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Zderzenia filmu z rzeczywistością. Strategie konceptualne w filmach Józefa Robakowskiego

100%

Łubowicz E.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2013

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vol. 16

56-69

EN

Robakowski’s photographs and films made in the 1970’s weren’t a part of the main stream of Polish conceptual art. His attitude was opposite to the intermedial character of the art in that period of time. Together with the other members of the Workshop of Film Form the artist was interested in a pure form of “new media”. Nevertheless, in his films made in the 1970’s and in the following years, we can see artistic strategies connected with conceptualism, such as the following strategies: minimalism of a form, banal topics, open structure and other aesthetics of film frame, different from traditional art composition.

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Obraz wycięty z widoku. O symbolicznym znaczeniu kadru

100%

Łubowicz E.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2013

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vol. 15

54-66

EN

The key element in the form of photography is the frame. It reveals the potential for expression, which is still very little known. Because of the obvious fact, that still frame is manipulated, practitioners and theoreticians of photography do not give it due attention. However, it is in the process of manipulation, that the three dimensional views become flat pictures. At the beginning of its history, photographs were different from paintings and graphic pieces because the new medium included cut-outs from views. Frames are the metonymy of photography. When it is used in a symbolic way, the photograph gains symbolic meaning. This innovative way André Kertész photographs considered photographs in that innovative context. Frames became metaphors of the human life and the human perception of the world, which occurring in the segment of space -analogous to the frame. Photo-frame is a symbolic sign and it shows a fragment cut from an entity. In this sense, photographs may also be used in transferred as el- ements of different forms of art. Stanislaw Dróżdż (1939-2009) used photographs in that particular context. He produced his concrete poems from the elements of different texts. It was his original idea and was connected with the aesthetics of concrete poetry. In conclusion: frames should be considered as specific forms in photographic art. They should not be only analyzed in the inter-disciplinary context.

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La Televisione Italian: Bezkresy hedonizmu i zabawy

63%

Boettner L., Łubowicz E.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

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2012

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vol. 13-14

276-293

EN

Everybody agrees, that historic cultural heritage of Italy is considered as important. Some aspects of Italian mass culture, however, might be considered as controversial, therefore they become the subject of critical analysis. Italian television is considered as particularly controversial because it exploits hedonistic and playful aspects of contemporary culture. It often concentrates on primitive eroticism. In Italian television, they often show young naked women. They reveal instrumental approach towards women. Of course, their approach is controversial and should be analyzed from the perspective of ethics. There are different dangers connected with their primitive, hedonistic approach. What are they? What is their source? What is the role of Italian television in Italian culture? Ii it as powerful as the mass media in other countries? Undoubtedly, we should answer the above questions if we want to understand Italians. We should boldly analyze the controversial aspects of hedonistic elements in Italian television broadcasting in order to understand contemporary Italian culture.

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3 DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

3 Łubowicz E.

1 Boettner L.

2 2013

1 2012

Zderzenia filmu z rzeczywistością. Strategie konceptualne w filmach Józefa Robakowskiego

Obraz wycięty z widoku. O symbolicznym znaczeniu kadru

La Televisione Italian: Bezkresy hedonizmu i zabawy