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Why is beauty important? Because beauty – the idea and physicality of beauty – suggests a universal truth. The idea of truth, any truth, is abhorrent to those who believe that everything is relative.
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The paper analyzes the painting Doll by Milena Pavlović Barili in the context of anthropology, fine arts and feminist studies. Phantasmic figures in the painting are discussed as symbols of transformation, gender and sexual identity tittuping, and their scenic “masking” as a platform for finding comprehensive creative personality, ironizing biological “specialization of females”. The name Doll suggests pondering about gender roles, because a doll is a must toy for girls, thus preparing them for motherhood and housework; in addition, it also carries a status of (beautiful) an object manipulated in men's world. Attaching a male head onto the ”Doll’s” body can be seen as a form of revolt and struggle to overcome inferior position. On one hand, the male head, with its size and audacity pushes into the background body /object doll-girl, while on the other hand, the head as a symbol of "men’s intelligence" provides subjectivity to the "doll" and the desired superiority in the world of male dominance. The Doll, with the characteristics of male power, simultaneously conceals and highlights the vulnerability and social marginalization of femininity. At the same time, in the desire for self-realization, the doll can fall into the trap of imitating men-- the struggle to gain power, but also could mean a recognition of one’s own/ female inadequacy and inferior position. However, the male’s naked body, deprived of the face and hands - and hence subjectivity and activity -is turned into a (beautiful) object and pushed into the background, emphasizing the ambiguity of the relationship of "male" and "female" position and hence opening up the possibility of various interpretations of the painting within the theory of gender, sexuality and creativity.
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The paper is seeking to highlight the new phenomena in theatrical life that do not need a director as the figure that has been categorically established in drama all along the twentieth century through a specific educational profile, a structure- defining and meaning-defining function in the process of staging, a secured place in public identification of a production. Over the last two or three decades, director, retaining director’s artistic function, has been increasingly abandoning the pretensions to be the sole author and the final authority when it comes to the meaning of a performance. Now director’s role is gradually changing: from a supreme arbiter of meanings and messages director is rather becoming an initiator and a facilitator of a collaborative process, a provoker of actions within the social and cultural domain or just a leader of a group of creative actors. This type of theatre has emerged step by step in Bulgaria too in the new century and the term ‘post-director’s theatre’ in this instance unites stage productions by artists coming from the area of performance art, contemporary dance, visual artists, people engaged in applied theatre, etc.
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The paper treats the issue of robot as a dramatic character. The play R.U.R. by Karel Čapek is analysed focusing on the robots and the idea of the corporeal principle. The contained therein comparisons between robots and humans are followed from the vantage point of the notions of normality, abnormality and monstrosity. The predictive insight of Čapek is accentuated, who has brought up for discussion the coexistence between humans and humanoid robot and has promoted horizons that contemporary practices open up in a new light. A parallel is drawn between Čapek’s problematics and the Oriza Hirata’s play ‘Sayonara’ (‘Goodbye’) meant to be performed by an android actress alongside a human actress. The actual sensitivity about the effect of virtuosity in the anthropomorphism of bio-robots, their theatrical use and audience reception are commented.
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Action is among the most cinematographic genres. Ever since the advent of cinema, the genre has developed rapidly, making now the highest-grossing films with the biggest budgets. Practically, action occurs in all commercial genres. The paper treats the trends in action movies and two elements in particular: fight and chase scenes. Three major trends are highlighted: of increasing dynamism, movement on the brink of perceptions and the ‘endless’ duration of action episodes and the way these are taken by the audiences.
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Film distribution and exhibition are undergoing a profound transformation after 1989. It’s not just about breaking the state’s monopoly and prioritising private capital as a form of ownership pertaining to the current economic organizations. The period was also characterized by a radical change in the structure of the film repertoire and a significant reduction in the number of operating theatres. The paper outlines the stages undergone by this transformation, the main trends typical of it, the way these processes reflect upon the relationship between Bulgarian film audiences and national film between the early 1990s and the mid-2010s.
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The process of making a feature film is an integral whole of several major and autonomous to a degree stages. The assumption of a working marketing communication of a feature film seeking its best placing on the market relies on an analysis of the marketing aspects as early as the process of filmmaking rather than solely of the completed product. The specifics of each of these stages offer various options for using marketing instruments, which shows in the overall result of the substantial improvement in its communicativeness compared with the previously targeted by the authors audiences.
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The paper treats the influence wielded by some twentieth-century art movements such as Romanticism, Symbolism, Expressionism, Surrealism, and Pop Art on the stylistics of animated film. A comparative analysis is made of certain paintings and prints and animated works, whose manner has been influenced by those artworks. The significance of plastic arts is underscored as a source of inspiration in the process of quest and invention of new devices in animated film.
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The article presents the results of preliminary research on how important is the first child-rearing and educational environment such as family or preschool, as well as the first emotions after perception of particular work of art, in forming the sense of aesthetics connected with visual arts. The author claims that the first emotional experiences concerning art influence the aesthetics sensitivity, mind development and more important feelings. She confronts her opinions with educating polish children through art. She also claims that in polish educational system there should be more attention paid to art while teaching and upbringing children.
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The article presents the results of an empirical study conducted among 4–5-year-old children. The study was focused on establishing colour preferences of these children. Moreover, an attempt was made to determine the symbolism the children ascribed to particular colours.
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A study of the influence of new technologies on architectural expressiveness shows that the comprehensive technological progress in conditions of everincreasing competition poses a challenge, but is also a hindrance by opening entirely new unexplored areas of architecture. The collaborations between science, technologies and architecture stemming form the necessity of liquid modernity to renovate, enhance architectural expressiveness, which ranges even over the characteristics of the physical space and increases its aesthetical potential. The expressiveness searches its transformations in the vein of the new era, but finds it difficult to integrate into and thoroughly comprehend the new spatial models and characteristics.
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The paper explores the characteristics, the use, and the significance of le temps mort (dead time) as an element of contemporary film language. A major reference to the theoretical reasoning on this term is Gilles Deleuze’s views of image-time (l’image-temps) in film. Nuri Bilge Ceylan’s Once Upon A Time in Anatolia (2011) and Winter Sleep (2014); Michael Heneke’s Amour (2012); Lisandro Alonso’ Jauja (2014) and The Sinking of Sozopol (2014) by Bulgarian director Kostadin Bonev provide case studies of different uses of dead time. All works under consideration suggest a single main goal in the use of dead time in contemporary film: revealing the metaphysical dimensions to existence. Le temps mort proves to be a major cinematic tool used to generate spiritual contents, elements of the film language through which film provides evidence of its ability to be their mediator and by coding them into the very structure of the film too.
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Rapid development of the ultrasound technology enables visualization of the fetus with an increasing precision. The USG images in two, three or four dimensions help pregnant women to visualize the baby, to empower it and develop a maternal-fetal bonding. The objective of this paper is twofold. Firstly, to provide a concise state of the art of the role of visual communication in the formation of parenting bonds in the prenatal period of child development. Secondly, to present authors’ own research results on the role of USG images for the development of parenting in the prenatal period. The research work which has led to the results reported in this paper was qualitative in nature and involved 11 pregnant women or women who had already given birth to a child. The obtained results confirm the hypothesis that USG visualization is favorable for the development of a positive parental-fetal bonding, it helps parents accept their parenting role and enables them to better prepare to it and develop the first interaction with their baby.
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The paper attempts to conceptualise the term ‘creativity’ in the context of architecture, to give the broad outlines of the approaches to formulating a theoretical construct, which would systematically bind together the elements of both areas. Such a conceptual model has not been developed so far regardless of the wide range of studies on the issues of creativity and innovations. Concrete methodology has been developed and applied for the purpose allowing for seeking possible definitions of the term ‘creative architecture’. A version is also offered of a definition oriented towards that component of an architectural work, which more often than not is associated with the term ‘creativity’: its form.
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This paper is a report on research regarding relationship between visual culture and body image, and on important role of body acceptance. Mechanisms lowering the body satisfaction (internalisation of thin ideal, self-objectification, self-comparison, attachment to extrinct goals), implications of negative body image (avoidance, internet activity) and the role of body acceptance are discussed. Reported study (N = 120) confirms that relationships between visual culture and body image are consistent with those reported in literature. Additionally, results indicate the importance of body acceptance in improving resistence to negative cultural influences (e.g. unrealistic beauty ideals). In the discussion section potential implications for prophylaxis programs are discussed.
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Hybridism is treated as one of the key characteristics of postmodern art related to the blurring of various lines between, say, ages, genres, forms of art, art and life, etc. Considering the new art practices (installation, performance, etc.) as part of postmodernism, different examples of hybridism (eclecticism) could be adduced. First of all, it shows as a combination of different art forms, an example of which is the actionist art of performance. It is a short stage action, which, however, could be combined with a visual image (video, painting, etc.). An example of performance was the action of Varna-based artists in the courtyard of the Varna Archaeological Museum in 1985. Musicians (Yildiz Ibrahimova, Theodosii Spassov) joined the event recorded by a film team. The article also deals with the art of installation, which is of a hybrid nature too. Installation in its essence is a three-dimensional ‘construction’, which may consist of various objects (sculpture, objects) or may be a video or more often than not a sound installation. Besides, intermixing traditional art forms (sculpture, painting, etc.) with non-art objects (everyday objects) is typical of this art and could, for example, be observed in Vladimir Ivanov’s installation Dutch Landscape, analysed in this paper.
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Apocalyptic film is a subgenre of sci-fi, featuring the life of humans during the end of the world or dealing with the aftermath of a doomsday event such as the World War III, where nuclear, chemical and/or biological weapons of mass destruction are used; alien invasion of the Earth; machine uprising; a pandemic; asteroid striking the Earth; coming of prehistoric monsters; climate or other disasters. A doomsday movie is often combined with post-apocalyptic motifs. A disaster is combined with its immediate aftermath, i.e. its impact upon the life of the survivors. The narrative features a section drawing of contemporary reality in the light of the perception of generations umpteenth times removed. The style suggesting barrenness, solitude and horror facing obsolete and desolate buildings or equipments is also defined as post-apocalyptic.
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It is a general truth that the best part of films made in Europe are oriented towards the film professionals rather than towards the viewers. European filmmakers are seeking to produce art or auteur films rather than ‘mainstream’ ones. Well, films meant for mass audiences are also made, but as a percentage of the output these are less than art films. There is an array of reasons why it is so: from the awareness that small European film industries are unable to compete with Hollywood to the filmmakers’ aspiration to present ingenious works, steering clear of the film clichés to which viewers have grown accustomed in the movies. The main reason lies in the way of securing film budgets: in the US this process is market-based, while in Europe it is done through funds subsidising filmmaking. There are, of course, exceptions both in the American and European film industries, still, the main financing mechanisms for filmmaking work just like that. Unfortunately, we cannot pass over in silence the fact that many of Bulgarian filmmakers make unwatchable, barren of originality and more often than not bad movies, a far cry from the standards of good European film, labelling their works ‘art film’ to excuse audience disinterest.
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