Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Spór o mangę – rzut oka z perspektywy badacza komiksu
Get PDFThe article is an attempt to analyse the methods and critical arguments against the manga and anime expressed by the people who, in the polemical discourse of their opponents, are treated as experts. The analysis focuses mostly on articles by Małgorzata Więczkowska, highlighting the constant crypto-self-quotations and the repeating of factual errors and steoreotypical biases. In these texts, one can notice i.e. the generalisation of accusations based on opinions on particular titles, describing the entire phenomenon through the characteristics of selected types and genres, the lack of any distinction being made between manga and anime, and lastly, a superficial understanding of the works in question, whose content and message the author often extrapolates from an overview, without taking the specifics of each work into account.The article is an attempt to analyse the methods and critical arguments against the manga and anime expressed by the people who, in the polemical discourse of their opponents, are treated as experts. The analysis focuses mostly on articles by Małgorzata Więczkowska, highlighting the constant crypto-self-quotations and the repeating of factual errors and steoreotypical biases. In these texts, one can notice i.e. the generalisation of accusations based on opinions on particular titles, describing the entire phenomenon through the characteristics of selected types and genres, the lack of any distinction being made between manga and anime, and lastly, a superficial understanding of the works in question, whose content and message the author often extrapolates from an overview, without taking the specifics of each work into account
Miłość, wybaczenie i ofiara. Obraz chrześcijaństwa w komiksowych wersjach Quo vadis
Get PDFQuo Vadis, thanks to its plot structure, favours transformations – even into comic books, where the image of Christianity as an important aspect of the story is challenging to depict. It is therefore worth determining how religious issues are manifested in comic books related to the novel and how the culture in which they were conceived affected them. I reflect on the image of Christianity, recognising religion as a personal experience of each individual (W. James), especially one of love, forgiveness, and sacrifice. These values were given more attention by the Polish writers, and in both adaptations, the sequences and frames were formulated differently, they differed in terms of composition (different perspectives, plans, and use of text), and finally, both offered different interpretations of Sienkiewicz’s novel. The authors of the French adaptation read the book as a vibrant, adventure-history-love story, while the Polish authors saw it as a story dedicated to a moment in history in which one world ends and another one begins, as a new religion emerges. These interpretations confirm that culture plays an important role in how literary works are adapted into the comic book format.Quo Vadis, thanks to its plot structure, favours transformations – even into comic books, where the image of Christianity as an important aspect of the story is challenging to depict. It is therefore worth determining how religious issues are manifested in comic books related to the novel and how the culture in which they were conceived affected them. I reflect on the image of Christianity, recognising religion as a personal experience of each individual (W. James), especially one of love, forgiveness, and sacrifice. These values were given more attention by the Polish writers, and in both adaptations, the sequences and frames were formulated differently, they differed in terms of composition (different perspectives, plans, and use of text), and finally, both offered different interpretations of Sienkiewicz’s novel. The authors of the French adaptation read the book as a vibrant, adventure-history-love story, while the Polish authors saw it as a story dedicated to a moment in history in which one world ends and another one begins, as a new religion emerges. These interpretations confirm that culture plays an important role in how literary works are adapted into the comic book format
Husyckie wątki religijne w najnowszym czeskim komiksie historycznym
Get PDFThe creators of Czech historical comics are active participants in the debate on national identity and the role of historical memory in today’s political practices. Above all, they preferred to refer to the events of the past century, which defined such currently important concepts as responsibility, heroism and sacrifice, among other things. However, the history of Jan Hus and the Hussite movement, recalled on this anniversary, proved just as relevant to comics’ strategies. The article discusses inspirations and references in projects such as the two-volume albums by Z. Ležak and M. Kocián, the evangelistic notebooks by A. Mrazek and the online frames by a cartoonist who signs his works with the pseudonym jaz.The creators of Czech historical comics are active participants in the debate on national identity and the role of historical memory in today’s political practices. Above all, they preferred to refer to the events of the past century, which defined such currently important concepts as responsibility, heroism and sacrifice, among other things. However, the history of Jan Hus and the Hussite movement, recalled on this anniversary, proved just as relevant to comics’ strategies. The article discusses inspirations and references in projects such as the two-volume albums by Z. Ležak and M. Kocián, the evangelistic notebooks by A. Mrazek and the online frames by a cartoonist who signs his works with the pseudonym jaz
Pause and Rewind: Memories of Age-Inappropriate Film Viewings in the 1980s
Get PDFThis article explores some of the findings from a work-in-progress project that I began working on in 2020 to investigate the retrospective memories of 1980s British audiences surrounding viewing films classified either 15 or 18 by the BBFC, while the participants were underage. I question the so-called victims of censorship that have matured into their 40s and are no longer at the mercy of parents or the classifications of the BBFC in order to investigate the retrospective memories of these adults who were once participating in forbidden viewings as children in the 1980s. This article explores Annette Kuhn’s idea that for audiences, the movie fades from memory to make way for more movies, but it is the life experiences that stay with the viewer. By focusing on underage viewers and films that had been deemed unsuitable for their age, I hope to review Kuhn’s claim, by resituating the film itself as the prominent memory – a memory not replaced by many decades of movie watching since. This article outlines the methodology for the project, before turning to a discussion of participants’ memories of interrupted film viewings. In exploring the dichotomy between memories of viewing conditions and memories of the film themselves, this article then considers memories of the horror genre (and terrifying scenes in other genres), and also the issues of watching sex in films, and the impact of parental restrictions, or watching while with parents
Dystrybucja filmów zagranicznych w Ludowej Republice Chorwacji na tle polityki kulturalnej Jugosławii (1944-1963)
Get PDFThe subject of this article is the distribution of foreign films in the People’s Republic of Croatia in 1944-1963 against the background of Yugoslavia’s cultural policy. The author considers as foreign films those that were not made in Yugoslavia or in the production or co-production of Yugoslav studios. The article aims to show in a cross-sectionally way the trends that led to the import of films into Yugoslavia from specific countries. These tendencies were shaped primarily by political factors, which are also pointed out in the article
Jak działać, gdy „nobody knows anything”? Prawidłowości pośród wyników frekwencyjnych filmów w dystrybucji kinowej
Get PDFThe distribution sector, contrary to film production, was not subsidized in 21st-century Poland from public funds, with only very rare exceptions. The distribution sector demands high levels of investment with regard to advertising movies and the necessity of building awareness of the titles before releasing them. The investment could be profitable but, in the case of a box office flop, becomes a permanent loss. Operating in the distribution sector is inevitably a high-risk endeavour. Predicting box office results is the key element of risk assessment made by distributors. The specificity of the film market and future results of the movies seem to be determined by uncertainty and unpredictability, according to William Goldman’s famous dictum nobody knows anything. However, distributors were able to develop a few ways to assess future box office results, at least roughly. The tendency to establish franchises and whole universes, the role of the opening weekend, the types of weekly results trajectories and the impact of major festival awards for the box office result are described in the article. In the case of the latter, the brand and capacity of the distributor seems to be more relevant than the award itself, which leads to conclusions about the crucial and probably still underestimated role of the distribution sector in the cinema
Plakaty filmowe Uniwersytetu Artystycznego im. Magdaleny Abakanowicz w Poznaniu
Get PDFThe gallery in this volume of the magazine differs slightly from that in previous issues. It does not include photographs, because we decided that a poster would be closer to the themes of film distribution and film audiences: it is an important element of promotion, and often, after all, as the first image that establishes the film-audience relationship. We wanted original proposals for posters to concern films that for some reason stand out in terms of distribution, both from the historical and contemporary perspective. Of the older titles, the choice fell on two ‘seminal’ Polish films: Krzysztof Kieślowski’s Blind Chance (Przypadek) (1981/1987) and Agnieszka Holland’s A Lonely Woman (Kobieta samotna) (1981/1987). Of the more recent productions, we chose Alfonso Cuarón’s Roma (2018) and Adam McKay’s Don’t Look Up (2021) – films that owe much of their recognition to the video-on-demand service (represented in both cases by Netflix) that has exerted such a radical change in the audiovisual media landscape recent times. We invited the Magdalena Abakanowicz University of Arts in Poznań to collaborate. The student projects were created in Poster Studio no. 1 at the Faculty of Graphic Arts and Visual Communication (supervisor: Prof. Grzegorz Marszałek, acting supervisor: Dr Marcin Markowski). The prints presented show different ways of treating a given subject, more or less alluding to the plot or discourse of a particular film.Galeria w niniejszym tomie czasopisma jest nieco inna niż w numerach wcześniejszych. Nie zawiera fotografii – uznaliśmy bowiem, że bliższy tematom dystrybucji i widowni filmowej będzie plakat: jako ważny element promocji, a często przecież jako pierwszy obraz zawiązujący relację film – odbiorca. Chcieliśmy, by autorskie propozycje plakatów dotyczyły filmów, które z jakichś względów wyróżniają się pod względem dystrybucyjnym – zarówno z perspektywy historycznej, jak i współczesnej. Z tytułów starszych wybór padł na dwa polskie „półkowniki”: Przypadek Krzysztofa Kieślowskiego (1981/1987) i Kobietę samotną Agnieszki Holland (1981/1987). Z produkcji nowszych wskazaliśmy Romę Alfonso Cuaróna (2018) i Nie patrz w górę Adama McKaya (2021) – filmy w dużej mierze zawdzięczające swoją rozpoznawalność usłudze video-on-demand (w obu wypadkach reprezentowanej przez Netflix), która w ostatnim czasie tak silnie zmieniła pejzaż mediów audiowizualnych. Do współpracy zaprosiliśmy Uniwersytet Artystyczny im. Magdaleny Abakanowicz w Poznaniu. Studenckie projekty powstały w I Pracowni Plakatu, na Wydziale Grafiki i Komunikacji Wizualnej (prowadzący: prof. Grzegorz Marszałek, p.o. kierownik: dr Marcin Markowski). Prezentowane grafiki pokazują rozmaite sposoby potraktowania zadanego tematu, w mniejszym lub większym stopniu nawiązujące do fabuły lub dyskursu danego filmu
Non-fiction cinema of independent Ukraine
Get PDFThe article covers the thematic and genre diversity of non-fiction cinema in Ukraine, which following the country’s regaining its independence in 1991, launched a reflection on previously hushed-up topics that were prohibited or covered in a tendentious manner in the Soviet period. The number of films and TV series grew, and the ideological gap between film artists and political elites (partly pro-Russian) resulted in their mass distribution being prevented. This was especially evident in the several-year delay and limits placed on showing the long-awaited series “Unknown Ukraine. Essays of Our History” (1993, NKU-Kyivnaukfilm, 144 films). Quantitative and qualitative changes in this type of cinema over the last three decades are analyzed in this article, presenting periods of its ups and downs, which are synchronized with changes in political processes in Ukraine. It shows how after the mass protests of the Euromaidan Revolution in 2014 and the beginning of the Russian-Ukrainian war, the number of such films increased significantly, providing a considerable informative and educational impact.The article covers the thematic and genre diversity of non-fiction cinema in Ukraine, which following the country’s regaining its independence in 1991, launched a reflection on previously hushed-up topics that were prohibited or covered in a tendentious manner in the Soviet period. The number of films and TV series grew, and the ideological gap between film artists and political elites (partly pro-Russian) resulted in their mass distribution being prevented. This was especially evident in the several-year delay and limits placed on showing the long-awaited series “Unknown Ukraine. Essays of Our History” (1993, NKU-Kyivnaukfilm, 144 films). Quantitative and qualitative changes in this type of cinema over the last three decades are analyzed in this article, presenting periods of its ups and downs, which are synchronized with changes in political processes in Ukraine. It shows how after the mass protests of the Euromaidan Revolution in 2014 and the beginning of the Russian-Ukrainian war, the number of such films increased significantly, providing a considerable informative and educational impact