Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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The Invisible World of Images. From “Nonhuman” to “Undigital” Photography in Joanna Zylinska’s Reflections
No full textThe article presents the theoretical views and, to a lesser extent, artistic practices of Joanna Zylinska, who in her artistic activity combines epistemological strategies of a researcher and theorist with her activities in the field of art. She develops in different manners an original project of philosophy as photography, or photography as a form of philosophizing. Posthumanist and post-anthropocentric inspirations and the inclusion of her reflections in a wider circle of a nonhuman turn constitute an epistemological framework of numerous statements devoted to the “photographic condition” in the age of dominance of digital technologies. The author argues that, in fact, photography has been a nonhuman practice since its beginnings, which is developed in her book Nonhuman Photography, preceded by the concepts of mediation and photomediation. In her latest proposals addressing the issues of the functioning of art in the era of algorithmic systems, the author develops the concept of undigital photography, which constitutes an extension of thinking about those manifestations of photography that are not of/by/for the human. The idea of “vision machines” (once proposed by Paul Virilio) takes the form of a holistic view of photography as a “medium of life,” which, unlike modernist descriptions of it as a “medium of death” (Roland Barthes), makes a significant contribution to both the theory and the history of photography. The synthetic presentation of Zylinska’s concepts is an attempt to describe and interpret the contemporary state of theoretical and methodological awareness in the field of contemporary image studies. It stems from the need to constantly reinterpret the canon of thinking about the medium of photography in the epoch of cooperation between human and non-human agencies in the area of pictorial production of images addressed to both people and machines
Echo of everyday life or “wu-es-be” in experimental animation
Get PDFThe article discusses animated works by Wojciech Bąkowski and the broader context of their origins addressing Jean-Luc Nancy’s philosophy of division of voices and its hermeneutical implications. Making explicit reference to these theoretical considerations, the author analyzes “Speaking Movies” by Bąkowski and his new productions for art galleries, employing digital tools to reinvestigate their meaning and interpret his autotelic recitation. The analysis follows several distinctive examples that highlight, via different experimental techniques, the interplay between verbal articulations, echo-like effects, and reverberations in the production of a differentiated audiovisual landscape
Foreign film in Poland, 1964–1975: selection, import and audience. An introduction
Get PDFThe topic of this article is part of the broader research project on film distribution in the People’s Republic of Poland. An important base for this text is the archival resources of the Film Polski Export and Import Company, established in 1964, the year therefore chosen as the starting point of the analysis. The point of departure is 1975, when important changes in the film import volume occurred. The article comprises of sections dedicated, respectively, to pre-selection of feature films, new releases and films in circulation. The data on the number of released titles show that in almost the entire period under study, the total number of foreign films from other ‘people’s republics’ was lower in any given calendar year than the number of films from capitalist states. However, the fact that more films from communist countries were imported to Poland did not mean that the former had larger audiences and generated greater revenues.The topic of this article is part of the broader research project on lm distribution in the People’s Republic of Poland. An important base for this text is the archival resources of the Film Polski Export and Import Company, established in 1964, the year therefore chosen as the starting point of the analysis. The point of departure is 1975, when important changes in the lm import volume occurred. The article comprises of sections dedicated, respectively, to pre-selection of feature films, new releases and lms in circulation. The data on the number of released titles show that in almost the entire period under study, the total number of foreign films from other ‘people’s republics’ was lower in any given calendar year than the number of films from capitalist states. However, the fact that more films from communist countries were imported to Poland did not mean that the former had larger audiences and generated greater revenues
Sztuka hejtu. Powtórzenia, parafrazy i „cytatowość” w filmie Sala samobójców. Hejter Jana Komasy
Get PDFThe aim of this article is to present stylistic measures dominating in a movie directed by John Komasa, The Hater, whose screenplay was written by Mateusz Pacewicz. Komasa’s film is an interesting example of how the selection of linguistic means and the way they function within one work can create an illusory, film version of “the art of hating” – the main impression of all the manipulations used by the film’s protagonist. Forms of manipulation, aggression, hate speech or Internet hate in The Hater’s verbal layer are particularly clearly heard thanks to repetitions, paraphrases and a very specific stylistic manoeuvre, which can be called “quotations.
Krajobraz pod lasem. O Rhizopolis Joanny Rajkowskiej
Get PDFThe article contains an analytical and interpretative study of the poetics of two recent art installations by Joanna Rajkowska
Postklasyczna groza. Przeobrażenia fuzji gatunkowej survival horroru
Get PDFThis article provides an introduction to the study of the transformation of the survival horror genre. The author discusses the genre determinants of horror games from the historical perspective, draw- ing particular attention to the moment when the classic survival horror formula emerged. She also describes the changes over the years that led both to the need to update the genre framework and to the division into classic and post-classic horror games. She also analyses the mechanics typical of contemporary productions using horror elements.This article provides an introduction to the study of the transformation of the survival horror genre. The author discusses the genre determinants of horror games from the historical perspective, draw- ing particular attention to the moment when the classic survival horror formula emerged. She also describes the changes over the years that led both to the need to update the genre framework and to the division into classic and post-classic horror games. She also analyses the mechanics typical of contemporary productions using horror elements
The Polish demoscene – between the past and the future. Conversation with Łukasz Szałankiewicz
No full textIn 2021, the National Institute of Cultural Heritage approved the application to include the demoscene in the UNESCO National List of Intangible Cultural Heritage. The Social Committee of the Polish Demoscene Chronicles was responsible for coordinating these activities. The organization aims to document and analyse traditions related to the domestic demoscene. The conversation between Marcin Pigulak (historian of digital games) and Łukasz Szałankiewicz (lecturer, multimedia artist and representative of the Polish Demoscene Chronicles) focuses on the history of the Polish demoscene, its specific nature compared to other digital cultures and contemporary strategies to preserve its heritage.In 2021, the National Institute of Cultural Heritage approved the application to include the demoscene in the UNESCO National List of Intangible Cultural Heritage. The Social Committee of the Polish Demoscene Chronicles was responsible for coordinating these activities. The organization aims to document and analyse traditions related to the domestic demoscene. The conversation between Marcin Pigulak (historian of digital games) and Łukasz Szałankiewicz (lecturer, multimedia artist and representative of the Polish Demoscene Chronicles) focuses on the history of the Polish demoscene, its specific nature compared to other digital cultures and contemporary strategies to preserve its heritage
Wysiłek emocjonalny jako podstawowa zasada miłości (dworskiej). Romans z Anomenem w Baldur’s Gate II
No full textThe article undertakes an analysis of the only romantic plot for a female character in Baldur’s Gate II: Shadows of Amn, namely the romance with Anomen, one of the player character’s potential companions. The analysis focuses primarily on how this romance adapts themes of courtly love to the poetics of the digital game medium. Courtly love is treated here not as a realistically depicted medieval tradition but rather as an established pop-cultural reference to the literature of the period, and as an element of contemporary depictions of the Middle Ages, often serving as a way to present contemporary themes and beliefs. The analysis therefore aims to explore how the theme can be employed to reproduce contemporary patterns of romantic relationships within a game, and in the case of Anomen, how it reproduces patterns of unequal emotional labor in heterosexual relationships. The article thus seeks to show how digital games can function as tools of cultural discourse of love by implementing certain patterns of romantic love through their specific means of expression.The article undertakes an analysis of the only romantic plot for a female character in Baldur’s Gate II: Shadows of Amn, namely the romance with Anomen, one of the player character’s potential companions. The analysis focuses primarily on how this romance adapts themes of courtly love to the poetics of the digital game medium. Courtly love is treated here not as a realistically depicted medieval tradition but rather as an established pop-cultural reference to the literature of the period, and as an element of contemporary depictions of the Middle Ages, often serving as a way to present contemporary themes and beliefs. The analysis therefore aims to explore how the theme can be employed to reproduce contemporary patterns of romantic relationships within a game, and in the case of Anomen, how it reproduces patterns of unequal emotional labor in heterosexual relationships. The article thus seeks to show how digital games can function as tools of cultural discourse of love by implementing certain patterns of romantic love through their specific means of expression
Dźwiękowość jako czynnik budujący spójność serii gier wideo (na przykładzie serii Assassin’s Creed)
No full textIn the article, the author raises the question of creating coherence in video game series by means of sound. In order to do this, he conducted research on four groups of SFXs (Sound Effects) extracted from the first seven games of the Assassin’s Creed series. It covered those SFXs that accompany the series’ signature gameplay moments. Sound samples recorded during gameplay were then analysed in the programme Reaper using Steinberg’s standard VST3 analysis tools. The research findings are compiled and presented in the form of a table. The author adopted the understanding of coherence outlined by Stanislav Gajda, and the concept refers to the mathematical formulation of the term.In the article, the author raises the question of creating coherence in video game series by means of sound. In order to do this, he conducted research on four groups of SFXs (Sound Effects) extracted from the first seven games of the Assassin’s Creed series. It covered those SFXs that accompany the series’ signature gameplay moments. Sound samples recorded during gameplay were then analysed in the programme Reaper using Steinberg’s standard VST3 analysis tools. The research findings are compiled and presented in the form of a table. The author adopted the understanding of coherence outlined by Stanislav Gajda, and the concept refers to the mathematical formulation of the term