Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Ukraiński ruch filmowy we Lwowie w latach 30. XX wieku
Get PDFTitle of the article: The Ukrainian film movement in 1930s Lviv The Ukrainian film movement in the 1930s was not developed on a wider scale. Due to the cost of the equipment and the film, few people could make films. Those who did included the members of the Ukrainian Photographic Society, who had completed specialist film courses. Their achievements included short feature films and documentary films, some of which were of true artistic merit. From the circle of Ukrainian cinematographers, J. Dorosz, S. Kułykiwna, W. Humecki and J. Bochenski deserve mention special. Moreover, the last two film-makers wrote about the necessity of recording Ukrainian cultural heritage; they expressed the need for patriotic, socially useful films. At that time, Ukrainian film criticism also developed in Lviv, In particular, it found expression in two outstanding periodicals published in the Ukrainian language, “Cinema” (1930–1936) and “Light and Shadow” (1933–1939).Title of the article: The Ukrainian film movement in 1930s Lviv The Ukrainian film movement in the 1930s was not developed on a wider scale. Due to the cost of the equipment and the film, few people could make films. Those who did included the members of the Ukrainian Photographic Society, who had completed specialist film courses. Their achievements included short feature films and documentary films, some of which were of true artistic merit. From the circle of Ukrainian cinematographers, J. Dorosz, S. Kułykiwna, W. Humecki and J. Bochenski deserve mention special. Moreover, the last two film-makers wrote about the necessity of recording Ukrainian cultural heritage; they expressed the need for patriotic, socially useful films. At that time, Ukrainian film criticism also developed in Lviv, In particular, it found expression in two outstanding periodicals published in the Ukrainian language, “Cinema” (1930–1936) and “Light and Shadow” (1933–1939)
Badanie doświadczeń widowni, której nie ma. Wyzwania metodologiczne
Get PDFWhen a researcher deals with a film audience, it is easier to study the one that exists and is still active. In this case, social sciences and the humanities supply practical tools and relatively easy access to all kinds of data. It is much more difficult to capture experiences, emotions, and rituals of the audiences from many decades ago, working with an impermanent human memory, unreliable personal or press sources. The article discusses the basic methodological problems related to the researching film audiences that no longer exist (especially from the pre-WW2 years). It turns out that the difficulties are not only in how to read the sources and how to evaluate the data. The cinema historian confronts more serious challenges. Do we have access to other people’s experiences without personal contact? Can research focused on subjective and mediated feelings capture an objective image at all? What may result from research with so many unknowns? The article, based on the author’s many years of experience in researching cinema-going, is a proposal on how to respond to all these questions
Rodzima klasyka filmowa w świadomości zbiorowej polskich widzów. Opinie Polaków o polskich filmach i ich postawy wobec polskiej produkcji filmowej
Get PDFThe text discusses the social understanding of the film canon. The analyses is based on the results of the social research “Poles about Polish films. Opinions of Poles on Polish cinema and their attitudes towards Polish film production” conducted in 2019. The research findings show how Polish audiences think about the Polish film canon and how they define it, referring to their own film experiences, attitudes towards Polish productions and to beliefs about the influence of Polish cinema on culture
Professional situation of the Ukrainian actors during the Russian aggression against Ukraine
Get PDFThe paper presents the professional situation of Ukrainian actors after the outbreak of war in February 2022. The data presented here concern the different needs and possibilities of supporting Ukrainian actors living abroad and those displaced within Ukraine. The article presents possible differences in the situation of actors in Ukraine and abroad and how much chance Ukrainian actors currently have to follow up on their acting career.The paper presents the professional situation of Ukrainian actors after the outbreak of war in February 2022. The data presented here concern the different needs and possibilities of supporting Ukrainian actors living abroad and those displaced within Ukraine. The article presents possible differences in the situation of actors in Ukraine and abroad and how much chance Ukrainian actors currently have to follow up on their acting career
Awangarda. Wstęp do tomu Rules of games
Get PDFDziałajmy razem – gdy piszemy te słowa, nie mamy na myśli wyłącznie publikacji, wspólnych konferencji naukowych, grantów. Chcemy czegoś więcej. Myślimy o humanistyce, która nie musi przyspieszać na wstecznym biegu – bo naród, bo przeszłość, bo teksty, które dobrze znamy. Interesuje nas przyszłość, która obecnie determinowana jest złożonością i dynamiką zmian technologicznych, klimatycznych, społecznych, gospodarczych i politycznych. Właśnie – determinowana. Mamy wiedzę o zależnościach przyczynowo-skutkowych także dlatego, że badamy gry, w tym gry wideo. Traktujemy je jak wielopoziomowe „instrukcje obsługi” współczesnego świata, wymagające naszej uwagi, umiejętności i wiedzy. Gry mogą być bezlitosne w czasie zabawy i poręczne jako „maszyny” myślenia. Humanistyka w tym kontekście nie umniejsza siebie w dialogu ze współczesnością, wykazuje ogromną „zdolność adaptacyjną”, więc tym bardziej powinniśmy – przez badania groznawcze – przesuwać jej granice poznawcze w przyszłość. Dziękujemy Państwu za to, co udało się nam wspólnie wypracować w ramach I Forum Groznawczego. Najtrudniejsze dopiero przed nami, działajmy więc razem. Badania groznawcze dziś to awangarda humanistyki jutra
Play it again – redundancy, literature and language games
Get PDFThe problem under consideration has its origin in the phenomenon of gameplay, which intersperses the rules and possible freedom of execution. The tensions between habit and surprise, regularity and irregularity created in this way expose the potential that lies in the grammatical conditions of the language use. The phenomenon of redundancy, considered in the context of a language game, can be presented in at least three ways: 1. redundancy as a non-game, 2. redundancy as a game – a struggle, 3. redundancy as a game – cooperation. In the latter approach, the recipient is invited to search for ambiguity, to take pleasure in activating non-obvious orders of literary expression. The article presents two very different examples of how redundancy functions in literary texts - a poem by Krystyna Miłobędzka and a short story by Janusz Rudnicki.The problem under consideration has its origin in the phenomenon of gameplay, which intersperses the rules and possible freedom of execution. The tensions between habit and surprise, regularity and irregularity created in this way expose the potential that lies in the grammatical conditions of the language use. The phenomenon of redundancy, considered in the context of a language game, can be presented in at least three ways: 1. redundancy as a non-game, 2. redundancy as a game – a struggle, 3. redundancy as a game – cooperation. In the latter approach, the recipient is invited to search for ambiguity, to take pleasure in activating non-obvious orders of literary expression. The article presents two very different examples of how redundancy functions in literary texts - a poem by Krystyna Miłobędzka and a short story by Janusz Rudnicki
Rendering slow ecological crisis in a popular medium: Hyperobjects and Sámi resistance in the Swedish-French TV series Midnight Sun
Get PDFThe article examines the ways in which the slowly evolving and invisible processes of the ongoing ecological crisis can be represented in the format of a contemporary serial television drama. The author argues that despite heavy reliance on spectacular and captivating character-born plots, the long-form storytelling of new television narratives can be well suited to representing the complex and unspectacular temporalities of the ecological crisis. With the Swedish-French Arctic noir TV series Midnight Sun as a case study, the analysis shows how a highly spectacular criminal plot is developed to reveal the invisible temporal action and nonhuman agency of a special kind of waste paradigmatic of the era of the Anthropocene, defined by Timothy Morton as a hyperobject (2013). This idea is established in Midnight Sun not only by placing radioactive waste at the center of the narrative but also by gradually foregrounding its nonhuman agency behind the events. The aim of the analysis is to demonstrate that by both using and reimagining the conventions of the television crime drama (Arctic noir), Midnight Sun translates into quotidian terms the unspectacular and long-term aspects of human-induced ecological destruction, which surpass the individual human scale and evade our cognition. An important strategy adopted in Midnight Sun is bringing together two levels of criticism: ecocritical and postcolonial. The slow ecological violence (R. Nixon, 2011) and nuclear colonialism (G. Schwab, 2020) exerted by the powerful against regions and people who are globally less visible are depicted as a continuation of the history of colonization, and more specifically, the systemic and longstanding ill-treatment of the indigenous Sámi people in Sweden
‘You’re ignoring the truth’ – Fatih Akın’s Polluting Paradise (2012) and Eco-Trauma Cinema
Get PDFThe paper provides an analysis of the documentary Polluting Paradise (2012) by Fatih Akın within the context of eco-trauma cinema. The movie depicts ecological contamination as a social problem and mutual catastrophe, exactly as the theory of eco-trauma cinema suggests. Through a careful observational mode of filmmaking that characterize Polluting Paradise, the mechanisms that are responsible for environmental pollution are being scrutinized. The author argues that the movie combines documentary techniques with melodramatic structures for the sake of the audience’s emotional involvement. The article concludes with a reflection on the cinematic rhetoric used by Akın to affect the viewers
Postapokaliptyczne role ludzi i roślin w grze Cloud Gardens. Czym jest ogród?
Get PDFThis article is concerned with the fate of trash and plants which grow on it. As an example of this, the video game Cloud Gardens was chosen, along with installation arts by Elżbieta Rajewska and Diana Lelonek. The paper analyzes the process of creating landscapes known from popular works of post-apocalyptic fiction; what in other titles is only a background to events and human tragedy is of greatest importance here. Later parts of the article discuss human responsibility for the unexpected development of other species, as well as plants’ indifference to the human apocalypse. This text is part of the non-anthropocentric humanism trend and refers to the concept of “plant art” as proposed by Anna Wandzel
Cud w Mediolanie Vittoria De Siki na tle recepcji włoskiego neorealizmu w polskim piśmiennictwie filmowym do 1956 roku
Get PDFAfter the end of the Second World War, cinema culture in the People’s Republic of Poland underwent a crucial transformation. One of the aspects of this change was the new movie import model: most international sources were replaced by films from the Communist bloc, principally the Soviet Union. Italian movies constituted an important exception. In addition, translations of works by C. Zavattini and U. Barbaro were published (the latter was even appointed a professor at the Film School in Lodz). However, some movies deemed neorealist were either not permitted by the censorship bodies (it banned several of Rossellini’s works) or appeared on Polish screens with a significant delay (which was the case of Umberto D.).
The article focuses on the reception of the film Miracle in Milan (dir. Vittorio De Sica) in the Polish movie magazines and books published before 1956. The case of this film seems particularly interesting, as opinions on it have changed over the years (as has the assessment of the neorealist movement as a whole), and the film itself has provoked controversy. In the Stalinist period in Poland, critical opinions dominated, and Italian neorealism (and De Sica’s film) was accused of pessimism and losing sight of “great revolutionary perspectives”. The film’s fairy-tale formula and the “transcendental” themes present in the plot were also difficult to accept. This negative attitude changed during the Thaw, when neorealism became something of a positive example of progressive film aesthetics, an example to follow; the authorities then allowed neorealist films (including Miracle in Milan) to be framed in religious terms