Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Krajobraz miasta w narracji filmów dokumentalnych o Lublinie
Full text linkThe article is an attempt at a critical original analysis of documentary films in relation to the documentary and narrative function of the landscape. The author treats the film space as a ‘world picture’ as understood by Martin Heidegger, and in this context, she presents her own model of seeing and understanding the world present in her own documentary work. The landscape here is saturated with meanings, especially emptiness, lack and post-memory, which speaks the most in a metaphorical way about the non-existent world. The author also refers to Walter Benjamin’s concept of the city as a book, and reads the history of multicultural Lublin, a kind of ghost town, form this perspective. The article is therefore an original attempt to discover the mental layer of the film, which is usually beyond the reach of its recipient.The article is an attempt at a critical original analysis of documentary films in relation to the documentary and narrative function of the landscape. The author treats the film space as a ‘world picture’ as understood by Martin Heidegger, and in this context, she presents her own model of seeing and understanding the world present in her own documentary work. The landscape here is saturated with meanings, especially emptiness, lack and post-memory, which speaks the most in a metaphorical way about the non-existent world. The author also refers to Walter Benjamin’s concept of the city as a book, and reads the history of multicultural Lublin, a kind of ghost town, form this perspective. The article is therefore an original attempt to discover the mental layer of the film, which is usually beyond the reach of its recipient
The Rating System as Part of the American Film Industry (1970–2019)
Full text linkThe article is an attempt to indicate what role the rating system introduced in 1968 plays in the American film industry. The first part provides an introduction to the history of American film censorship and presents the reasons why the Production Code was replaced by a system of restrictions related to the age of viewers. The second part of the text is analytical in nature. First, the distribution of individual rating categories in the 500 most popular films from 1970–2019 is checked, and it is revealed how the understanding of individual categories has changed and how the US film industry itself has changed. The second study, based on statistical data, shows the distribution of rating categories among all films distributed in the US in the years 2000–2019. This allows us to indicate the growth in the importance of the PG and PG-13 categories and also the increase in both the number and market share of films that are not subject to the system introduced by the MPA.The article is an attempt to indicate what role the rating system introduced in 1968 plays in the American film industry. The first part provides an introduction to the history of American film censorship and presents the reasons why the Production Code was replaced by a system of restrictions related to the age of viewers. The second part of the text is analytical in nature. First, the distribution of individual rating categories in the 500 most popular films from 1970–2019 is checked, and it is revealed how the understanding of individual categories has changed and how the US film industry itself has changed. The second study, based on statistical data, shows the distribution of rating categories among all films distributed in the US in the years 2000–2019. This allows us to indicate the growth in the importance of the PG and PG-13 categories and also the increase in both the number and market share of films that are not subject to the system introduced by the MPA
Platformy streamingowe i ich wpływ na lokalny rynek audiowizualny
Full text linkThe article focuses on outlining the potential direction of research on the Polish audiovisual market in the face of its platformization. The aim is to analyze and problematize the contexts of cooperation between an independent, local production company and a global platform in the film production process. It is an attempt to capture the characteristics of this cooperation by juxtaposing general industry practices with work culture, standards and rules specific to selected platforms and the long-term effect in the form of a potential impact on the diversification of production and its content. The outlined issues will be analyzed on the basis of industrial reflexivity based on cooperation with Netflix and HBO Max, collected using the method of partially structured in-depth interviews.The article focuses on outlining the potential direction of research on the Polish audiovisual market in the face of its platformization. The aim is to analyze and problematize the contexts of cooperation between an independent, local production company and a global platform in the film production process. It is an attempt to capture the characteristics of this cooperation by juxtaposing general industry practices with work culture, standards and rules specific to selected platforms and the long-term effect in the form of a potential impact on the diversification of production and its content. The outlined issues will be analyzed on the basis of industrial reflexivity based on cooperation with Netflix and HBO Max, collected using the method of partially structured in-depth interviews
Morality Behind Bars: Regulating Prison Films in Postwar Hollywood
Full text linkThe article examines the censorship process related to three Hollywood prison film noirs produced after World War II: Brute Force (1947), Caged (1950), and Riot in Cell Block 11 (1954). The author argues that the combination of a prison setting and film noir’s inherent pessimism and brutality presented particularly “censorable” material for the Production Code Administration, not least because of the conflation of violence and sympathy for prisoners as protagonists. At the same time, however, the research shows that during this period the Production Code Administration was unable or unwilling to adhere to its established practices, which led to a loosening of the rules that had been in place previously. All three films thus contributed in varying degrees to breaking on-screen taboos and to a greater inclination towards cinematic realism.The article examines the censorship process related to three Hollywood prison film noirs produced after World War II: Brute Force (1947), Caged (1950), and Riot in Cell Block 11 (1954). The author argues that the combination of a prison setting and film noir’s inherent pessimism and brutality presented particularly “censorable” material for the Production Code Administration, not least because of the conflation of violence and sympathy for prisoners as protagonists. At the same time, however, the research shows that during this period the Production Code Administration was unable or unwilling to adhere to its established practices, which led to a loosening of the rules that had been in place previously. All three films thus contributed in varying degrees to breaking on-screen taboos and to a greater inclination towards cinematic realism
Into the Writers’ Room: Looking at Polish Characters in Contemporary Dutch-Language Audiovisual Fiction Through the Lens of Production Research
Full text linkThis article looks into the genesis and development of Poland-related subject matter in foreign audiovisual media. It does so by adding a production-oriented perspective to the scholarly debate surrounding the appearance and instrumentalization of Polish characters in non-Polish TV shows. While pointing to the contingency – rather than the inevitability or the complete arbitrariness – of certain representational practices, this research draws on a series of samples and examples taken from the media landscape that the author is most familiar with, namely, contemporary audiovisual fiction produced in the Dutch language. The article is largely based on a range of semi-structured interviews conducted with Belgian screenwriters who have been closely involved in the creation and development of Polish characters for Flemish TV and film over the past three decades.This article looks into the genesis and development of Poland-related subject matter in foreign audiovisual media. It does so by adding a production-oriented perspective to the scholarly debate surrounding the appearance and instrumentalization of Polish characters in non-Polish TV shows. While pointing to the contingency – rather than the inevitability or the complete arbitrariness – of certain representational practices, this research draws on a series of samples and examples taken from the media landscape that the author is most familiar with, namely, contemporary audiovisual fiction produced in the Dutch language. The article is largely based on a range of semi-structured interviews conducted with Belgian screenwriters who have been closely involved in the creation and development of Polish characters for Flemish TV and film over the past three decades
Powrót (2003) Andrieja Zwiagincewa jako film inicjacyjny
Full text linkThe subject of this paper is Andrey Zvyagintsev’s film The Return (2003). In the Polish film studies literature, both the debut film and other works by this Russian director are analyzed primarily in terms of iconographic references to the Christian religion, which, although meaningful, are not the only important cultural contexts present in The Return, according to this author. The main problem addressed in the text is the way in which the rites of passage function in Zvyagintsev’s work and the meaning of initiation in relation to the figure of the Father and the “religious” plane of interpretation of the film.The subject of this paper is Andrey Zvyagintsev’s film The Return (2003). In the Polish film studies literature, both the debut film and other works by this Russian director are analyzed primarily in terms of iconographic references to the Christian religion, which, although meaningful, are not the only important cultural contexts present in The Return, according to this author. The main problem addressed in the text is the way in which the rites of passage function in Zvyagintsev’s work and the meaning of initiation in relation to the figure of the Father and the “religious” plane of interpretation of the film
Censorship, Speakability and Contemporary Green Fiction Cinema
Full text linkThis article considers the relative paucity of environmental fiction films in relation to documentaries with similar thematic concerns. It engages theories of censorship, in particular, the processes of informal and prior censorship, to better understand the myriad of forces that shape the possibilities, parameters and limitations for contemporary environmentally focused cinematic narratives. It is argued that while informal modes of censorship can be difficult to discern in their everyday operation, the effects can be highly significant, influencing not only content but also form and genre.This article considers the relative paucity of environmental fiction films in relation to documentaries with similar thematic concerns. It engages theories of censorship, in particular, the processes of informal and prior censorship, to better understand the myriad of forces that shape the possibilities, parameters and limitations for contemporary environmentally focused cinematic narratives. It is argued that while informal modes of censorship can be difficult to discern in their everyday operation, the effects can be highly significant, influencing not only content but also form and genre
Różne przejawy cenzury wobec serialu Dom Jana Łomnickiego
Full text linkThe historical series Home (1980–2000), which took 20 years in the making, provides excellent material for analyzing how censorship functioned at sensitive moments in history. The first seven episodes of Home were created before August 1980, the next five during the period of Solidarity domination and after the introduction of martial law. Although the temporal distance is small, it is clear that the episodes shot in the 1980s belong to three different eras. In the article, I compare two groups of sources regarding the censorship of this series. On the one hand, I refer to the documents prepared by the television and cinema authorities, which constituted the official interpretation of the interference. On the other hand, I quote the creators’ memoirs, commenting on the restrictions affecting Home. Various types of censorship emerge from this: from obvious ones, involving interference with the text of the script and the finished film material, through attempts to broadcast Home without some episodes, to intentions to make cuts without the consent of the authors.The historical series Home (1980–2000), which took 20 years in the making, provides excellent material for analyzing how censorship functioned at sensitive moments in history. The first seven episodes of Home were created before August 1980, the next five during the period of Solidarity domination and after the introduction of martial law. Although the temporal distance is small, it is clear that the episodes shot in the 1980s belong to three different eras. In the article, I compare two groups of sources regarding the censorship of this series. On the one hand, I refer to the documents prepared by the television and cinema authorities, which constituted the official interpretation of the interference. On the other hand, I quote the creators’ memoirs, commenting on the restrictions affecting Home. Various types of censorship emerge from this: from obvious ones, involving interference with the text of the script and the finished film material, through attempts to broadcast Home without some episodes, to intentions to make cuts without the consent of the authors
Is Israeli Millennials’ Web Comedy Less Politically Engaged? How Social Media Might Hamper Satire
Full text linkThis paper claims that Israeli web content creators are less politically engaged and overtly critical in comparison to local filmmakers who have been creating for cinema and television. Their comedy leans towards lighthearted nonsense and avoids taking a stand on controversial topics. It is argued that this can be explained by both universal and uniquely local reasons. In general, web creators are not judged by the same standards of artistic quality that is attributed to films and TV shows. Therefore, they choose different topics and aesthetics, which might appear less “substantial” or “artistic” by traditional perceptions. Also, Millennials are often considered by critics to be less rebellious and more self-centered. In addition, Israeli society has become more right-wing, nationalist, and religious. Contemporary culture therefore favors crowd-pleasing optimism over critique or complaints that ‘spoil the party’. Furthermore, artists’ self-censorship is affected by a growing lack of tolerance, which is sometimes expressed through social media outrage, and might cause severe damage to their careers. Based on these explanations, this paper then analyzes three independent web comedies which touch upon the debatable topic of Jewish settlements in the occupied territories, and the national-religious community, yet do it with varying degrees of criticism.This paper claims that Israeli web content creators are less politically engaged and overtly critical in comparison to local filmmakers who have been creating for cinema and television. Their comedy leans towards lighthearted nonsense and avoids taking a stand on controversial topics. It is argued that this can be explained by both universal and uniquely local reasons. In general, web creators are not judged by the same standards of artistic quality that is attributed to films and TV shows. Therefore, they choose different topics and aesthetics, which might appear less “substantial” or “artistic” by traditional perceptions. Also, Millennials are often considered by critics to be less rebellious and more self-centered. In addition, Israeli society has become more right-wing, nationalist, and religious. Contemporary culture therefore favors crowd-pleasing optimism over critique or complaints that ‘spoil the party’. Furthermore, artists’ self-censorship is affected by a growing lack of tolerance, which is sometimes expressed through social media outrage, and might cause severe damage to their careers. Based on these explanations, this paper then analyzes three independent web comedies which touch upon the debatable topic of Jewish settlements in the occupied territories, and the national-religious community, yet do it with varying degrees of criticism
Morfologia plagiatu
Full text linkAuthorship, as a protected good, is never entirely secure. Plagiarism is a practice that has been perpetually present in human culture. This monographic essay dedicated to plagiarism offers a broad, panoramic view of its occurrence in science, art, and other creative fields. The author posits that the true subject of plagiarism is not the substance of the plagiarized text (words, sounds, images), but its essence, namely the original authorial thought – the original concept, idea, or creative vision contained within the structure of the original work.Authorship, as a protected good, is never entirely secure. Plagiarism is a practice that has been perpetually present in human culture. This monographic essay dedicated to plagiarism offers a broad, panoramic view of its occurrence in science, art, and other creative fields. The author posits that the true subject of plagiarism is not the substance of the plagiarized text (words, sounds, images), but its essence, namely the original authorial thought – the original concept, idea, or creative vision contained within the structure of the original work