not belong to the ostracized workers of Barrandov studios, on the contrary: Czechoslovak State Film strived after his services. In spite of that and for the sake of his career he entered into a “strange friendship” with Miroslav Müller, secretary and director of culture department of the Central Committee of the Communist Party of Czechoslovakia (1972–1989).
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In contrast to voluntary migration for education, work or better living conditions, one of the biggest problems of our day is forced migration. Because of wars or hunger, people leave their home country to go to places that they do not know in order to be safe. Cinema is a technical invention, and usually the plots of films come from society’s issues. The science fiction film genre depicts today’s issues in a future setting. In this study, the film District 9 is analysed to understand the representation of aliens trapped on Earth due to the failure of their spaceships, and the resulting response from the institutions and countries hosting them. To analyse the film, the key concepts of science fiction films and asylum seekers are employed.
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The access to technical devices that can take pictures and videos with is nothing new for a long time. Moreover, they are used more frequently during the ethnological fieldwork. The aim of the article is to inform and to enlighten the reader with the steps and the difficulties one can face while creating a student ethnological film. It focuses on the decision-making methodology while the movie is made, as well as the problem-solving of the missing screenplay. The Game of Ethnology movie is a result of the common fieldwork of me – Mariya Slavcheva, and Aneliya Avdzhieva, Svetoslava Mancheva, Svoboda Stoeva, Zornitsa Prandzheva – B.A. and M.A. students in Ethnology from the Paisiy Hilendarski University of Plovdiv.
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It is rather rare that a film adaptation of a book is faithful, successful and rewarding. The Unbearable Lightness of Being, the novel published by Milan Kundera in 1985 and transcribed cinematographically by Philip Kaufman in 1988, is an exception. The script benefits from Jean Claude Carrière's talented pen and Kundera's characters from the incarnation of Juliette Binoche (Tereza), Daniel Day Lewis (Tomas) and Lena Olin (Sabina). The rest is just a ceaseless play of lights, images, frames and replicas that value a very well written book, unanimously appreciated by the critics and the public. I will try to surprise in both versions - novel and cinematic - the differences and similarities that make them so special. The key, the irony, like a magic lantern that turns seriousness into derision and trifles into a tragic accident.
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Klan (The Clan), one of the most famous and popular Polish television series, aired for over twenty years on Channel One of the Polish Television, is considered by film scholars to be a soap opera or a family saga. Characteristics of the series include: the correspondence of film time and real time, continuity, multi-threading, as well as the assumption of reflecting non-film reality and at the same time modeling it by influencing the audience. The theme of yoga and yogis in Klan have appeared relatively recently. This theme has been recurring with varying frequency for several years. It was preceded by the publication of a book by Paulina Holtz (the actress who plays the character Agnieszka Lubicz in Klan) and her trainer Ewelina Godlewska, entitled Po pierwsze joga (First of All Yoga) (2015). Yoga is presented in Klan primarily as a form of physical exercise, positively affecting many aspects of the human psychophysical condition. It takes a skeptical and distanced approach to the forms of “Orientalizing” yoga present in contemporary culture, which is sometimes presented as a complex system of exercises associated with an eclectic mix of selected elements from different cultures, religions, and philosophical systems. The series promotes a healthy lifestyle, which may or may not include yoga, promoted as a recommended exercise for all, regardless of age and physical condition.
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