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1

'Desperate Housewives' or a Drag Queen Show in American Suburbia

100%
Szczesniak M.
Kwartalnik Filmowy
|
2008
|
issue 62-63
131-142
EN
The article presents the American series 'Desperate Housewives' as seen through the prism of the gender and queer theory. The authoress looks at how gender of the main female characters of the series is constructed and presented, and asks whether a mainstream series can challenge dominant culture's presentations of gender. The series 'Desperate Housewives' then serves as a pretext for analysis, not only of how images of gender are constructed, but also on subversive nature of pop culture. She refers in her work to theoretical concepts of Judith Butler and Susan Sontag.
2

INTERNATIONAL INTRIGUE. POP SPY AND CHIC SECRETS OF THE SIXTIES (Miedzynarodowa intryga. Szpiedzy pop i szykowne sekrety lat 60)

100%
Cleto F.
Kwartalnik Filmowy
|
2009
|
issue 66
5-36
EN
The essay addresses the New York scene of late 1964 as the stage for the emergence of camp, framing contemporary issues of visual and celebrity culture, conspicuous consumption, gender, subcultural subversion, appropriation and reclaiming. The paradoxical economy of pop secrecy of the mid-Sixties is charted by enacting a complex narrative that intermingle three icons of survival (James Bond, Susan Sontag, Victor J. Banis) differently deployed as star spies on the spectrum of cultural visibility. Ranging from the James Bond ironic reassertion of British superiority and the male gaze, to the female challenge to high culture sacredness of Sontag's camp, to the ambiguous survival strategy of Banis' pulp hero, the gay secret agent Jackie Holmes, these three camps stand for the complex use of camp by institutions, intellectuals, women and gays, a use that foregrounds a competition as well as a proximity that inscribes them all in the spectacular cultural scene of the time, peopled by moles, double crossers, and hidden schemes.
3

SUSAN SONTAG AND ETHICS OF PICTURE

100%
Leszkowicz P.
Rocznik Historii Sztuki
|
2007
|
vol. 32
185-208
EN
The text is dedicated to the last book by Susan Sontag 'Regarding the Pain of Others', from 2003 and her last essay 'Regarding the Torture of Others' from 2004. Her ruminations on the war photography are presented in the context of her biography, history of her reflection on photography and American imperialism, as well as her involvement in the fight for human rights. Susan Sontag ruminated on photographic representations of violence and human suffering in reference to the modern media culture. Her analyses pertained to the history of war report, photographs of lynch mobs, photographic evidence of the World Trade Center attack and photographs of tortures from Abu Ghraib. The authoress contemplated the ethical impact of photographic images of suffering. The article presents the various doubts of Susan Sontag as to impingement of such representations. It was emphasised that Sontag departed from her early scepticism: photography expressed in her book 'On Photography'. In her last reflections on photography she stressed its role played in protest against violence and its ability to mirror and convey the truth about the reality of war. For Sontag photography plays also a role in disclosing the truth about the dark side of human nature. The ruminations of Susan Sontag on the violence images are situated in the context of using violence by the media as the weapon in the present 'war against terrorism' and of the art by Alfredo Jaar pertaining to the alternative presentations of genocide. The essay emphasises an ethical approach to photography and relationship between visuality and human rights. It is supplemented by an outline of a history of war photography.
4

ON THE DISPLAY IN AN ACADEMIC BOOKSHOP IN WARSAW. ON THE MARGINS OF CAMP (O oknie wystawowym ksiegarni im. Boleslawa Prusa. Na marginesach campu)

100%
Kulas J.
Kwartalnik Filmowy
|
2009
|
issue 66
60-70
EN
The authoress presents a critique of a Christmas display of the 'Wydawnictwo Literackie' (Literackie Publishing House) in the window of the Boleslaw Prus academic bookshop in Warsaw, in 2008. She uncovers the subversive dimension of the display, that offers clients books as Christmas gifts. The source of this subversion is in the main element of the display - a mirror. The purpose of the advertisers was to place the advert in the context of Christmas, to use the Christmas atmosphere and its basic attributes in order to increase sales. However the display has the potential to criticize the mechanisms of the market economy and consumption present in the contemporary world. The advert becomes a caricature of the Utopia of the Free Market, in which the client not only can but must choose. The necessity of consumption - the hidden structure of trade - defines the character and confines of people's lives in contemporary world. Camp, according to the authoress, defines a strategy of perception, which causes one to take a critical stance. Camp is a tool of stripping the illusions present in the prison camp of consumption in which people find themselves.
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