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All Together Now: Yellow Submarine (1968), The Beatles, and Children’s Film

100%

Brown N.

Kwartalnik Filmowy

2023

issue 121 Kino i młoda widownia

6-33

This article examines The Beatles’ classic animated film, Yellow Submarine (dir. George Dunning, 1968) in terms of its appeal to multi-demographic audiences. While it has become de rigueur to argue in favour of Yellow Submarine as an artefact of the late-1960s counter-culture, its status as a children’s film has largely been overlooked. This article will argue that Yellow Submarine invites, and is able to sustain, a range of interpretations, particularly regarding its dual status as a quintessential film for children and family audiences, and as a much more adult-oriented production that captures the revolutionary spirit of the period. While Yellow Submarine embodies aspects of late-1960s British and North American culture, the author argues that the narrative transcends national cultural specificities and attempts to appeal to universal human desires and emotional states through its balancing of utopian consensus and cultural diversity, and through the galvanizing presence of The Beatles.

W artykule przeanalizowano film animowany Żółta łódź podwodna (reż. George Dunning, 1968) pod kątem atrakcyjności dla widowni międzypokoleniowej. Film ten jest zwykle pozycjonowany jako artefakt kontrkultury późnych lat 60., jego status filmu dla dzieci pozostaje w dużej mierze przeoczony. Autor dowodzi, że film ten zachęca i daje podstawy do wielu różnych interpretacji. Tyczy się to zwłaszcza jego podwójnego statusu jako zarazem filmu dla dzieci i widzów kina familijnego, jak i produkcji zorientowanej na dorosłych, oddającej rewolucyjnego ducha tego okresu. Autor wykazuje, że choć Żółta łódź podwodna ucieleśnia konkretne aspekty brytyjskiej i północnoamerykańskiej kultury późnych lat 60., to zawarta w tej animacji narracja wykracza poza narodową specyfikę kulturową i przemawia do uniwersalnych ludzkich pragnień oraz emocji, tak przez wizje utopijnego konsensusu i różnorodności kulturowej, jak i dzięki elektryzującej obecności The Beatles.

Emotional investments: Contemporary Polish romantic comedy and neoliberalism

80%

Ostrowska E.

Literatura i Kultura Popularna

2018

vol. 24

143 - 153

The author of the article argues that neoliberalism, along with its attendant economic and social ideas, has affected romantic comedy’s politics of emotion and consequently its narrative and formal strategies. The article analyzes two recent romantic comedies, Nigdy w życiu (Never Again in My Life, dir. Ryszard Zatorski, 2004) and Listy do M. (Letters to Santa, dir. Mitja Okorn, 2011) as exemplifying neoliberal “adjustments” of Polish romantic comedy, specifically employing the conventions typical of family movies. The author claims that generic hybridity of Polish romantic comedy is facilitated by the central position of family in the Polish socio-cultural discourse, whereas simultaneously the use of family-movie conventions serves the purpose of enlarging the target audience and, thus, maximizing the financial return. As Never Again in My Life and Letters to Santa demonstrate, proper management of individual emotions is necessary in order to invest one’s human capital with a low risk. Hence, instead of a union of two people leading to the emergence of a nuclear family, neoliberal romance comes into fruition in a corporation-like environment.

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1 Kwartalnik Filmowy

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1 Brown N.

1 Ostrowska E.

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All Together Now: Yellow Submarine (1968), The Beatles, and Children’s Film

Emotional investments: Contemporary Polish romantic comedy and neoliberalism