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Festiwal w Puli – początek i koniec filmowego święta w socjalistycznej Jugosławii

100%
Pająk P.
Kwartalnik Filmowy
|
2017
|
issue 100 O świętowaniu
6-21
PL
Festiwal filmowy w Puli zasługuje na miano największego święta jugosłowiańskiej kinematografii, był bowiem przedsięwzięciem o niekwestionowanym prestiżu artystycznym i dużym znaczeniu społecznym oraz politycznym. W przekonaniu komunistycznych władz kraju z Josipem Brozem Titą na czele dobrze propagował ideę jugosłowiańskiej wspólnoty kulturowej i świadczył o nowoczesności socjalistycznego państwa. Dla mieszkańców Puli i jej okolic stanowił z kolei najatrakcyjniejszą masową imprezę, która ze względu na swój rozmach oraz ogólnokrajową i międzynarodową sławę zbliżała jugosłowiańską prowincję ze światem. Nagłaśniając artystyczne osiągnięcia rodzimej kinematografii, pulski festiwal akcentował wewnętrzne zróżnicowanie krajowej kultury, jako że prezentowane na nim filmy pochodziły z kilku jugosłowiańskich republik, odmiennych pod względem narodowym, kulturowym i językowym.
EN
The film festival in Pula deserves to be called the greatest feast of Yugoslavian cinematography, as it was an undertaking of unquestionable artistic prestige and of great social and political significance. In the opinion of the communist authorities of the country including Josip Broz Tito, it promoted the idea of the Yugoslav cultural community and reflected the modernity of the socialist state. For the inhabitants of Pula and its surroundings, it was the most attractive mass event, which due to its momentum and national and international fame brought the Yugoslavian province closer to the world. By publicizing the artistic achievements of local cinema, the Pula festival emphasized the internal diversity of the country’s culture, as the films presented were from several Yugoslav republics, and differed in terms of nation, culture and language.
2
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Segmentation and motivations of the attendees’ of the Mediaschool Festival in Łódź, Poland

100%
Cudny W., Ogórek P.
Bulletin of Geography. Socio-economic Series
|
2014
|
vol. 24
|
issue 24
41-56
EN
The article presents the case study of the Mediaschool Film Festival held in Łódź, a large Polish post-industrial and post-socialist city. The authors’ main goals were to establish the number of the festival visitors, as well as investigate their structure, main motivations to attend the festival, and the level of satisfaction with the festival services. As a result, the authors draw conclusions concerning the role of the festival as a place of the film culture consumption, as well as its role in the development of social capital. The basic method of study was the survey, conducted among the festival visitors in 2011. It contained questions concerning the structure of the festival audience, the evaluation of the event, and the main motivations to attend it. The method was adapted from the event studies, which was a tactical move in order to place the research on the borderline between cultural geography and event studies. Other methods typical of cultural geography and used in the present study included participant observation and semi-structured interview with the festival organisers. The event is one of the urban festivals created after the fall of communism. It is visited mainly by young people, often connected with the Łódź film school. First of all, the festival satisfies the need for contact with culture and film art, thus contributing to the creation of social capital and the development of the film school in Łódź (a part of the cluster of film institutions in the city). The event is a meeting point for film people from Łódź, Poland and abroad. Thus it could be also described as an obligatory point of passage in film-related network of connections.
3
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THE RULE OF NICHE. FILM FESTIVAL AS AN ELEMENT OF CULTURAL AND SECURITY POLITICS BY THE EXAMPLE OF „86” FESTIVAL OF FILM AND URBANISM (SLAVUTYCH, UKRAINE)

100%
Bobrowska O.
Kultura Bezpieczeństwa. Nauka – Praktyka – Refleksje
|
2014
|
vol. 16(16)
52-60
EN
-
4
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Funkcjonowanie instytucji festiwalu filmowego w trakcie pandemii COVID-19 na przykładzie festiwalu Nowe Horyzonty

63%
Najbor J.
Com.press
|
2022
|
vol. 5
|
issue 1
60-85
EN
The aim of this paper is to present the ways of communication of a film festival during the COVID-19 pandemic. The author conducted an analysis of the social media of the New Horizons festival, which took place in November 2020. Due to the outbreak of the pandemic, both the biggest and local film events had to go online. The new reality, although posing a technical, organizational, and social challenge, also turned out to be an opportunity to expand the scale of actions that were meant to promote the culture. The paper presents the specificity of a traditional film festival, focusing on communication aspects, the viewers' perspective, and the film event's promotional strategies. Basing on the analysis of the empirical material containing statements and reactions of administrators and viewers on the festival's profiles on social media, it was shown which elements contribute to the effective creation of a virtual (and not only) community.
PL
Celem artykułu jest przedstawienie sposobów komunikacji festiwalu filmowego na początku pandemii COVID-19. Aby to zrobić, przeprowadzono analizę mediów społecznościowych festiwalu Nowe Horyzonty, który odbył się w listopadzie 2020 roku. W związku z wybuchem pandemii zarówno największe wydarzenia filmowe, jak i te lokalne musiały przenieść się do sieci. Nowa rzeczywistość, choć stanowiąca wyzwanie techniczne, organizacyjne i społeczne, okazała się też szansą na poszerzenie skali działań popularyzujących kulturę. W tekście przybliżono specyfikę tradycyjnego festiwalu filmowego, skupiając się na aspektach komunikacyjnych, perspektywie widzów oraz na strategiach promocyjnych wielodniowych wydarzeń filmowych. Na podstawie analizy materiału empirycznego zawierającego wypowiedzi i reakcje administratorów oraz użytkowników na profilach społecznościowych festiwalu wykazano, jakie elementy biorą udział w skutecznym kreowaniu społeczności (nie tylko) wirtualnej.
5
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Dokumentarzyści i krytyk. Zygmunt Kałużyński a dokumentaliści „nowej zmiany”

51%
Jazdon M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2017
|
vol. 20
|
issue 29
15-46
EN
The article offers the analysis of how Zygmunt Kałużyński, the film critic of Polityka weekly magazine, described and stigmatized documentary films by Krzysztof Kieślowski, Tomasz Zygadło, Grzegorz Królikiewicz and Krzysztof Gradowski presented at the Cracow short film festival in 1971. Kałużyński criticized and mocked the aesthetics of the Polish “new wave” documentary cinema in a series of articles published in Spring and Summer of 1971. He presented films by brave and talented directors, contradicting the current social and political situation, as the unreflective imitation of the banal television documentary style based on in-front-of-the-camera interviews. The author compares Kałużyński’s proceedings to actions of a British journalist Robert Pitmann described by Tadeusz Różewicz in his essay A Journalist and the Poet. Pitmann conducted a sneering interview with T.S. Eliot for Sunday Express in 1958 and Różewicz comments on the possible effects of his text for its readers.
PL
The Documentarians and The Critic, Zygmunt Kałużyński and Documentary Filmmakers of „The New Change” The article offers the analysis of how Zygmunt Kałużyński, the film critic of Polityka weekly magazine, described and stigmatized documentary films by Krzysztof Kieślowski, Tomasz Zygadło, Grzegorz Królikiewicz and Krzysztof Gradowski presented at the Cracow short film festival in 1971. Kałużyński criticized and mocked the aesthetics of the Polish “new wave” documentary cinema in a series of articles published in Spring and Summer of 1971. He presented films by brave and talented directors, contradicting the current social and political situation, as the unreflective imitation of the banal television documentary style based on in-front-of-the-camera interviews. The author compares Kałużyński’s proceedings to actions of a British journalist Robert Pitmann described by Tadeusz Różewicz in his essay A Journalist and the Poet. Pitmann conducted a sneering interview with T.S. Eliot for Sunday Express in 1958 and Różewicz comments on the possible effects of his text for its readers.
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