Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Dobry, zły i brzydki. Fuck For Forest Michała Marczaka w obiegu społecznym i medialnym
No full textMichał Marczak’s documentary Fuck For Forest was met with interest by both audiences and the media. This was due to the movie’s theme: the documentary tells the story of a group of activists living in Berlin who raise funds for environmental protection through a porn website. The film‘s premiere in Poland was accompanied by an aura of scandal, and Marczak’s movie was criticized by many for supposedly promoting pornography. The article analyzes the strategy used to promote the film in Poland and discusses various forms of commentary and media discourse on the film.Michał Marczak’s documentary Fuck For Forest was met with interest by both audiences and the media. This was due to the movie’s theme: the documentary tells the story of a group of activists living in Berlin who raise funds for environmental protection through a porn website. The film‘s premiere in Poland was accompanied by an aura of scandal, and Marczak’s movie was criticized by many for supposedly promoting pornography. The article analyzes the strategy used to promote the film in Poland and discusses various forms of commentary and media discourse on the film
Stylistic heritage and tendencies in contemporary Croatian cinema
Get PDFThis paper focuses on the diverse stylistic heritage and various tendencies in Croatian cinema of the 1990s and 2000s. Since many film scholars accentuate the discontinuity between contemporary Croatian cinema and that from the Yugoslav period, the paper points to continuities in the stylistic trends of both periods. The paper also analyzes two major stylistic configurations ‒ classical and modernist ‒ focusing on different variants of both aesthetic orientations. Variants of cinematic classicism (reduced and excessive classical style) are exemplified by the films of Krešo Golik and Fadil Hadžić, and by the films of Dalibor Matanić and Zrinko Ogresta from the contemporary period. On the other hand, variants of cinematic modernism (realist and psychological) are exemplified by thefilms of Vatroslav Mimica and Ante Peterlić from the 1960s, and in the contemporary period by thefilms of Zrinko Ogresta and Lukas Nola
Autor telewizyjny? Przypadek Matthew Weinera
No full textAmerican critics often refer to showrunners as television auteurs. Do showrunners deserve this title? Applying the assumptions of François Truffaut’s la politique des auteurs, as well as Andrew Sarris’s auteur theory, this article discusses the case of Matthew Weiner, the showrunner of Mad Men, a television series set in the 1960s America. Examining each stage of the show’s production process allows to prove that Weiner had decisive influence on scripts, direction, casting, cinematography, costume and production design, music and the editing of his project. Perhaps it is time to stop considering series as a collective work – due to the differences between director’s role in film and in television – and instead focus on its auteur features, since it can be argued that we owe the latest golden age of television to the increase in the showrunners’ creative autonomy.American critics often refer to showrunners as television auteurs. Do showrunners deserve this title? Applying the assumptions of François Truffaut’s la politique des auteurs, as well as Andrew Sarris’s auteur theory, this article discusses the case of Matthew Weiner, the showrunner of Mad Men, a television series set in the 1960s America. Examining each stage of the show’s production process allows to prove that Weiner had decisive influence on scripts, direction, casting, cinematography, costume and production design, music and the editing of his project. Perhaps it is time to stop considering series as a collective work – due to the differences between director’s role in film and in television – and instead focus on its auteur features, since it can be argued that we owe the latest golden age of television to the increase in the showrunners’ creative autonomy.
Semiotyczne aspekty virtual reality
No full textThe dynamic development of virtual reality technics opened new possibilities of creating visual, audial and audiovisual moving pictures. VR is coming and invaiding XXIst century cinema. There is a grand challenge for filmmakers imagination: show delivering vision of reality or so-called reality made without using real physical objects. Are we really prepared for this technological revolution? Hendrykowski’s paper poses certain crucial questions connected with that change in making movies. Among them: ambigous nature of digital sign, possible regions of spectator’s new experiences, symbolic function of digital images and deep transformation of category od aesthetics in expanding world of multimedia.The dynamic development of virtual reality technics opened new possibilities of creating visual, audial and audiovisual moving pictures. VR is coming and invaiding XXIst century cinema. There is a grand challenge for filmmakers imagination: show delivering vision of reality or so-called reality made without using real physical objects. Are we really prepared for this technological revolution? Hendrykowski’s paper poses certain crucial questions connected with that change in making movies. Among them: ambigous nature of digital sign, possible regions of spectator’s new experiences, symbolic function of digital images and deep transformation of category od aesthetics in expanding world of multimedia
Modern documentary in the age of virtual reality: Deapening engagement with nonfiction storytelling through technological innovation
No full textAfter decades of research, technological development as well as few discouraging setbacks, virtual reality (VR) appears to be on the cusp of its settled adoption. The incorporation of VR technology into the palette of everyday communication media is not only exciting for filmmakers and game designers, but also for every manner of storytellers: documentarians, journalists, educators, scientists – all professions involved in clarifying surrounding us reality and communicating about it. They all discovered that social change can be valuably stimulated by development of new technology – technology that serves in the same time as a classic medium to communicate and spread this news around. Considering the factors enabling us to capture and disseminate “a true story” in a highly captivating, immersive way (which previously has been preserved exclusively for entertainment and commercial productions), we should mention at least 3 crucial elements: technological innovation, psychological evolution of the viewer, application of VR beyond storytelling. The first two factors mutually interact and play off each other in terms of the changing threshold of perceptual tolerance as well as rising needs of the new spectator. The first part of this paper deals with the interdependency of these two elements. Structured conclusions will be enumerated as a practical reference for VR storytelling productions. The second part of the paper will deal with the third element enumerating the most inspiring cases from recent years – eye-openers for instigating social change, adding value and promoting wellbeing via VR technology. The engagement of VR in social change, innovation and nonfiction storytelling introduced the VR technology within the current media palette. It not only changes the nature of storytelling about reality, but fulfills the story that our reality builds
Wirtualna rzeczywistość a sprawa realizmu
No full textThe takes issue the VR experience in the context of the concepts of realism. He presents the process of create the cinematic VR and its references to reality in the type of non-fiction media. He also points to the ethical dimension of the issue by referring to Emmanuel Lévinas’ philosophy.The takes issue the VR experience in the context of the concepts of realism. He presents the process of create the cinematic VR and its references to reality in the type of non-fiction media. He also points to the ethical dimension of the issue by referring to Emmanuel Lévinas’ philosophy
Aktor jako cyfrowa marioneta, czyli Edward Gordon Craig w kinie przyszłości
No full textScreen actor as a digital puppet? From one point of view, that potentially becomes an interesting platform for modern way of spectacularity and for communications. From another, it’s something destructive and dangerous for the film art. Marek Hendrykowski’s essay analyzes possible consequences of new era of digital actorship in the shadow of its fundamental question and challenge: what happens with man in this form of moving pictures creation
Film and finance. An attempt at a statistical comparison of the attendance results and ratings of Polish films in the years 2012–2015
Get PDFThe article is an attempt to use essential statistical tools for analysis of market performance of films and its aes- thetical judgements made by film critics and fans. The authors describe differences between evaluations of films by professional and non-professional viewers, correlations between market performance and artistic merit and impact of level of public support for success and quality of movies. The material for analysis are Polish films in cinema distribution between 2012 and 2015