Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Kino Bliskiego Wschodu na polskich ekranach
Get PDFIn the article Middle Eastern Cinema on Polish Screens Grzegorz Fortuna Jr. analyzes the presence of films from the Middle East in Polish cinemas in 2002–2022. The author takes into account major productions from all Middle Eastern countries that have appeared on Polish screens in the last twenty years.
The aim of the article is to check to what extent film criticism and research interest in cinematography in this area translates into the actual box office success of individual titles and what factors determined the possible success of Middle Eastern films in Polish cinemas. The author primarily uses Andrew Higson’s theory and distribution research methods, focusing primarily on box office results. The article also aims to check the extent to which the digital revolution has contributed to the popularity of films from the Middle East.In the article Middle Eastern Cinema on Polish Screens Grzegorz Fortuna Jr. analyzes the presence of films from the Middle East in Polish cinemas in 2002–2022. The author takes into account major productions from all Middle Eastern countries that have appeared on Polish screens in the last twenty years.
The aim of the article is to check to what extent film criticism and research interest in cinematography in this area translates into the actual box office success of individual titles and what factors determined the possible success of Middle Eastern films in Polish cinemas. The author primarily uses Andrew Higson’s theory and distribution research methods, focusing primarily on box office results. The article also aims to check the extent to which the digital revolution has contributed to the popularity of films from the Middle East
Oranges on the Telly: Films and Series in the Christmas Programming of Polish Socialist Television
Get PDFWhilst much has been written about both the organizational structure and particular shows produced and screened by Telewizja Polska (TVP) during the People’s Republic of Poland era, there have been few attempts to investigate this broadcaster’s film programming policy. The article discusses the programming strategies of Polish state television broadcaster TVP in the period 1960–1989. The main focus of the paper is on comparing Christmas schedules with samples of “ordinary weeks” (both: working days and weekends). This proves that the predominance of Western content over productions from Poland and other countries of the Soviet Bloc was typical of Christmas schedules and partially in accordance with the weekend scheme. Furthermore, the article investigates the interference in the television schedule and religious practices. The final section focuses on content analysis of several films most frequently broadcast during Christmas, with a closer look at Polish productions in the final section. The programming policy of Telewizja Polska was to avoid not only Christian content but also movies and tv series which depicted Christmas celebrations in affluent societies. By combining quantitative and qualitative explorations of carefully gathered data on television schedules, the study seeks to propose a new perspective on the history of TVP, thus facilitating future research into other patterns of television programming.Whilst much has been written about both the organizational structure and particular shows produced and screened by Telewizja Polska (TVP) during the People’s Republic of Poland era, there have been few attempts to investigate this broadcaster’s film programming policy. The article discusses the programming strategies of Polish state television broadcaster TVP in the period 1960–1989. The main focus of the paper is on comparing Christmas schedules with samples of “ordinary weeks” (both: working days and weekends). This proves that the predominance of Western content over productions from Poland and other countries of the Soviet Bloc was typical of Christmas schedules and partially in accordance with the weekend scheme. Furthermore, the article investigates the interference in the television schedule and religious practices. The final section focuses on content analysis of several films most frequently broadcast during Christmas, with a closer look at Polish productions in the final section. The programming policy of Telewizja Polska was to avoid not only Christian content but also movies and tv series which depicted Christmas celebrations in affluent societies. By combining quantitative and qualitative explorations of carefully gathered data on television schedules, the study seeks to propose a new perspective on the history of TVP, thus facilitating future research into other patterns of television programming
Trzykrotny „półkownik” III RP. Rzecz o współczesnej cenzurze na przykładzie filmu Witajcie w życiu Henryka Dederki
Get PDFThe 1990s in Poland were mainly a period of change caused by system transformation. The consequences of the new system were impoverishment, unemployment and exclusion. In the film context, an important result was that the Main Office for the Control of the Press, Publications and Performances was put into liquidation, thus abolishing official censorship. This difficult time for Poles was reflected in domestic cinematography. One of the most famous documentary films was Witajcie w życiu (Welcome to Life, 1997) by Henryk Dederko, portraying the society of the time intoxicated by the luminous vision of the future offered by the American corporation Amway. The article attempts to reconstruct the production and distribution adventures of Dederko’s film. The aim is to clarify cases concerning the numerous lawsuits brought against the filmmakers by Amway Polska and Network Twenty-One. The work is based on a reception and distribution study as well as a textual analysis. It also employs interviews with the director and producer, mentions in the press and articles, and, importantly, court documents from the Jacek Gwizdała Archive.The 1990s in Poland were mainly a period of change caused by system transformation. The consequences of the new system were impoverishment, unemployment and exclusion. In the film context, an important result was that the Main Office for the Control of the Press, Publications and Performances was put into liquidation, thus abolishing official censorship. This difficult time for Poles was reflected in domestic cinematography. One of the most famous documentary films was Witajcie w życiu (Welcome to Life, 1997) by Henryk Dederko, portraying the society of the time intoxicated by the luminous vision of the future offered by the American corporation Amway. The article attempts to reconstruct the production and distribution adventures of Dederko’s film. The aim is to clarify cases concerning the numerous lawsuits brought against the filmmakers by Amway Polska and Network Twenty-One. The work is based on a reception and distribution study as well as a textual analysis. It also employs interviews with the director and producer, mentions in the press and articles, and, importantly, court documents from the Jacek Gwizdała Archive
Sex, Drugs, and Suicide in Youth-oriented TV Series of Different Countries: Controversial Content and the Level of Acceptability for a Sensitive Audience
Get PDFThis article investigates the portrayals of acute problems faced by young people, a sensitive population category, in youth-oriented series available on various open media platforms, both international (such as Netflix, YouTube) and national ones (for example, Polsat Box Go, TVP, Megogo, Volia, Oll. tv, etc.). Additionally, the study aims to examine the censorship methods employed by national media platforms for media content targeting a highly sensitive youth audience. The research focuses on TV series for youth and adolescents as a specific genre of artistic and educational content that addresses significant personal and social issues while entertaining. This includes the Polish series Sexify (2021, 2022); the Ukrainian series First Swallows (2019, 2020), Sex, Insta and ZNO (2020), the Spanish web series Elite (2018); the British series Sex Education (2019); and the American series 13 Reasons Why (2017–2020), all of which are intended for viewers aged 16 and over. The Ukrainian series of The New One (2019) is not subject to detailed analysis but is mentioned for comparison and as an example available on the Netflix platform. The research addresses such issues as differing perceptions of youth-oriented series by representatives of different generations and the provision of certain behaviour models through media content.This article investigates the portrayals of acute problems faced by young people, a sensitive population category, in youth-oriented series available on various open media platforms, both international (such as Netflix, YouTube) and national ones (for example, Polsat Box Go, TVP, Megogo, Volia, Oll. tv, etc.). Additionally, the study aims to examine the censorship methods employed by national media platforms for media content targeting a highly sensitive youth audience. The research focuses on TV series for youth and adolescents as a specific genre of artistic and educational content that addresses significant personal and social issues while entertaining. This includes the Polish series Sexify (2021, 2022); the Ukrainian series First Swallows (2019, 2020), Sex, Insta and ZNO (2020), the Spanish web series Elite (2018); the British series Sex Education (2019); and the American series 13 Reasons Why (2017–2020), all of which are intended for viewers aged 16 and over. The Ukrainian series of The New One (2019) is not subject to detailed analysis but is mentioned for comparison and as an example available on the Netflix platform. The research addresses such issues as differing perceptions of youth-oriented series by representatives of different generations and the provision of certain behaviour models through media content
Pomiędzy okaleczeniem a autorską strategią. Wpływ cenzury na twórczość Luisa Garcíi Berlangi
Get PDFThe article presents the complex impact of Francoist censorship on Luis García Berlanga’s works. In films shot during General Francisco Franco’s dictatorship, the Spanish director developed a number of auteur strategies that allowed him to express veiled criticism of the regime, which escaped the attention of censors. The game with censorship requirements became characteristic of Berlanga’s works and influenced their reception by domestic audiences, who interpreted some scenes as political allusions not intended by the author. The analysis also shows the impact of censor interference in the final form of some films and attempts at eliminating their controversial message, as well as cases of delayed Spanish distribution or the realisation of the director’s boldest projects, which were premiered or could only be shot after the fall of the dictatorship.The article presents the complex impact of Francoist censorship on Luis García Berlanga’s works. In films shot during General Francisco Franco’s dictatorship, the Spanish director developed a number of auteur strategies that allowed him to express veiled criticism of the regime, which escaped the attention of censors. The game with censorship requirements became characteristic of Berlanga’s works and influenced their reception by domestic audiences, who interpreted some scenes as political allusions not intended by the author. The analysis also shows the impact of censor interference in the final form of some films and attempts at eliminating their controversial message, as well as cases of delayed Spanish distribution or the realisation of the director’s boldest projects, which were premiered or could only be shot after the fall of the dictatorship
Ludologia – naukowe badania gier. Przeszłość, teraźniejszość, przyszłość
No full textThe aim of the article is to present similarities and differences in the approaches to the field of ludol- ogy (also known as games research, game studies) in Poland and abroad, on the basis of an analysis of publications and papers presented at conferences of two representative contemporary academic ludological associations – the Polish Polskie Towarzystwo Badania Gier (Games Research Associa- tion of Poland), and the Digital Games Research Association. The achievements of these societies are comparable because of their similar period of activity. The subject of the analysis is the scope of research declared by both associations, the topics of papers presented at international academic conferences organised by them, and the topics of articles occurring in their publications. For the purposes of the analysis, two crucial categories concerning games of all types have been introduced to enable further study of selected texts: the distinction between digital and non-digital games – the former ones refer to electronic games of all types (requiring electricity and based on electronics), and the latter, to any other kinds of games (in some cases also requiring electricity but not electronics). In the analysis, four main thematic categories of papers and articles have been established: (1) texts concerning research in the sphere of digital games, new technologies, new media and related phenomena; (2) texts concerning research on non-digital games and related phenomena; (3) texts concerning other aspects of games and ludology including research on non-specific kinds of games or, quite contrary, concerning different types of games (digital and non-digital) in a particular approach (e.g. educational aspects), methodology of games research, issues common to all games (e.g. players, gameplay, winning/ losing etc.); (4) reviews, reports, forewords, introductory articles and lectures, texts on outstanding scholars etc. The aim of the quantitative analysis is to show the proportions of research devoted to digital games and other issues concerning games research carried out by Polish and foreign ludologists.The aim of the article is to present similarities and differences in the approaches to the field of ludol- ogy (also known as games research, game studies) in Poland and abroad, on the basis of an analysis of publications and papers presented at conferences of two representative contemporary academic ludological associations – the Polish Polskie Towarzystwo Badania Gier (Games Research Associa- tion of Poland), and the Digital Games Research Association. The achievements of these societies are comparable because of their similar period of activity. The subject of the analysis is the scope of research declared by both associations, the topics of papers presented at international academic conferences organised by them, and the topics of articles occurring in their publications. For the purposes of the analysis, two crucial categories concerning games of all types have been introduced to enable further study of selected texts: the distinction between digital and non-digital games – the former ones refer to electronic games of all types (requiring electricity and based on electronics), and the latter, to any other kinds of games (in some cases also requiring electricity but not electronics). In the analysis, four main thematic categories of papers and articles have been established: (1) texts concerning research in the sphere of digital games, new technologies, new media and related phenomena; (2) texts concerning research on non-digital games and related phenomena; (3) texts concerning other aspects of games and ludology including research on non-specific kinds of games or, quite contrary, concerning different types of games (digital and non-digital) in a particular approach (e.g. educational aspects), methodology of games research, issues common to all games (e.g. players, gameplay, winning/ losing etc.); (4) reviews, reports, forewords, introductory articles and lectures, texts on outstanding scholars etc. The aim of the quantitative analysis is to show the proportions of research devoted to digital games and other issues concerning games research carried out by Polish and foreign ludologists
Methods for designing strategic narratives in the description of the 2022 Russian-Ukrainian war in documentaries
Get PDFThe article discusses methods of designing strategic narratives in teledocumentaries created by various production teams and distributed through the YouTube platform. The authors underline the important role of teledocumentaries in creating an emotional and intellectual response to geopolitical topics among television viewers and attempt to analyse six documentaries focusing on the current war in Ukraine. The aim of the research was to determine key narrative patterns that are presented by production teams from various countries in the context of the armed aggression of the Russian forces in Ukraine. From this research, we can outline three main narrative templates: identity issues (“Us” vs. “Them”), temporal cognition and feeling of “stopping the time”, the image of enemy inter-twined with death, unforgiveness and fear.The article discusses methods of designing strategic narratives in teledocumentaries created by various production teams and distributed through the YouTube platform. The authors underline the important role of teledocumentaries in creating an emotional and intellectual response to geopolitical topics among television viewers and attempt to analyse six documentaries focusing on the current war in Ukraine. The aim of the research was to determine key narrative patterns that are presented by production teams from various countries in the context of the armed aggression of the Russian forces in Ukraine. From this research, we can outline three main narrative templates: identity issues (“Us” vs. “Them”), temporal cognition and feeling of “stopping the time”, the image of enemy inter-twined with death, unforgiveness and fear
Heorhij Jakutowycz, Serhij Jakutowycz
No full textHeorhiy and Serhiy Yakutovych were father and son, both outstanding Ukrainian artists, winners of the Taras Shevchenko Prize, Ukraine’s most prestigious, and corresponding members of the Academy of Arts of Ukraine, who became famous for their works in film and book graphics.
Heorhiy Yakutovych (1930–2000) was the production designer for the landmark Ukrainian film Shadows of Forgotten Ancestors (1964) directed by Sergiy Parajanov, who praised the artist’s contribution thus: “He is not just an artist, but a thinking artist. [...] He saved us from the paisanism, from falsity.” He also became the production designer for another film of Ukrainian “poetic cinema”, Zakhar Berkut (1971), directed by the legendary Ukrainian director Leonid Osyka.
In addition, Heorhiy Yakutovych was an artistic consultant for Leonid Osyka’s most famous film, The Stone Cross (1968), as well as for his film Hetman’s Kleynodes (1993). In his work, he relied on the principles of folk art of the Ukrainian artist Mykhailo Boichuk, who was murdered by the Soviet regime in 1937. The only lifetime exhibition of Heorhiy Yakuvych’s works took place in 2000, the last year of the artist’s life.
Serhiy Yakutovych (1952–2017) was the co-creator of the feature film Prayer for Hetman Mazepa (2001) by the Ukrainian film director Yuriy Illienko. In 2005, he joined the work on the film Taras Bulba (2009) by the Russian director Volodymyr Bortko, for which he received the Golden Eagle Award (Moscow) in the same year for the “best work of an art director”.
The artist has designed about 200 books.
Serhiy Yakutovych’s works are kept in such places as the National Art Museum of Ukraine (Kyiv), the Museum of Books and Printing ofUkraine (Kyiv), the Museum of Literature (Odesa), the State Tretyakov Gallery (Moscow), the Altes Museum (Berlin), the Museum of Catania (Italy), the Ukrainian House in America (New York), the SmithsonianMuseum (Washington), and the White House (Washington).
After losing his only son Anton Yakutovych (1975–2014), and his wife Olha (1950–2009), the artist passed away at the age of 64.Heorhij i Serhij Jakutowyczowie to ojciec i syn, wybitni ukraińscy artyści, laureaci najbardziej prestiżowej na Ukrainie nagrody im. Tarasa Szewczenki, członkowie korespondenci Akademii Sztuk Pięknych Ukrainy, którzy zasłynęli ze swoich prac w dziedzinie scenografii filmowej i grafiki książkowej.
Heorhij Jakutowycz (1930–2000) był scenografem legendarnego ukraińskiego filmu Cienie zapomnianych przodków (1964) w reżyserii Siergieja Paradżanowa. Paradżanow tak pochwalił wkład artysty: „To nie tylko artysta, ale myślący artysta. [...] Uratował nas od pejzanizmu, od fałszu”. Został również scenografem innego filmu nurtu “ukraińskiego kina poetyckiego” – Zachar Berkut (1971), wyreżyserowanego przez wybitnego ukraińskiego reżysera Leonida Osykę.
Był konsultantem artystycznym najsłynniejszego filmu Osyki, Kamienny krzyż (1968), a także późniejszego jego utworu Hetmańskie klejnoty (1993). W swojej twórczości opierał się na zasadach sztuki ludowej ukraińskiego artysty Mychajło Bojczuka, zamordowanego przez sowiecki reżim w 1937 roku. W 2000 roku odbyła się jedyna za życia Heorhija Jakutowycza wystawa jego prac.
Serhij Jakutowycz (1952–2017) był współtwórcą filmu fabularnego Modlitwa za hetmana Mazepę (2001) kolejnego znakomitego ukraińskiego reżysera, Jurija Illienki. W 2005 roku dołączył do pracy nad filmem Taras Bulba (2009) rosyjskiego reżysera Wołodymyra Bort’ko, za który w tym samym roku otrzymał nagrodę Złotego Orła (Moskwa) za „najlepszą pracę dyrektora artystycznego”.
Artysta zaprojektował około 200 książek.
Prace Serhija Jakutowycza zostały zgromadzone m.in. w: Narodowym Muzeum Sztuki Ukrainy (Kijów), Muzeum Książki i Drukarstwa Ukrainy (Kijów), Muzeum Literatury (Odessa), Państwowej Galerii Tretiakowskiej (Moskwa), Altes Museum (Berlin), Muzeum Katanii (Włochy), Ukraińskim Domu w Ameryce (Nowy Jork), Smithsonian Museum (Waszyngton), Białym Domu (Waszyngton).
Po stracie jedynego syna Antona Jakutowycza (1975–2014) i żony Olhy (1950–2009) artysta zmarł w wieku 64 lat