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1

Work of art in the era of technological reproduction, cyber systems and hyper-reality. A vision of media development created by Walter Benjamin, Bill Nichols and Jean Baudrillard.

100%
Ogonowska A.
Przegląd Kulturoznawczy
|
2007
|
vol. 1
|
issue 2
62-83
EN
This article has three heroes: Walter Benjamin, his theory of reproduction and its social consequences; Bill Nichols, who has removed the first conception in the contemporary cultural context defined by a logic of cyber systems, and Jean Baudrillard with his famous simulation theory. Each of them has created his own conceptual apparatus which seems to be necessary for describing some objects of their studies. For example, Walter Benjamin uses such terms as: aura, techniques of the world reproduction, manual and technological reproduction. He also refers to the work of art and its role in industrial society; mass production and consumption and the issue of art authenticity. Bill Nichols elaborates on these problems in the postmodern optics, but takes into consideration three types of factors: a stage of capitalism, political ideologies and dominant philosophy, and the main medium and its ideology of visibility. The main terms of his theory are: a chip and simulation vs. copy and reproduction, an expansion of cyber systems and metaphors of computer imagination, techniques of simulation. Jean Baudrillard has created a simulation theory to portray a character of contemporary media production, the relations between them and the reality they pretend to represent and phenomenon of hyper-reality, a crisis of a representation principle and a new ontology of media images.
2

The 'Media Literacy' Problem in the Context of Selected Issues of Critical Pedagogy

100%
Ogonowska A.
Kwartalnik Pedagogiczny
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2005
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vol. 50
|
issue 1(195)
79-94
EN
The authoress' aim is to describe and interpret the connection between media literacy and critical pedagogy which appear in the works of Michel Foucault, Pierre Bourdieu and Henry Giroux. Much attention is paid to issues, such as symbolic and iconic violence, critical analysis, empowerment, cultural reproduction, the main interests of media literacy, and the problem of using popular culture and media study in the pedagogical process. She considers the special status of media images and the problem of the degree to which they correspond with reality, the process of decoding cultural texts and the role of audiovisual competence. The authoress presents the most important views concerning the pragmatics of media images and their influences on social life, and the difference between critical and non-critical pedagogy in the context of cultural reproduction, and symbolic violence in the communication process.
3

IN THE POWER OF DISCOURSE. MICHEL FOUCAULT AS THE THEORIST OF TELEVISION

100%
Ogonowska A.
Przegląd Humanistyczny
|
2005
|
vol. 49
|
issue 1(388)
109-123
EN
Although Michel Foucault is not considered a television critic, his social theory can be applied in the theory of television. The authoress attempts to show relations between such terms as Panopticon, discourse, episteme, power/knowledge or political technology of the body with selected television analyses. The article draws a lot of attention to the issue of the viewer, his relations with television as a viewing machine and to the influence of TV texts on reality and to the creating process of the cognitive representation of the world of its users.
4

FAIR LADIES, WITCHES AND NYMPHS: FEMALE CHARACTERS IN KRASZEWSKI'S 'AN OLD TALE'. A COMPARISON OF THE NOVEL AND ITS FILM ADAPTATION

100%
Ogonowska A.
Ruch Literacki
|
2007
|
vol. 48
|
issue 2(281)
161-174
EN
The aim of this article is to analyze the differences in the portrayal of women characters in Kraszewski's novel and its screen adaptation by Jerzy Hoffman. The article also examines the factors which made the script writers and the director adopt a strategy which resulted in a reconfiguration of the female cast of the film version of 'An Old Tale'. Kraszewski's women characters are fascinating and far from schematic. Their significance is determined by three basic dimensions of the action of the novel - politics (Brunhilda, Rzepica), the love plot (Mila, Dziwa) and the magical and spiritual theme (Jaruha). In the film, the director gives priority to the presentation of the beginnings of Poland, a Slav state, and squeezes out most of the women characters' complex roles. Falling back on his previous experience, he creates something that could be called 'popular men's cinema'. This formula can be characterized as follows. In casting preference is given to actresses that are well known from popular entertainment, especially TV films and soaps, and their parts are cut down to prevent them from outstaging their male partners. Even their psychological portraits are reduced to one or two simple traits, eg. Brunhilda is cruel, power-hungry and sinister, while Dziwa, by contrast, is a lively, sweet young girl. Special attention is paid to the question of popularity of the book and the film in the context of cultural responses elicited from various types of readers/audiences. The comparisons suggest that Hoffman's film can be interpreted in a number of ways, depending on the spectators' cultural competence. While some focus on the connection between the film and its literary source, others prefer to view the film exclusively within the framework of the director's artistic career.
5

ANDRZEJ WAJDA'S ADAPTATIONS OF STANISLAW WYSPIANSKI'S 'THE WEDDING': A TRANSMEDIAL READING

100%
Ogonowska A.
Ruch Literacki
|
2008
|
vol. 49
|
issue 3(288)
353-366
EN
The article surveys all of Andrzej Wajda's adaptations of Stanislaw Wyspianski's 'The Wedding': dramatic, cinematic, produced in Poland and abroad (Salzburg, Budapest). Individual productions are presented in the appropriate contexts, ie. Wajda's achievement as a movie director and his links with the 'Polish Film School' of the late 1950s, his numerous theatrical adaptations, his interest in the graphic arts and literature, his methods of work with actors and scriptwriters, as well as the inspirations and motivation of his creative work. The survey is followed, in the final section of the article, by a attempt at a transmedial reading of 'The Wedding', ie. comparing readings the play determined or prompted by its media formats, ranging from the theatre and film to hypertext, computer games, and multimedia. It is possible that the new formats will have an ever greater role in bringing a drama like 'The Wedding' to the attention of successive generations of readers/viewers. Their habits and expectations are already being shaped a culture of convergence (as described by Henry Jenkins) and direct participation, which includes interactive engagement with the work of art.
6

Evaluation of Screen Adaptations of a Literary Work: the Case of Ryszard Ordynski's and Andrzej Wajda's Film Versions of 'Pan Tadeusz'

100%
Ogonowska A.
Ruch Literacki
|
2005
|
vol. 46
|
issue 6(273)
604-620
EN
The main purpose of this article is to identify and examine the criteria used in evaluating two screen adaptations of a literary classic. They are Ryszard Ordynski's and Andrzej Wajda's film versions of Adam Mickiewicz's 'Pan Tadeusz' (made in 1928 and 1999 respectively). In general, the criteria in question can be divided into two types, intrinsic and extrinsic. The intrinsic criteria are those that are used to assess the artistic merit and quality of the film as well as the appropriateness and effectiveness of the chosen adaptation strategy. The extrinsic criteria cover all kinds of external factors, such as the role of changing historical conditioning in the reading of the original text, and the degree of correspondence between the film''s theme and current existential experiences of its audience (they would to some extent echo Poland's current socio-political situation). The film's technological sophistication, or lack of it, assessed by reference to the general level of audiovisual productions at the time - which can be taken to represent the mean point of viewers' expectations - form another element of the latter set of criteria.
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