Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Not a member yet
688 research outputs found
Sort by
Druga wojna światowa w ujęciu transnarodowym: próba poszerzenia grona odbiorców prestiżowych seriali. Przypadek Świata w ogniu (BBC/PBS, 2019‒2023)
No full textThe current state of high-end television drama provides the starting point for analysing World on Fire (BBC/PBS, 2019‒2023) as an example of expanding the audience for historical series about the Second World War. The article argues that the series’ creator, Peter Bowker, employs three strategies to enhance its transnational appeal. First, World on Fire broadens the traditional national perspective on historical events by incorporating the viewpoints of other nations. Second, it introduces perspectives that have often been marginalised, including those of women, LGBTQ+ communities, and people with disabilities. Third, it uses distinct cinematic and televisual styles to depict different locations, appealing to audiences interested in cultural tourism. In doing so, the article suggests new approaches for analysing historical television drama beyond those previously adopted.The current state of high-end television drama provides the starting point for analysing World on Fire (BBC/PBS, 2019‒2023) as an example of expanding the audience for historical series about the Second World War. The article argues that the series’ creator, Peter Bowker, employs three strategies to enhance its transnational appeal. First, World on Fire broadens the traditional national perspective on historical events by incorporating the viewpoints of other nations. Second, it introduces perspectives that have often been marginalised, including those of women, LGBTQ+ communities, and people with disabilities. Third, it uses distinct cinematic and televisual styles to depict different locations, appealing to audiences interested in cultural tourism. In doing so, the article suggests new approaches for analysing historical television drama beyond those previously adopted
Nawigując nurty zbrodni rzeki Jangcy. Analiza historycznej chińskiej gry detektywistycznej Murders on the Yangtze River
No full textIn this case study of the historical Chinese detective game Murders on the Yangtze River, the authors explore the genre of detective games. The first part of this essay briefly introduces the game and the genre structures of detective games. The second part examines the game through the lens of detective games and their genre specific elements and structure. The last part presents an interpretation of how specific structural and design choices impact the reading of the game as a historical game. The essay ends with observations about the postcolonial potential of the game, suggesting direction for potential future studies.In this case study of the historical Chinese detective game Murders on the Yangtze River, the authors explore the genre of detective games. The first part of this essay briefly introduces the game and the genre structures of detective games. The second part examines the game through the lens of detective games and their genre specific elements and structure. The last part presents an interpretation of how specific structural and design choices impact the reading of the game as a historical game. The essay ends with observations about the postcolonial potential of the game, suggesting direction for potential future studies
Brzmienie Ulic nędzy
No full textThe article focuses on the soundtrack of Martin Scorsese’s Mean Streets, with a particular emphasis on the music of The Rolling Stones. The author argues that this is the first film in which Scorsese fully establishes his distinctive directorial style, characterized by the use of pre-existing music as an integral narrative device. Deeply rooted in the film’s diegesis, the music becomes a crucial component of the storytelling. Through an audiovisual analysis of selected tracks, the author demonstrates that the soundtrack, operating through contrasts, plays a key role in the character development and highlights the film’s central issues, such as moral ambivalence, violence, and the tension between tradition and modernity.The article focuses on the soundtrack of Martin Scorsese’s Mean Streets, with a particular emphasis on the music of The Rolling Stones. The author argues that this is the first film in which Scorsese fully establishes his distinctive directorial style, characterized by the use of pre-existing music as an integral narrative device. Deeply rooted in the film’s diegesis, the music becomes a crucial component of the storytelling. Through an audiovisual analysis of selected tracks, the author demonstrates that the soundtrack, operating through contrasts, plays a key role in the character development and highlights the film’s central issues, such as moral ambivalence, violence, and the tension between tradition and modernity
„A Voice for Iran” – animacja jako forma protestu. Irańska rewolucja „Woman, Life, Freedom”
Full text linkThe article focuses on animations as artistic forms that can be classified as part of the cultural resistance repertoire strongly present during the protests in Iran following the death of Mahsa Jina Amini in September 2022. Two collections of short animated films are analysed – Mehran Sanei’s Instagram Onimations and the digital archive – Archive of Defiance, curated by Shahrzad Mojab and Afsaneh Hojabri. Symbolic communication, represented by both collections, is an integral element of any revolution. The aims of the article are to analyse the techniques, forms and specific features of animations used in creating artistic works for political purposes, to determine the function of animation as a form of protest communication, to define the role of both collections in resistance communication, and finally, to define the essence of social media action in transnational activism and in creating international support groups.The article focuses on animations as artistic forms that can be classified as part of the cultural resistance repertoire strongly present during the protests in Iran following the death of Mahsa Jina Amini in September 2022. Two collections of short animated films are analysed – Mehran Sanei’s Instagram Onimations and the digital archive – Archive of Defiance, curated by Shahrzad Mojab and Afsaneh Hojabri. Symbolic communication, represented by both collections, is an integral element of any revolution. The aims of the article are to analyse the techniques, forms and specific features of animations used in creating artistic works for political purposes, to determine the function of animation as a form of protest communication, to define the role of both collections in resistance communication, and finally, to define the essence of social media action in transnational activism and in creating international support groups
Shadows of Kurdistan. A Photographic Research of a Cultural Identity
Full text linkWe are all born somewhere in this world. The nature around us is the first element to shape us, with all of the unique characteristics of that particular place. Then we give names to these characteristics and meanings to these places – names that come from within ourselves and are part of our culture. This project is part of my life story, which I have tried to tell through photography. It was a way for me to discover my culture as I turned back to myself and my identity. I was searching for the stories behind the lives of the Kurdish people with images. At times, it was difficult to truly see and document people in my home region because the political situation and the civil war had closed them off. People became afraid to share their lives and ideas and their identity. And so it took time for me to be allowed to enter their lives. But when I did, it was truly rewarding to see and understand them. As the walls between us fell, I realized how close I was – and yet, still so far from my culture and to the people who enrich it.We are all born somewhere in this world. The nature around us is the first element to shape us, with all of the unique characteristics of that particular place. Then we give names to these characteristics and meanings to these places – names that come from within ourselves and are part of our culture. This project is part of my life story, which I have tried to tell through photography. It was a way for me to discover my culture as I turned back to myself and my identity. I was searching for the stories behind the lives of the Kurdish people with images. At times, it was difficult to truly see and document people in my home region because the political situation and the civil war had closed them off. People became afraid to share their lives and ideas and their identity. And so it took time for me to be allowed to enter their lives. But when I did, it was truly rewarding to see and understand them. As the walls between us fell, I realized how close I was – and yet, still so far from my culture and to the people who enrich it
„Bo to jej udało się uciec” – droga do emancypacji Josephine w komiksie Fatale Eda Brubakera i Seana Phillipsa
Full text linkThe author comprehensively analyzes the construction of the character of Josephine – the protagonist of the comic book series Fatale (2012–2014). Based on it, she draws conclusions regarding the protagonist’s subjectivity, the image of the family created on the pages of comic book history, and the gradual development of the heroine’s agency. The author shows that all these elements contribute to Josephine’s emancipation, which takes place in the series finale.The author comprehensively analyzes the construction of the character of Josephine – the protagonist of the comic book series Fatale (2012–2014). Based on it, she draws conclusions regarding the protagonist’s subjectivity, the image of the family created on the pages of comic book history, and the gradual development of the heroine’s agency. The author shows that all these elements contribute to Josephine’s emancipation, which takes place in the series finale
Cinematic Virtual Reality: The Paradox of the Omniscient Viewer in Omnidirectional Space versus Artistic Authorial Control
Full text linkThe future of audio-visual storytelling might transcend the limits of the screen, allowing the spectator to enter the story or even become the protagonist around whom the story unfolds. This could lead to an art form that fundamentally changes our media consumption habits. My overall research question in this paper examines whether virtual reality (VR), specifically the cinematic virtual reality genre, will become the next defining audio-visual medium. I approach this inquiry as an open question, attempting to identify distinct aesthetics of cinematic VR that sets it apart from cinema. The goal is to equip creators aspiring to produce narrative VR experiences with a comprehensive understanding of not only the possibilities but also the challenges involved in this format, as the title implies.The future of audio-visual storytelling might transcend the limits of the screen, allowing the spectator to enter the story or even become the protagonist around whom the story unfolds. This could lead to an art form that fundamentally changes our media consumption habits. My overall research question in this paper examines whether virtual reality (VR), specifically the cinematic virtual reality genre, will become the next defining audio-visual medium. I approach this inquiry as an open question, attempting to identify distinct aesthetics of cinematic VR that sets it apart from cinema. The goal is to equip creators aspiring to produce narrative VR experiences with a comprehensive understanding of not only the possibilities but also the challenges involved in this format, as the title implies
Najważniejsze to kochać... kino! Miłość i kinofilia w filmie Andrzeja Żuławskiego
Full text linkThe article concerns the legendary French film by Andrzej Żuławski entitled Najważniejsze to kochać! [The Most Important Thing: Love!] (1975) starring: Romy Schneider, Fabio Testi and Jacques Dutronc. The author discusses three main topics in the film: in the first part: issues of love and the metaphysical evil; in the second part: the very rich context of literary and film references. Andrzej Żuławski shows love as a force leading to the protagonists’ moral change and, at the same time, the incessant, unsatiable urge, resulting from human imperfection. In Żuławski’s film, as in the novels by Fyodor Dostoyevsky, the experience of love is connected with human duality, as well as with the contradictions appearing between the pole of love-desire and the pole of love-compassion. The duality of love results from the evil inherent in the nature of the world. According to Żuławski, evil is an active force acting in the world and not only a “lack of good.” The protagonists, experiencing evil, cross the existential and cognitive threshold and their experiences become closer to Gnostic experiences (gnosis). In the second part the author thoroughly discussed the French and international context of production and accomplishment of the film Najważniejsze to kochać. He indicated numerous literary references, co-creating the sense of the film (Shakespeare, Dostoyevsky, romantic literature) and cinema (commercial cinema: C. Sautet, A. Kurosawa, L. Olivier, J. von Sternberg, J.-L. Godard) proving that Żuławski’s film is the expression of the specific love for the cinema, i.e. cinemaphilia. The indicated references also co-create the ironic manner of representing the world presented in the film, where the motif of the actors’ acting becomes important, as well as that of life as theatre and masks, behind which people hide their intentions and emotions.The article concerns the legendary French film by Andrzej Żuławski entitled Najważniejsze to kochać! [The Most Important Thing: Love!] (1975) starring: Romy Schneider, Fabio Testi and Jacques Dutronc. The author discusses three main topics in the film: in the first part: issues of love and the metaphysical evil; in the second part: the very rich context of literary and film references. Andrzej Żuławski shows love as a force leading to the protagonists’ moral change and, at the same time, the incessant, unsatiable urge, resulting from human imperfection. In Żuławski’s film, as in the novels by Fyodor Dostoyevsky, the experience of love is connected with human duality, as well as with the contradictions appearing between the pole of love-desire and the pole of love-compassion. The duality of love results from the evil inherent in the nature of the world. According to Żuławski, evil is an active force acting in the world and not only a “lack of good.” The protagonists, experiencing evil, cross the existential and cognitive threshold and their experiences become closer to Gnostic experiences (gnosis). In the second part the author thoroughly discussed the French and international context of production and accomplishment of the film Najważniejsze to kochać. He indicated numerous literary references, co-creating the sense of the film (Shakespeare, Dostoyevsky, romantic literature) and cinema (commercial cinema: C. Sautet, A. Kurosawa, L. Olivier, J. von Sternberg, J.-L. Godard) proving that Żuławski’s film is the expression of the specific love for the cinema, i.e. cinemaphilia. The indicated references also co-create the ironic manner of representing the world presented in the film, where the motif of the actors’ acting becomes important, as well as that of life as theatre and masks, behind which people hide their intentions and emotions
Spróchniałe gałęzie. Upadek rodziny w Buddenbrookach Tomasza Manna i Zmierzchu bogów Luchina Viscontiego
Full text linkThe topic of this article is the depiction of the fall of the family in Luchino Visconti’s film The Damned and Thomas Mann’s novel Buddenbrooks, which served as a major inspiration for the former. The comparison of both works centers on two pairs of opposite attributes: the fall of the Buddenbrooks is characterised as gradual and internal, whereas the von Essenbeck family from The Damned declines in a rapid and external manner. These differences are studied in connection with such issues as the role of historical events in both works, the similiarities and dissimilarities between certain characters, as well as the impact of Shakespeare’s Macbeth on the narrative structure of The Damned. The nature of Visconti’s inspiration with Mann’s work and the connection between both artists are also discussed.The topic of this article is the depiction of the fall of the family in Luchino Visconti’s film The Damned and Thomas Mann’s novel Buddenbrooks, which served as a major inspiration for the former. The comparison of both works centers on two pairs of opposite attributes: the fall of the Buddenbrooks is characterised as gradual and internal, whereas the von Essenbeck family from The Damned declines in a rapid and external manner. These differences are studied in connection with such issues as the role of historical events in both works, the similiarities and dissimilarities between certain characters, as well as the impact of Shakespeare’s Macbeth on the narrative structure of The Damned. The nature of Visconti’s inspiration with Mann’s work and the connection between both artists are also discussed
Practices of Co-censorship: The Bilateral Control of Italian-Yugoslavian Co-productions
Full text linkThis paper investigates the connections between the film censorship systems of Italy and Yugoslavia, two countries that in the post-war years had different political and economic structures, but were involved in frequent collaborations that were first formalized in the co-production agreements signed in 1957. The underlying hypothesis is that censorship functions as both a repressive and enabling agency, insofar as it facilitates the negotiation of cultural, industrial, and ideological issues. Archival documents preserved in Rome and Belgrade, namely those of the Direzione Generale dello Spettacolo and the Savezna Komisija za Pregled Filmova, the bodies responsible for censorship in the respective countries, are used to reconstruct the cases of film made in collaboration between Italy and Yugoslavia and that therefore passed through the control of the authorities of both countries, such as Kapo (Gillo Pontecorvo, 1961), The Great War (Mario Monicelli, 1959) and War and Peace (King Vidor, 1956).This paper investigates the connections between the film censorship systems of Italy and Yugoslavia, two countries that in the post-war years had different political and economic structures, but were involved in frequent collaborations that were first formalized in the co-production agreements signed in 1957. The underlying hypothesis is that censorship functions as both a repressive and enabling agency, insofar as it facilitates the negotiation of cultural, industrial, and ideological issues. Archival documents preserved in Rome and Belgrade, namely those of the Direzione Generale dello Spettacolo and the Savezna Komisija za Pregled Filmova, the bodies responsible for censorship in the respective countries, are used to reconstruct the cases of film made in collaboration between Italy and Yugoslavia and that therefore passed through the control of the authorities of both countries, such as Kapo (Gillo Pontecorvo, 1961), The Great War (Mario Monicelli, 1959) and War and Peace (King Vidor, 1956)