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Islamski jihad w amerykańskim kinie. Terror i rozrywka

100%
Babecki M.
Panoptikum
|
2009
|
issue 8(15)
165-172
EN
Two American professors of mass communication: James Wilson and Stan Wilson have written that “by the 1990s a television version of the titillating sensationalism of tabloid newspapers had emerged as a new genre of television programming”. They had in mind mostly tabloid TV based on crime, blood and sex. New millennium has brought another kind of entertainment, inspired by 9/11 terror attacks. It includes new genres of television, Hollywood movies etc., and becomes a profitable branch of mass culture. Since 9/11 American moviemaking refreshed political fiction, but this time it is focused on the Islamic idea of jihad. 21st century has changed nature of this traditional Muslim term. According to Benjamin Barber jihad stopped to be Islamic and nowadays the idea becomes part of Western point of view: a reason to support American propaganda hidden inside mass distributed movies. Barber explains jihad as a postmodern ideology which uses financial infrastructure and show business to spread on.
2

Bezdroża i długie trwanie filmu noir

63%
Smoliński S.
Kwartalnik Filmowy
|
2023
|
issue 123 Tempo i rytm
240-246
PL
Książka Patrycji Włodek „Wszystko noir?”. O inspiracjach i wariantach – życie po życiu film noir (2022) jest analizą wybranych aspektów czarnego kryminału łączącą refleksję nad kinem klasycznym z omówieniem najnowszych dzieł gatunku. Autorka ogranicza perspektywę do kina amerykańskiego i szuka powtarzalnych tropów (np. femme fatale i homme fatale) oraz przykładów tematycznego i narracyjnego wykorzystania pojęcia gaslighting. Na szczególną uwagę zasługują rozważania autorki o filmie noir jako nurcie osadzonym w konkretnych przestrzeniach (np. rural-noir, Cal-noir) i podatnym na mariaż z innymi podgatunkami (stoner noir). Ograniczenie pola badań do kina amerykańskiego uniemożliwia jednak głębsze osadzenie filmu noir w kontekście globalnym. Włodek nie stawia przy tym pytania o przyczyny niesłabnącej popularności czarnych kryminałów i ich dzisiejszą funkcję kulturową oraz ideologiczną. Wartością pracy jest jednak odwołanie się do licznych dzieł spoza kanonu filmu noir.
EN
Patrycja Włodek’s book “Wszystko noir?”. O inspiracjach i wariantach – życie po życiu film noir [“Everything Noir?”: On Inspirations and Variants – Life after Life of Film Noir] (2022) is an analysis of selected figures and aspects of film noir, combining a reflection on classic cinema with a discussion of recent works in the genre. The author limits her perspective to American cinema and looks for recurring tropes (e.g., femme fatale and homme fatale), as well as examples of thematic and narrative use of the concept of gaslighting. Particularly noteworthy is the author’s consideration of film noir as a trend embedded in specific spaces (e.g., rural-noir, Cal-noir) and open to merge with other subgenres (stoner noir). However, limiting the field of study to American cinema prevents the analysis of film noir from being more deeply embedded in a global context. At the same time, the author does not question the enduring popularity of crime thrillers and the cultural and ideological function they serve today. The book’s value, however, is its reference to a rich array of works outside the film noir canon.
3
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Wiadomości z przesłaniem. The March of Time jako nowy typ amerykańskiej kroniki filmowej lat 30.

51%
Jazdon M.
Przegląd Humanistyczny
|
2016
|
vol. 60(1 (452))
39-51
PL
The author discusses The March of Time, this “idea film” series, as the new type of American newsreel, which emerged in the mid-1930s and went on theatrical release in the US and abroad. The March of Time was the Time company production; it derived from the radio programme of the same title. The series abandoned the newsreel formula based on the kaleidoscopic presentation of short news on current social, political and cultural events, heading for more in-depth monothematic editions, often on controversial issues. In great part The March of Time used reconstructed and staged scenes combined with authentic news records. This rather forgotten film series is better known today for its pastiche version News on the March, which Orson Welles put in the prologue of his Citizen Kane.
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