Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Not a member yet
688 research outputs found
Sort by
Instagram as a Communication Space for Painters
Full text linkInstagram is a social network platform intended for communication between the creator of information and its recipients, as well as between the recipients themselves. The driving force of Instagram has been recognised by many artists that decided to promote their creative work on this platform. This social network is also used to fulfil advertising contracts that the artists have concluded with companies. The question therefore is whether the number of followers is mainly affected by the artistic achievements of their authors or by out-of-art marketing activities? Instagram contains many profiles of people involved in other branches of art, including painting. It seems that due to the field of art they deal with, the private life of an artist painting pictures is not as interesting as the life of popular actors or singers. As a result, their profiles are mainly concentrated on presenting artistic achievements using a platform that helps them reach a broad spectrum of viewers. This article provides a selective review of popular profiles of artists, taking into consideration the way in which they present their art on the Internet and how the artist communicates with users, as well as how the communication between users themselves looks.Instagram is a social network platform intended for communication between the creator of information and its recipients, as well as between the recipients themselves. The driving force of Instagram has been recognised by many artists that decided to promote their creative work on this platform. This social network is also used to fulfil advertising contracts that the artists have concluded with companies. The question therefore is whether the number of followers is mainly affected by the artistic achievements of their authors or by out-of-art marketing activities? Instagram contains many profiles of people involved in other branches of art, including painting. It seems that due to the field of art they deal with, the private life of an artist painting pictures is not as interesting as the life of popular actors or singers. As a result, their profiles are mainly concentrated on presenting artistic achievements using a platform that helps them reach a broad spectrum of viewers. This article provides a selective review of popular profiles of artists, taking into consideration the way in which they present their art on the Internet and how the artist communicates with users, as well as how the communication between users themselves looks
Historia „Woman, Life, Freedom!”
Full text linkI have been interested in painting and illustration since I was a little child... though I didn’t know what “illustration” exactly was, but when I leafed through my picture books, I wanted to be the person who created them... mostly, I imagined him/her illustrating. So as I grew up, I found that I could study art, and it made me so excited. I remember I couldn’t believe it... this was such a huge deal. So I entered Fine Art School in 2013 and studied painting for 3 years. One thing led to another, and I found myself in the puppet theater department at university, which was an amazing experience. I loved both – puppets and paintings so much but I always felt something was wrong. I was not satisfied with those two. So I started learning how to illustrate on digital devices, and I loved the process so much. I learned everything by myself in my tiny room, but I never got tired of it, and I found that it is my thing! I believe illustration is a kind of language created by the artist and everyone can understand it. I think this is it. This is my story... My illustrations are all about women, especially women in Iran. They are all about the sexism in Iran and the patriarchal, brutal government. After the death of Mahsa Amini, I started making illustrations about these issues. And it was not just me – so many Iranian illustra- tors were making art about her death and the ‘Woman, Life, Freedom’ movement. So, I did too. I did it in my own way, I used symbolic and iconic elements in my arts, like birds, flowers and – most of all – girls and boys together, as a collective, as a team.
I believe it’s more emotional and makes more of an impression when you show what your dream world would look like. I don’t want to draw the brutal world I was born in. I think I should draw girls and boys trying to defy the brutality with their pure hearts and hopeful hands. I draw for the people who want to live in a free Iran. I hope the readers of “Images” will enjoy my works.Od dziecka interesowałam się malarstwem i grafiką... nawet kiedy jeszcze nie wiedziałam, czym dokładnie ta „grafika” jest. Wiedziałam tylko, kiedy przeglądałam moje książki obrazkowe, że chciałam być osobą, która je tworzyła... wyobrażałam ją sobie podczas rysowania. Kiedy dorosłam, myśl o tym, że mogę studiować sztukę, bardzo mnie ekscytowała. Pamiętam, że nie mogłam w to uwierzyć. To było dla mnie niezwykle ważne. W 2013 roku rozpoczęłam naukę na Akademii Sztuk Pięknych i przez trzy lata studiowałam malarstwo. Ostatecznie trafiłam na Wydział Sztuki Lalkarskiej, co okazało się wspaniałym doświadczeniem. Byłam kompletnie zakochana zarówno w lalkach, jak i w obrazach, ale czegoś mi brakowało. Nie byłam w pełni usatysfakcjonowana jedynie tymi dwiema dziedzinami. Zaczęłam uczyć się, jak tworzyć ilustracje na urządzeniach cyfrowych, i od razu wciągnął mnie ten proces. Wszystkiego nauczyłam się sama w moim małym pokoju, ale nigdy mi się to nie znudziło. Odkryłam, że to jest właśnie to, co sprawia mi największą radość! Sądzę, że ilustracja jest swego rodzaju językiem tworzonym przez artystę i każdy może ten język zrozumieć. I to by było na tyle. To jest moja historia... Moje grafiki skupiają się na kobietach, zwłaszcza na kobietach w Iranie. Ilustrują seksizm oraz patriarchalny i brutalny rząd. Po śmierci Mahsy Amini zaczęłam poruszać w swojej sztuce ten temat. I nie ja sama – wielu irańskich ilustratorów zaczęło tworzyć prace związane ze śmiercią kobiety i ruchem „Woman, Life, Freedom”. Ja również postanowiłam to robić, wykorzystując w swojej estetyce symboliczne i ikoniczne elementy, takie jak ptaki czy kwiaty. Przede wszystkim jednak łączę dziewczyny i chłopców, współistniejących jako kolektyw, jako zespół. Myślę, że sztuka wywiera największe wrażenie, kiedy pokazujesz, jak wyglądałby twój wymarzony świat. Nie chcę portretować brutalnej rzeczywistości, w której się urodziłam. Za bardziej wartościowe uważam rysowanie młodych ludzi, którzy z czystymi, pełnymi nadziei sercami próbują sprzeciwić się tej brutalności. Rysuję dla tych, którzy pragną żyć w wolnym Iranie. Mam nadzieję, że moje prace spodobają się czytelnikom „Images”
„Ku nowym czynom, ukochany mężu...” O Stukasach Karla Rittera
Full text linkKarl Ritter’s film Stukas has been the subject of numerous analyses centred on issues such as propaganda (Rother), Nazi films about aviators (Gwóźdź), war and music (Vaget). This article situates itself within the general discussion of art and politics in the Third Reich (Mungen, Pyta, Vaget, Werr). It starts from Goebbels’ speech on February, 15 1941 at the Reichsfilmkammer and attempts to look at Ritter’s film from the perspective of Richard Wagner’s music and the Bayreuth festival theatre as an important cultural and intermedial symbol of Nazi Germany. Further, it aims to juxtapose the film plot with the meaning of the instrumental prelude ‘Siegfrieds Rheinfahrt’ that precedes Act I of Twilight of the Gods, showing that the theatrical experience of the apathetic Lieutenant Vide allows him to discover dormant layers of his own heroism. Driven by this discovery, he is able – like Siegfried alongside his pillar Brünnhilde – to undertake therefore new challenges and conquer England with his fellow pilots. It shall be argued that the Third Reich propaganda concept of Bayreuth and the Festspielhaus locks in with this thesis. It is here, with the support of the hospital sisters, that soldiers can recover fully. Nevertheless, it is by no means medications and systematic therapies that play the part of Asclepius, but the power of Wagner’s music (rooted in mythology).Karl Ritter’s film Stukas has been the subject of numerous analyses centred on issues such as propaganda (Rother), Nazi films about aviators (Gwóźdź), war and music (Vaget). This article situates itself within the general discussion of art and politics in the Third Reich (Mungen, Pyta, Vaget, Werr). It starts from Goebbels’ speech on February, 15 1941 at the Reichsfilmkammer and attempts to look at Ritter’s film from the perspective of Richard Wagner’s music and the Bayreuth festival theatre as an important cultural and intermedial symbol of Nazi Germany. Further, it aims to juxtapose the film plot with the meaning of the instrumental prelude ‘Siegfrieds Rheinfahrt’ that precedes Act I of Twilight of the Gods, showing that the theatrical experience of the apathetic Lieutenant Vide allows him to discover dormant layers of his own heroism. Driven by this discovery, he is able – like Siegfried alongside his pillar Brünnhilde – to undertake therefore new challenges and conquer England with his fellow pilots. It shall be argued that the Third Reich propaganda concept of Bayreuth and the Festspielhaus locks in with this thesis. It is here, with the support of the hospital sisters, that soldiers can recover fully. Nevertheless, it is by no means medications and systematic therapies that play the part of Asclepius, but the power of Wagner’s music (rooted in mythology)
Filosowiecki tryb cenzury filmowej we Włoszech epoki zimnej wojny – kontekst i studia przypadków
Full text linkDespite Italy participating in the western alliance during the Cold War, anticommunism is quite absent from Italian movies. Any explicit criticism of the Soviet regime is a rarity in Italian cinema of the early Cold War period as well. The Soviet regime is never denounced as a totalitarian state, and seldom approached in a critical manner. Rare examples of films containing criticism of the Soviet Union usually faced difficulties at the level of development, censorship, and distribution. Surprisingly, this issue is not tackled by Italian film studies, and particularly by those focusing on censorship. This article addresses the issue of philosovietic mode of film censorship, the reason why it is misrepresented in film criticism and film history, and also the relevance of this issue in the current geopolitical situation.Despite Italy participating in the western alliance during the Cold War, anticommunism is quite absent from Italian movies. Any explicit criticism of the Soviet regime is a rarity in Italian cinema of the early Cold War period as well. The Soviet regime is never denounced as a totalitarian state, and seldom approached in a critical manner. Rare examples of films containing criticism of the Soviet Union usually faced difficulties at the level of development, censorship, and distribution. Surprisingly, this issue is not tackled by Italian film studies, and particularly by those focusing on censorship. This article addresses the issue of philosovietic mode of film censorship, the reason why it is misrepresented in film criticism and film history, and also the relevance of this issue in the current geopolitical situation
Liczenie złotówek. Polskie filmy fantastyczno-przygodowe lat 80. w świetle protokołów komisji kolaudacyjnych
Full text linkThe article analyses the evaluation committee’s reports regarding fantasy-and-adventure films in the late period of the Polish People’s Republic. These documents show that the committee members often exhibited helplessness towards these films. They were not aware of the global cinematographic trends to which these titles referred, and they admitted that they simply did not like such films. Despite this, they rated them highly and wanted to release them into theatres as soon as possible, because they thought such films could help to end the financial crisis in cinematography. I analyse these reports as a document illustrating the change in the awareness of the evaluators. Not interested in political control, they applied mechanisms straight from market reality to the films they watched. Discussions about films took place in terms of implementing liberalizing economic and cinematographic reforms. These discussions included production strategies taken straight from Hollywood studios, because decision-makers were primarily interested in reducing the financial risk associated with the films. Socialist ideology lost out to economic rationality.The article analyses the evaluation committee’s reports regarding fantasy-and-adventure films in the late period of the Polish People’s Republic. These documents show that the committee members often exhibited helplessness towards these films. They were not aware of the global cinematographic trends to which these titles referred, and they admitted that they simply did not like such films. Despite this, they rated them highly and wanted to release them into theatres as soon as possible, because they thought such films could help to end the financial crisis in cinematography. I analyse these reports as a document illustrating the change in the awareness of the evaluators. Not interested in political control, they applied mechanisms straight from market reality to the films they watched. Discussions about films took place in terms of implementing liberalizing economic and cinematographic reforms. These discussions included production strategies taken straight from Hollywood studios, because decision-makers were primarily interested in reducing the financial risk associated with the films. Socialist ideology lost out to economic rationality
Plagiat w dobie sztucznej inteligencji
Full text linkThis essay is devoted to theoretical reflections on the practice of using text-generating artificial intelligence programs for plagiarism. The author puts forward the thesis that network tools and advanced AI programs are not the “culprits”: the real perpetrator of plagiarism always turns out to be the person who used them for this purpose.This essay is devoted to theoretical reflections on the practice of using text-generating artificial intelligence programs for plagiarism. The author puts forward the thesis that network tools and advanced AI programs are not the “culprits”: the real perpetrator of plagiarism always turns out to be the person who used them for this purpose
(In)correct Narratives of the Middle East Cinema
Full text linkMiddle Eastern cinema, with its rich cultural heritage and diverse history, is an extremely intriguing and multifaceted area of research. This specific region is a meeting place of a variety of traditions, cultures, and religions, which is reflected in filmmaking. In recent decades, Middle Eastern cinema has experienced dynamic development, gaining international recognition, and becoming a recognizable player in the global film market.
With this issue of “Images”, both the authors and the editors were dedicated to analyzing and interpreting films and digital audiovisual forms from the Middle East: those that reflect the current social, political, and cultural reality of the region, as well as those that seek the historical origins of the phenomena which we are currently observing. The first part contains articles by scholars representing different branches of film and media studies, who have undertaken the analysis of Middle Eastern cinema and digital media from multiple perspectives.
The texts compiled in this volume provide an interesting look at how filmmakers from the Middle East region use these media to explore significant existential, social and political themes, while creating narratives that cross cultural and geographical boundaries.Middle Eastern cinema, with its rich cultural heritage and diverse history, is an extremely intriguing and multifaceted area of research. This specific region is a meeting place of a variety of traditions, cultures, and religions, which is reflected in filmmaking. In recent decades, Middle Eastern cinema has experienced dynamic development, gaining international recognition, and becoming a recognizable player in the global film market.
With this issue of “Images”, both the authors and the editors were dedicated to analyzing and interpreting films and digital audiovisual forms from the Middle East: those that reflect the current social, political, and cultural reality of the region, as well as those that seek the historical origins of the phenomena which we are currently observing. The first part contains articles by scholars representing different branches of film and media studies, who have undertaken the analysis of Middle Eastern cinema and digital media from multiple perspectives.
The texts compiled in this volume provide an interesting look at how filmmakers from the Middle East region use these media to explore significant existential, social and political themes, while creating narratives that cross cultural and geographical boundaries
Wolność tłumacza w procesie lokalizacji gier wideo na przykładzie Final Fantasy XV
Full text linkVideo game localization is a process that is strongly focused on the target audience. Its aim is to adapt the game content to the linguistic and cultural needs and requirements of the market other than the primary one. A well-made localization cannot negatively affect the gameplay experience and the player’s sense of immersion. Therefore, when translating in-game text, translators can use strategies and techniques known from other types of translations. The aim of this article is to show how the use of transcreation in the localization process can influence the reception of a game. An attempt is made to answer the question of whether the freedom to interfere with the original content, which this translation strategy gives the translator, is justified. For this purpose, the specificity of video game localization is briefly presented, and various concepts and theories from the field of translation theory are used. Final Fantasy XV, released in 2016 by Square Enix, was selected as the subject of the analysis.Video game localization is a process that is strongly focused on the target audience. Its aim is to adapt the game content to the linguistic and cultural needs and requirements of the market other than the primary one. A well-made localization cannot negatively affect the gameplay experience and the player’s sense of immersion. Therefore, when translating in-game text, translators can use strategies and techniques known from other types of translations. The aim of this article is to show how the use of transcreation in the localization process can influence the reception of a game. An attempt is made to answer the question of whether the freedom to interfere with the original content, which this translation strategy gives the translator, is justified. For this purpose, the specificity of video game localization is briefly presented, and various concepts and theories from the field of translation theory are used. Final Fantasy XV, released in 2016 by Square Enix, was selected as the subject of the analysis
