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The article focuses on the evolution of the vanguard movements in animation in some of the former Socialist countries. As early as the end of the 50s there emerge dark grotesque, eschatological predictions about the forth-coming downfall of humanity, graphic omens of spiritual and physical death that turn in to a specific form of protest against the dogmas of Socialist realism. This “poetry of pessimism” undergoes its asynchronous and non-linear development. And if in the case of Romania or the German Democratic Republic censorship quite efficiently hinders the emergence of extreme misanthropic, individualistic and vanguard-non-communicative films, in Poland, Czechoslovakia, Yugoslavia, Bulgaria or Hungary it is precisely such films that periodically mark the upward trend of artistic achievement and strive to free the language of art from ideological limitations.
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The article The Eccentric Entropy of the style “Litvinova” is the first research in Bulgaria, dedicated to the only woman in the Russian cinema today who tore to pieces its muscularity. The text analyzes the specifics of her style through the different works of Renata Litvinova as a screenwriter, actress, producer and director.
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The first foreigner, who can film - Charles Nobel, arrives in Bulgaria in 1903. Since then foreign cinematographers periodically visit our country and in a documentary manner present different subjects or make films about nature and the people. Documentary events are more popular - war, upheavals, assaults, etc. In the study presented in details are the documentary films from Great Britain - The Lure of the East (1924), Murder Most Foul! and To be Publicly Executed! (1925) as well as the Bulgarian-German production In the Kingdom of Roses.
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Animation in itself contains in the most generalized way the main parameters of cinema as a space-time art. The present text examines the specifics of the animation image in juxtaposition between the characteristics of animation and chrono-photographic cinema, accenting on three major aspects: image, movement, space and time.
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At the National Library in Sofia is kept a Tetraeuangelion from 1658, also known as Etropole Gospel. The codex (CMNL 76) has a precious metal book cover made in 1758 which probably is the latest precisely dated work of the goldsmith center functioning in the region of Bachkovo monastery and Plovdiv in 17th - 18th century The article examines the cover of the Etropole Gospel in comparison with three earlier works donated to Bachkovo monastery – altar Gospels' covers made in 1701, 1731 and 1743. All of them have similar iconographic, compositional, stylistic and technical characteristics which allow us to trace the changes in the design and quality of execution. The analysis of the works reveals the gradual decline of this goldsmith tradition in 18th century.
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Munich is the place where Chavdar Mutafov has matured, the town, where he returned twice - to complete his study, tragically interrupted by the wars, the town, which challenged by deprivation his love to the master of history novel - Fany Popova-Mutafova, and finally, this is the place where his son - Dobry - was born. Yet another fact, in 1923 the Mutafov family met a true impressive colony of Bulgarian artists in Munich - poets, writers, architects, musicians. Together with the subjects of machine engineering and art of architecture which Mutafov studied, he got to know thoroughly the history and theory of painting, admired the innovative synthetic cinematography art, which influenced strongly his manner of work. The present article "restores" the vital relationship between Mutafov and Munich through Mutafov's letters and aims to reveal the creative influence which the European capital of arts has exerted on the works by the Bulgarian modernist. During the first period of stay – from 1908 to 1912 - Mutafov still found the climax and witnessed the end of the Munich Secession. He was at Munich when the second group of German expressionism - "Der Blaue Ritter" - was established. As he wrote "all famous and unknown authors of the Munich satirical and humorous "Simplicissimus" and "Jugend" magazines had been my teachers - all these masters of mockery and style tricks". During his second stay - from 1922 to 1925 - Mutafov witnessed further development of expressionism, part of which was the fraction "Neue Sachlichkeit" (the "new materiality"). Contemporary critics are inclined to think that it is Bauhaus' "new materiality" which has influenced Mutafov's manner of neorealistic expression in his short stories from the 30 s of the last century. Munich, in this sense, is the place which has created this unconventional modernist, the philosopher, who, being sensitive to the newest in art, has written magnificent essays and art critic studies with the significance of a manifest for Bulgarian culture between the World Wars.
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This article is dedicated to the history of the University Museum, which was created in 1932 with the donation of Canon Jan Władziński. It is based on preserved archives and iconographic sources and is especially focused on the description of the collection consisting of over 4 thousand objects, which was also supplemented in 1938 by Professor Kazimierz Michałowski’s gift as well as by the circumstances of the occupancy of the collection by the Gestapo which took place in December of 1939. Only four objects from this rich collection were found after World War II within the walls of the Catholic University of Lublin — a girl’s portrait by an anonymous artist, a sculpture of an old woman’s head and two candlesticks. A set of 343 coins deposited by the Germans in the Royal Castle in Cracow has also been found. In the face of the complete loss of the collection, the authorities of the Catholic University of Lublin have begun to reconstruct it. In 1956 there was the fi rst donation consisting of 26 medieval and modern Silesian sculptures which included splendid works such as Saint Catherine of Alexandria by Jacob Beinhart’s workshop. In the same year, the state authorities sent a large set of altar sculptures for didactic purposes to the Catholic University of Lublin. However, the final shape of the collection was primarily formed by three private donations — by Olga and Tadeusz Litawińscy, Stanisława and Tadeusz Witkowscy, and Joanna Gliwa. Thanks to them, the Catholic University of Lublin has come into possession of outstanding examples of Polish painting of the 19th and the beginning of the 20th century as well as a considerable collection of arts and crafts.
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Dynamic changes processing in the worldwide museology force us to ask questions about the role and importance of ecclesiastical museums. The specificity of their collections, which mainly contain objects representing a widely understood religious art, allow us to build a thesis that these institutions should take care to keep their identity. In this way they will realize the role of a museum’ idea curator, rooted back to ancient Greek Culture.
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