Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Ciała protetyczne w anglosaskich utworach fantastycznonaukowych. Ujęcie posthumanistyczne
Get PDFThe author analyzes the images of disability in science fiction literary and film. She begins by identifying areas common to science fiction–disability studies–posthumanism. She goes on to argue that in science fiction we can find stereotypical images of people with disabilities, which are based on a culturally established dichotomy: healthy, functional (as normal) versus disabled (as abnormal), and such performances that escape this dichotomy and normalization. The author distinguishes several approaches to presenting disability in science fiction: hypervisibility combined with the unusual prosthetic abilities of the bodies, the healing of disabilities, elimination, and biodiversity. Particular attention is paid to the latter approach (biodiversity/biocooperation), exemplified by the film Avatar.The author analyzes the images of disability in science fiction literary and film. She begins by identifying areas common to science fiction–disability studies–posthumanism. She goes on to argue that in science fiction we can find stereotypical images of people with disabilities, which are based on a culturally established dichotomy: healthy, functional (as normal) versus disabled (as abnormal), and such performances that escape this dichotomy and normalization. The author distinguishes several approaches to presenting disability in science fiction: hypervisibility combined with the unusual prosthetic abilities of the bodies, the healing of disabilities, elimination, and biodiversity. Particular attention is paid to the latter approach (biodiversity/biocooperation), exemplified by the film Avatar
Paweł Piechnik
Get PDFIn the “Author Gallery”, we present frames from Paweł Piechnik’s comic Bread of Freedom. It may be that, being surrounded by contemporary images diverse in content, form, genre, style, function and medium, we do not battle with ourselves over which religious content to depict, if any. Even Leo III the Syrian (with whom the iconoclasm dispute began) would not question such a “meeting” between a comic and religion, probably because the line and frame are not “deified”, but rather prompt questions about the limits of the image as the limits of religion – as is the case with Bread of Freedom – as the boundaries of metaphysics. But not everything can be presented and justified. The iconoclasm dispute has left many traces in Western culture, including those in the form of questions related to what might be presented. The comic Bread of Freedom designs unobvious responses to questions of this nature.W „Author Gallery” prezentujemy kadry z komiksu Pawła Piechnika Chleb wolnościowy. Być może, otoczeni współcześnie obrazami różnorodnymi co do treści, formy, gatunku, stylu, funkcji i medium, nie toczymy z sobą walk o to, które treści religijne przedstawiać, jeśli w ogóle. Nawet Leon III Izauryjczyk (od którego rozpoczął się spór o ikonoklazm) nie kwestionowałby „spotkania” komiksu i religii – zapewne dlatego, że kreska i kadr nie są „przebóstwione”, raczej prowokują do pytań o granice obrazu jako granice religii, a nawet – jak w przypadku komiksu Chleb wolnościowy – jako granice metafizyki. Nie wszystko bowiem, co się da przedstawić, da się też uzasadnić. Spór o ikonoklazm zostawił po sobie wiele śladów w kulturze zachodniej, między innymi w postaci pytań o to, co można przedstawić. Komiks Chleb wolnościowy projektuje nieoczywiste odpowiedzi na tego typu pytania
Archiwum TVP a programy publicystyczno-kulturalne o tematyce filmowej. Lata 1989–2020
No full textThe article analyses the content and availability of audio-visual archives of Polish Public Television regarding TV shows devoted to film and cinema productions broadcast between 1989 and 2020. This study allows general conclusions to be formulated that concern the research opportunities that this particular archive generates mostly for film and media scholars. Apart from presenting the results of in-depth analysis of archives, the text inscribes these reflections into the latest studies on archives, as well as into discussions on contemporary TV film criticism
Atelier, czyli tam i z powrotem. Ewolucja filmu studyjnego od czasów kina niemego do ery cyfrowej
No full textThe article explores the concept of studio filmmaking in the context of early Hollywood and a new incarnation of studio filmmaking in the age of digital visual effects. The author analyses the old studio era in terms of shaping the cinematic image (primarily compositing) and the meaning of the studio, understood as an atelier. Kalbarczyk argues that originally the final look of the film used to be achieved by blending all the shot elements in the physical space of the studio, while nowadays the final form is most often created in a virtual space, deepening the decentralization of the filmmaking process. The author argues that more than the atelier space, the new studio filmmaking concept would refer to the holistic way of thinking about cinema as a heterogeneous structure, not so much attained integrally through filming, but carefully constructed. Various dimensions of studio filmmaking are discussed using the following films: Sunrise: A Song of Two Humans (1927), Citizen Kane (1941), Everest (2015) and Avengers: Endgame (2019)
„Patrzcie, oto jest film produkcji polskiej”. Przedwojenna polska komedia muzyczna jako musical
Get PDFThe article, “Look, here is a Polish film production.” Pre-war Polish musical comedy as a musical, is an attempt to prove that Polish musical comedies from the 1930s can be recognized as a local version of a classic film musical. Based on an analysis of two representative films from this period, Piętro wyżej (L. Trystan, 1937) and Zapomniana melodia (J. Fethke, K. Tom, 1938), the author proves that these productions are in line with the definition and determinants of the American genre. The historical context invoked allows the author to better describe the musical’s Polish variant and how it differs from the original. The article cites press reviews from the 1930s, based on which the author describes the evolving approach of critics and audiences to the changes in music present in these films as a result of drawing on American works. Finally, the article focuses on the importance of interwar musical comedies in Polish culture
Weronika Andrzejewska
Get PDFPart of the works presented here are related to the situation in the east of the country and beyond: it is an attempt to find an outlet foremotions accumulated for a long time. The second part is a collection of works referring to city labyrinths and the final triumph of nature over human “concrete” structures.Część prezentowanych prac ma związek z sytuacją na wschodzie kraju oraz poza nim – jest to próba znalezienia ujścia emocjom nagromadzonym od dłuższego już czasu. Druga część jest zbiorem prac odwołujących się do natury, labiryntów miast oraz ostatecznego triumfu przyrody nad ludzkimi „betonowymi” konstrukcjami
„Nasze ścieżki staną się drogami”: Ekogroznawcze refleksje wokół Death Stranding Hideo Kojimy
Get PDFThe article discusses the issue of environmental game studies, which the author defines as an analysis of the involvement of video games in environmental discourses. In order to formulate a definition of an eco-game, the author uses Lawrence Buell’s environmental text theory and Alenda Y. Chang’s postulates from the manifesto of environmentally conscious game design, as well as references to works in the field of post-humanistic philosophy. He also invokes concepts derived from gaming studies to describe the ecological contexts of the medium of video games. In the second part of the work, environmental game theory is used to analyse an example of an eco-game. The author chose the AAA production Death Stranding created by the Japanese designer Hideo Kojima. Looking at its unconventional depiction of a post-apocalyptic wasteland, the biopolitics regulating the life of the protagonist and the gameplay based on unhurried exploration of space, the author outlines potential further directions for the development of research in the field of environmental game studies.The article discusses the issue of environmental game studies, which the author defines as an analysis of the involvement of video games in environmental discourses. In order to formulate a definition of an eco-game, the author uses Lawrence Buell’s environmental text theory and Alenda Y. Chang’s postulates from the manifesto of environmentally conscious game design, as well as references to works in the field of post-humanistic philosophy. He also invokes concepts derived from gaming studies to describe the ecological contexts of the medium of video games. In the second part of the work, environmental game theory is used to analyse an example of an eco-game. The author chose the AAA production Death Stranding created by the Japanese designer Hideo Kojima. Looking at its unconventional depiction of a post-apocalyptic wasteland, the biopolitics regulating the life of the protagonist and the gameplay based on unhurried exploration of space, the author outlines potential further directions for the development of research in the field of environmental game studies
Otwarty świat i narracja rozproszona w grze Elden Ring studia FromSoftware
Get PDFThe article Open World and Dispersed Narrative in FromSoftware’s “Elden Ring” tackles a number of design issues associated with open world design in video games. Building upon Tim Ingold’s dis- crepancy of two distinct modes of exploring the reality (wayfaring and trail-following), the author proceeds with analysing how the categories in question might have influenced the design of Elden Ring’s ‘The Lands Between’, which is torn between two different ambitions. One is to create a high fantasy narrative in allotopia, whilst the other is to sustain the principles of procedural rhetoric typical for soulsborne games, well-known for leaning towards a dark fantasy design style both in terms of their aesthetics and narrative content. Consequently, the main goal of this analysis is to propose a potential way of avoiding such inconsequence in open world game design, which is termed here a “ludotopian dissonance”.The article Open World and Dispersed Narrative in FromSoftware’s “Elden Ring” tackles a number of design issues associated with open world design in video games. Building upon Tim Ingold’s dis- crepancy of two distinct modes of exploring the reality (wayfaring and trail-following), the author proceeds with analysing how the categories in question might have influenced the design of Elden Ring’s ‘The Lands Between’, which is torn between two different ambitions. One is to create a high fantasy narrative in allotopia, whilst the other is to sustain the principles of procedural rhetoric typical for soulsborne games, well-known for leaning towards a dark fantasy design style both in terms of their aesthetics and narrative content. Consequently, the main goal of this analysis is to propose a potential way of avoiding such inconsequence in open world game design, which is termed here a “ludotopian dissonance”
Local and Global Framework of Early Cinema in Lithuania: Vilnius Cinemas, Programme Formats and Audience
Get PDFThe paper focuses on film culture in Lithuania by analysing the film programme advertisements in periodicals from the early cinema scene – 1907–1913. In the article, we present the specificities of the programmes of the key cinemas operating in Vilnius at that time, with reference to the programme composition by film type, genre, and the nature of film communication. A thorough analysis has allowed us to gain a clearer picture of film culture in the city, film circulation, and the communication strategies used by movie theatres to attract the audience. The analysis of this period enables a comparison of local early cinema processes in Lithuania with the global ones
What is so (Un)Exceptional About Soviet Cinema? The Pragmatics of Soviet Film Exports to Germany and France in the 1920s
Get PDFThe article discusses Soviet efforts to export its cinematic production to Germany and France during the 1920s. Aside from advertising the USSR’s achievements abroad, cinema export was an important contribution to early Soviet fund-raising strategies. By examining the opening of the Soviet film industry to international practices and contacts, this article seeks to challenge some assumptions of Soviet particularism in the field of its film export practices. The article begins by exploring the international roots of what was about to become the Soviet film industry and demonstrates how Soviet trade practitioners sought to benefit from them. Then, the article argues that despite several country-specific organisational and material constraints, Soviet strategies and methods of film export to Germany and France paralleled in many ways those of their Western counterparts.The article discusses Soviet the efforts to export its cinematic production to Germany and France during the 1920s. Aside from advertising the USSR’s achievements abroad, cinema export was an important contribution to early Soviet fund-raising strategies. By examining the opening of the Soviet film industry to international practices and contacts, this article seeks to challenge some assumptions of Soviet particularism in the field of its film export practices. The article begins by exploring the international roots of what was about to become the Soviet film industry and demonstrates how Soviet trade practitioners sought to benefit from them. Then, the article argues that despite several country-specific organisational and material constraints, Soviet strategies and methods of film export to Germany and France paralleled in many ways those of their Western counterparts