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Culture and its Creators – Challenges and Financial Issues

100%
Kaczmarek S., Posłuszna J.
Zeszyty Naukowe Wyższej Szkoły Finansów i Prawa w Bielsku-Białej
|
2018
|
issue 2
20-23
EN
Culture and its creators are the driving force of social development. The paper presents the history of financing the culture over the last three hundred years and looks at the cultural policy adopted in Poland. Traditional and modern forms of supporting cultural activities are also discussed therein, also the situation of artists on the labour market in Poland and the possibilities of future change. The fundamental questions asked by the authors are: what is the future of financing cultural activities in Poland?; how important is culture in contemporary society?; will systemic changes be introduced? The aim of the paper is to provide answers to these questions through analysis of sociological sources and reports on the current situation of artists in Poland, and to highlight the dynamics of financing culture and its creators.
2
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Między oportunizmem a rewolucją. Przeobrażenia instytucji i środowisk artystycznych Bydgoszczy w latach 1980–1981 (studium historyczno-socjologiczne)

63%
Pastuszewski S.
Studia Interkulturowe Europy Środkowo-Wschodniej
|
2019
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vol. 12
170-195
PL
The outbreak of “Solidarity” surprised the deep province, especially its artistic community. The seeds of the rebellion struck only in the young creators, especially in those who were not connected with the institutions. Most of them watched the events with concern, waiting for the development of the situation. The less conformist part of the creators however associated with the “Solidarity” movement, for which they organized a concerts and even a special theatrical performance. Young writers wrote occasional poems, and even associated themselves organizationally with “Solidarity” movement.
3
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Cultural and creative sectors in the COVID-19 pandemic crisis

63%
Zygierewicz A.
Studia BAS
|
2022
|
issue 1(69)
123-138
EN
Cultural and creative sectors were among the sectors most affected by the COVID-19 pandemic crisis. Imposed limitations and restrictions caused cancellation of events and activities, constraints on artists’ and creators’ mobility, and others. The European Union and its Member States provide guidelines for recovery of the sectors together with innovative solutions and financial support, they also promote digitalisation of the sector to allow it to reach audiences. The article presents the situation of the cultural and creative sectors affected by the crisis, and efforts, particularly at the level of the EU and the Member States, to support the recovery of the sectors.
4
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Wadowickie Środowisko Artystyczne 2020

63%
Kowalczyk P.
Wadoviana. Przegląd historyczno-kulturalny
|
2020
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issue 23
206-209
EN
All artists, both professionals and amateurs, have the opportunity to exhibit some of their works at a collective exhibition held every five years (since 1995) called „Wadowice Artistic Environment”. In 2020, 48 artists related to the city and the surrounding area took part in this event. The exhibition in the hall of the „Centrum” cinema was prepared by professor of the Academy of Fine Arts in Krakow, DSc Tomasz Wójcik. The exhibition was accompanied by a catalog of the presented works.
5
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Uwaga, ekran, akcja, reakcja. Czym jest dokument interaktywny – perspektywy rozwoju w Polsce na podstawie badań

55%
Desponds A., Szylar A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2017
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vol. 21
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issue 30
EN
Interactive documentaries bring new possibilities of artistic expression. They allow innovative ways of engaging the viewer, personalizing experiences, and building a community. At the same time interactive documentaries bring challenges: the need of new production skills, openness to experimentation, the development of new financing models. There is still a need to create a language to describe new formats. The semantic elusiveity of this area seems to be reflected in its market position. The genre is suspended between film, documentary film and computer games and both the audience and the distributors have difficulties defining it. This text is an attempt to describe what an interactive documentary might be, what sets it apart from other formats, and what’s the viewer’s role in this type of audio-visual formats. We present a few flagship projects from different countries and we look at the Polish audio-visual industry. We conducted a survey, asking Polish artists working on so-called new narratives about their work conditions and the biggest challenges they are facing. The second part of the text covers the results of our study.
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