Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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A difficult history of light. About metaphysical ideas of “light writing” formulated before the birth of photography
Get PDFThe reflections presented in this article are devoted to Junko Theresa Mikuriya’s book, A History of Light. The Idea of Photography. It is a unique view on the search for pre-photographic origins of photography in the field of philosophical writings ranging from Plato, through the neoplatonic philosopher Jamblich’s enquiry, to the texts by Philotheus of Batos and by an early Renaissance philosopher, Marsilio Ficino. When thinking about metaphysics present in (moving and still) images, one should not forget about the metaphysics of the image itself. The idea of photography – regardless of whether we are witnessing a fundamental change in an ontological transition from an analogue to a digital form of image recording – obliges us to discuss the “history of light”, as this is what Mikuriya does. While locating the discussed concepts in the context of the history and theory of photography, as well as the archaeology of media, the author of this essay engages in a dialogue with Mikuriya and polemically discusses many of her hypotheses. Key concepts such as chalepon, photagogia, triton genos, phôteinographeisthai are analysed in order to indicate inspiring moments in the Mikuriya’s reflections, but also a kind of interpretive abuse in the process of reading and analysing philosophical texts addressing the issues of light.The reflections presented in this article are devoted to Junko Theresa Mikuriya’s book, A History of Light. The Idea of Photography. It is a unique view on the search for pre-photographic origins of photography in the field of philosophical writings ranging from Plato, through the neoplatonic philosopher Jamblich’s enquiry, to the texts by Philotheus of Batos and by an early Renaissance philosopher, Marsilio Ficino. When thinking about metaphysics present in (moving and still) images, one should not forget about the metaphysics of the image itself. The idea of photography – regardless of whether we are witnessing a fundamental change in an ontological transition from an analogue to a digital form of image recording – obliges us to discuss the “history of light”, as this is what Mikuriya does. While locating the discussed concepts in the context of the history and theory of photography, as well as the archaeology of media, the author of this essay engages in a dialogue with Mikuriya and polemically discusses many of her hypotheses. Key concepts such as chalepon, photagogia, triton genos, phôteinographeisthai are analysed in order to indicate inspiring moments in the Mikuriya’s reflections, but also a kind of interpretive abuse in the process of reading and analysing philosophical texts addressing the issues of light
Posybilizm metafzyczny w filmie i serialu najnowszym
No full textThe article focuses on the reading of Waldemar Frąc’s film theory in the context of the newest film examples. In the first part, the author presents the most important features of the “possible cinema” and expands it with a philosophical possible worlds theory, and also gives the context of mind-game films. In the second part, the author proposes an interpretation of two films: Annihilation and Arrival, and the Dark series in the face of the presented theoretical solutions. The main point of the analysis is to show how the worlds presented in the given films exist, how the concept of possibility/the possible world is manifested, and what changes occur at the level of the film narrative itself. Interpretation of the film examples leads the author to the conclusion that metaphysical possibilism in the film and series reveals not only ontological themes, but also has significant intercultural value and moves existential reflection.The article focuses on the reading of Waldemar Frąc’s film theory in the context of the newest film examples. In the first part, the author presents the most important features of the “possible cinema” and expands it with a philosophical possible worlds theory, and also gives the context of mind-game films. In the second part, the author proposes an interpretation of two films: Annihilation and Arrival, and the Dark series in the face of the presented theoretical solutions. The main point of the analysis is to show how the worlds presented in the given films exist, how the concept of possibility/the possible world is manifested, and what changes occur at the level of the film narrative itself. Interpretation of the film examples leads the author to the conclusion that metaphysical possibilism in the film and series reveals not only ontological themes, but also has significant intercultural value and moves existential reflection
Przyszłość już była. Dystopie w najnowszym kinie science fiction Ameryki Łacińskiej
Get PDFThis paper examines the various ways in which contemporary Latin American science fiction films contest the neocolonial and neoliberal narratives, dominant in the region since the 20th century. I identify and examine strategies that filmmakers employ to challenge the common understanding of such notions as time, modernity and technological progress. I outline the visions of dystopias presented in the examined films, while also analyzing the counter-narratives introduced by filmmakers, which are mostly focused on creating a new, hybrid identity for a future citizen.This paper examines the various ways in which contemporary Latin American science fiction films contest the neocolonial and neoliberal narratives, dominant in the region since the 20th century. I identify and examine strategies that filmmakers employ to challenge the common understanding of such notions as time, modernity and technological progress. I outline the visions of dystopias presented in the examined films, while also analyzing the counter-narratives introduced by filmmakers, which are mostly focused on creating a new, hybrid identity for a future citizen
C.h.a.o.s
Get PDFThe works in color are available at: https://www.behance.net/gallery/68541945/chaosPrace w oryginalnej (kolorowej) wersji dostępne są pod adresem: https://www.behance.net/gallery/68541945/chao
Tele-kiss. Nam-June Paik’s expanded media in the light of Zen Buddhism
Get PDFThe article offers a broad overview of Nam-June Paik’s ideas of the expansion of video arts interpreted in the light of Zen Buddhism. His works recognized as the most significant examples of his marriage between the art theory and practice are marked by a thought-provoking vision of participatory culture, communicated in-between the networks in the post-industrial society. Our purpose is to reexamine his attitude to TV culture in the oscillation between Western and Eastern gaze considered in connection to the problems of emptiness and meditation drawn from Zen religious beliefs. In discussing his installations there is special stress to reconstruct his inner-insight into the subject of seeing and watching inscribed in a closed-circuit of the communication network.The article offers a broad overview of Nam-June Paik’s ideas of the expansion of video arts interpreted in the light of Zen Buddhism. His works recognized as the most significant examples of his marriage between the art theory and practice are marked by a thought-provoking vision of participatory culture, communicated in-between the networks in the post-industrial society. Our purpose is to reexamine his attitude to TV culture in the oscillation between Western and Eastern gaze considered in connection to the problems of emptiness and meditation drawn from Zen religious beliefs. In discussing his installations there is special stress to reconstruct his inner-insight into the subject of seeing and watching inscribed in a closed-circuit of the communication network
Płacząc po norwesku. Serial Skam jako opowieść transmedialna dla międzynarodowej publiczności
Get PDFThe article aims to analyse the phenomenon of a Norwegian Internet-TV show for teenage audiences, Skam (2015–2017). The transmedia storytelling used in this production resulted in unforeseen international acclaim, subsequently leading to the creation of local remakes of the series. The article will outline the main issues that the show has dealt with, as well as the immersion-building narrative solutions used by the creators. Moreover, it will discuss Skam’s reception by Norwegian and international audiences, and suggest potential directions for the future development of this format.The article aims to analyse the phenomenon of a Norwegian Internet-TV show for teenage audiences, Skam (2015–2017). The transmedia storytelling used in this production resulted in unforeseen international acclaim, subsequently leading to the creation of local remakes of the series. The article will outline the main issues that the show has dealt with, as well as the immersion-building narrative solutions used by the creators. Moreover, it will discuss Skam’s reception by Norwegian and international audiences, and suggest potential directions for the future development of this format
Superbohaterki w kinie przed powstaniem Marvel Cinematic Universe. Historia adaptacji kobiecych kostiumów superbohaterskich
Get PDFThe article focuses on changes within superhero comic book movie adaptations from 1941 (Adventures of Captain Marvel premiere) to 2008 (the creation of Marvel Cinematic Universe) in the aspect of designing female characters’ costumes. Author’s refelections are based on the article From the Top of the Cowl to the Tip of the Cape. The Cinematic Superhero Costume as Impossible by Dru H. Jeffries published in 2013 in „Cinephile: The Univesity of British Columbia’s Film Journal”. The author of the cited paper focuses on the topic of adapting male comic book characters’ costumes which is a starting point for the author of this article for in-depth analysis of this phenomenon including female superhero images.The article focuses on changes within superhero comic book movie adaptations from 1941 (Adventures of Captain Marvel premiere) to 2008 (the creation of Marvel Cinematic Universe) in the aspect of designing female characters’ costumes. Author’s refelections are based on the article From the Top of the Cowl to the Tip of the Cape. The Cinematic Superhero Costume as Impossible by Dru H. Jeffries published in 2013 in „Cinephile: The Univesity of British Columbia’s Film Journal”. The author of the cited paper focuses on the topic of adapting male comic book characters’ costumes which is a starting point for the author of this article for in-depth analysis of this phenomenon including female superhero images
Symbolika barw w „sakralnym” kinie Kantemira Bałagowa
Get PDFThe aim of the work is to analyse the artistic legacy of the Russian director and screenwriter Kantemir Balagov. Attention was drawn to the formal aspect, the role of feminisation of historical narration, and the complex network of inspirations (cinema classics and Russian literature) on the basis of two full-length productions – Closeness (2017) and Beanpole (2019). The social and political context of Russia is important for the Balagov’s work, which serves the artist in question as a tool for revising national myths. The extensive portrait of the director is complemented by the characteristics of Alexander Sokurov\u27s work, which introduces an aspect of Orthodox iconocratic writing that is important for research. The author of this work indicates that the interpretation keys for Sokurov\u27s and Balagov\u27s films should be sought directly in the symbolism of Orthodox icons. This work therefore aspires to expand the present state of research on Kantemir Balagov\u27s filmography, which is currently limited to premiere reviews and festival interviews.Celem pracy jest analiza twórczości filmowej rosyjskiego reżysera i scenarzysty Kantemira Bałagowa. Na podstawie dwóch pełnometrażowych produkcji – Bliskości (2017) oraz Wysokiej dziewczyny (2019) zwrócono uwagę na formalny aspekt wymienionych filmów, rolę feminizacji narracji historycznej, a także złożoną sieć inspiracji (kinowe klasyki i rosyjska literatura). Istotnym dla twórczości Bałagowa jest kontekst społeczno-polityczny Rosji, który służy omawianemu twórcy jako narzędzie rewizji narodowych mitów. Uzupełnieniem rozległego portretu reżysera jest charakterystyka twórczości Aleksandra Sokurowa, wprowadzająca istotny dla badań aspekt prawosławnego ikonopisarstwa. Autorka wskazuje, że kluczy interpretacyjnych dla twórczości Sokurowa i Bałagowa należy poszukać właśnie w symbolice prawosławnych ikon. Ambicją niniejszej pracy jest poszerzenie aktualnego stanu badań nad filmografią Kantemira Bałagowa, który obecnie ogranicza się do premierowych recenzji oraz festiwalowych wywiadów
