1,720,955 research outputs found
Gry pamięci. Valiant Hearts: The Great War i My Memory of Us w perspektywie kultury historycznej
Get PDFThe paper aims to outline how video games Valiant Hearts: The Great War (Ubisoft Montpellier, 2014) and My Memory of Us (Juggler Games, 2018) use narrative and ludic structures to create commemorative stories about the First World War and the Second World War. The author refer to the concept of historical culture (among others, in Jörn Rüsen’s interpretation) and examine the connections between the two video games focusing on the issue of designers’ intentions (digital games as examples of the commemoration of the past), the genre similarity (2D platform games), the intermedial convergence and the press reception. He discusses the strategy of the cultural agreement between designers and users, analyzes historical narratives as a part of the gameplay, examines relations between the individual and collective’s perspective and characterizes immersion’s mechanisms which reinforce players’ identification with the victims of both wars.The paper aims to outline how video games Valiant Hearts: The Great War (Ubisoft Montpellier, 2014) and My Memory of Us (Juggler Games, 2018) use narrative and ludic structures to create commemorative stories about the First World War and the Second World War. The author refer to the concept of historical culture (among others, in Jörn Rüsen’s interpretation) and examine the connections between the two video games focusing on the issue of designers’ intentions (digital games as examples of the commemoration of the past), the genre similarity (2D platform games), the intermedial convergence and the press reception. He discusses the strategy of the cultural agreement between designers and users, analyzes historical narratives as a part of the gameplay, examines relations between the individual and collective’s perspective and characterizes immersion’s mechanisms which reinforce players’ identification with the victims of both wars
Strategie kontroli i represji Kościoła scjentologicznego wobec amerykańskiej kinematografii
Get PDFThe Church of Scientology’s strategies of control and repression of towards American cinema The aim of this article is to show the strategies of control developed by the Church of Scientology and repressions enforced by the Church on representatives of American cinema, who through their artistic work entered the current of criticism of this organization. By describing the beginnings of this religious movement, which includes indicating the sources of the very first contacts with the world of Hollywood, the article presents the role which celebrities played in promoting scientology and as a medium of religious values. Similarly, by listing the most important examples of Scientologys oppressiveness towards its opponents, the author points to the close correlation with the fundamental ideas developed by its founder. The author of this article concentrates on selected instances of Church interference and in doing so describes the history of this organizations influence on the American film-making milieu, as well as ascribing selected anti-Scientology films to the trend of broader opposition towards Scientologists’ activities.The Church of Scientology’s strategies of control and repression of towards American cinema The aim of this article is to show the strategies of control developed by the Church of Scientology and repressions enforced by the Church on representatives of American cinema, who through their artistic work entered the current of criticism of this organization. By describing the beginnings of this religious movement, which includes indicating the sources of the very first contacts with the world of Hollywood, the article presents the role which celebrities played in promoting scientology and as a medium of religious values. Similarly, by listing the most important examples of Scientologys oppressiveness towards its opponents, the author points to the close correlation with the fundamental ideas developed by its founder. The author of this article concentrates on selected instances of Church interference and in doing so describes the history of this organizations influence on the American film-making milieu, as well as ascribing selected anti-Scientology films to the trend of broader opposition towards Scientologists’ activities
Strategies of picturing history in Alexander Sokurov’s films
Get PDFWydział Filologii Polskiej i KlasycznejCelem rozprawy doktorskiej Strategia obrazowania historii w filmach Aleksandra Sokurowa jest udowodnienie, że strona treściowa i formalna filmów rosyjskiego reżysera znajduje swoje źródło w intencji obrazowana zachodzących w historii procesów historycznych. Dzięki temu dorobek A. Sokurowa można rozpatrywać nie tylko jako autorską egzemplifikację sztuki filmowej, ale również jako przykład dyskursu z zakresu filozofii historii, a nawet historiografii (postrzeganej jako element kultury historycznej w interpretacji Jörna Rüsena). Autor wykazał, że reżyser wykorzystuje różnorodne strategie obrazowania przeszłości: „świadka swoich czasów” (zarówno poprzez prezentowanie subiektywnej perspektywy autorskiej, jak i opowiadanie o przeszłości z punktu widzenia naocznego uczestnika wydarzeń), „archiwozofa” (kształtującego narrację o przeszłości przez pryzmat archiwaliów), „biografa” (polemizującego z historiograficznym podejściem do procesów historycznych), a także narratora historii (odwołującego się do pojmowania historii w kontekście metafory).The aim of the doctoral dissertation titled Strategy of picturing history in Alexander Sokurov’s films is to prove that the facet of content and form of this Russian director’s films finds its source in the intention of picturing historic processes occurring throughout the history. Thanks to this Sokurov’s works may be considered not only as an authorial exemplification of film art, but also as the example of philosophy of history discourse, and even the discourse of historiographic (perceived as part of Jörn Rüsen’s historical culture). The author established that the director employs various strategies of picturing the past: of the „witness of his time” (both by depicting subjective authorial perspective and talking about the past from the point of view of an onlooker), of the „archosophist” (shaping the narrative about the past through the prism of archival materials), of the „biographer” (polemicizing with historiographic approach to historical processes), as well as of the narrator of the history (referring to understanding of history in the context of the metaphor)
Narratywizowanie przeszłości w cyfrowym ego-dokumencie na przykładzie gry autobiograficznej Cosmic Top Secret
Get PDFThe article addresses the problem of narrativizing the past in a digital ego-documentary using the example of the game Cosmic Top Secret (Klassefilm, 2018), directed by Trine Laier. The analysis combines a game studies perspective with the methodology of history, focusing on how an autobiographical game can serve as a vehicle for reflection on memory, identity, and historical experience. The central focus of the text is the game as a form of digital ego-document that emphasizes the subjective dimension of individual history (closely based on Laier’s personal experiences), situated within the broader context of the Cold War and historical culture (analysed in relation to Danish collective memory). The author analyses Laier’s design and narrative strategy, highlighting the use of historical sources, gameplay structures, and collage aesthetics. Cosmic Top Secret is presented as an example of a new form of autobiographical storytelling, in which interactivity fosters both personal engagement with the past and critical reflections on history
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
The Polish demoscene – between the past and the future. Conversation with Łukasz Szałankiewicz
No full textIn 2021, the National Institute of Cultural Heritage approved the application to include the demoscene in the UNESCO National List of Intangible Cultural Heritage. The Social Committee of the Polish Demoscene Chronicles was responsible for coordinating these activities. The organization aims to document and analyse traditions related to the domestic demoscene. The conversation between Marcin Pigulak (historian of digital games) and Łukasz Szałankiewicz (lecturer, multimedia artist and representative of the Polish Demoscene Chronicles) focuses on the history of the Polish demoscene, its specific nature compared to other digital cultures and contemporary strategies to preserve its heritage.In 2021, the National Institute of Cultural Heritage approved the application to include the demoscene in the UNESCO National List of Intangible Cultural Heritage. The Social Committee of the Polish Demoscene Chronicles was responsible for coordinating these activities. The organization aims to document and analyse traditions related to the domestic demoscene. The conversation between Marcin Pigulak (historian of digital games) and Łukasz Szałankiewicz (lecturer, multimedia artist and representative of the Polish Demoscene Chronicles) focuses on the history of the Polish demoscene, its specific nature compared to other digital cultures and contemporary strategies to preserve its heritage
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
World-creating prop functions. <i>Collectibles</i> in The Last of Us dilogy as a source of knowledge about the past
Get PDFThe article concerns the functioning of selected collectibles in the post-apocalyptic dilogy of digital games The Last of Us (Naughty Dog, 2013–2020). The authors make a typology of collectibles and distinguish among them props that support the gameplay, characterize the characters and extend the storyworld, referring to the prop theory proposed by Kendal Walton. They are particularly interested in the last type of props, which include notes, diaries and letters left in various places of the world presented by anonymous members of the American community. The authors indicate that these props can be treated as specific artifacts of the past, which, although not important from the gameplay perspective, perform important world-creating functions. In this context, they describe collectibles as an element of historical culture (J. Rüsen) and a source of social memory (M. Golka), and discuss their allotopic potential (U. Eco, K.M. Maj). They refer to those props that shape the history and mythology of the post-apocalyptic world, and especially to the notes describing Outbreak Day, the apogee of the pandemic disease that decimated humanity in the game. Written sources are of a personal nature – they present an individual perspective on a breakthrough moment in the history of the depicted world. For this reason, the authors refer to them as ego-props, thus extending the concept of ego-document
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