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O (wielo)gatunkowości filmów pełnometrażowych Jana Švankmajera

100%
Maciejewska M.
Literatura i Kultura Popularna
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2018
|
vol. 24
11 - 24
EN
Jan Švankmajer, a Czech film director and artist is known mostly for his short animated films. In 1994, however, a change in his filmmaking career took place — he devoted himself to working only on feature films. This change of medium is connected both to the length of these films, and using language, narration and genre features typical of feature films. What is important, Švankmajer does not adjust his artistic visions to all the directives of a certain genre. Rather, the director chooses some elements of these genres, and creates new, hybrid qualities. Genres that have the biggest impact on his feature films are: horror, comedy, and speculative fiction.
2
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Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns

84%
Żyto K.
Literatura i Kultura Popularna
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2018
|
vol. 24
39 - 54
EN
The idea of film noir, especially neo-noir, viewed as a stable and clear genre has as many supporters as detractors. The controversy is nothing new, and a compromise is still elusive. The reason for such an impasse is not merely the intransigent stance of opponents, the strength of their arguments, but is also a result of the hybridization of genres in main stream cinema (and elsewhere). I discuss the problem presented by film noir in the context of the question of generic identity on the example of the Coen brothers’ Oscar-winning Fargo. The movie is an interesting case study as it does not make use of any of the genres typical for film noir in its unadulterated form (i.e. genres associated with film noir in its classical era). In Fargo, Joel and Ethan Coen skillfully combine elements of the detective story (though not necessarily associated with hard-boiled fiction) with crime shows, gangster movie with thrillers about psychopaths, comedy with tragedy and family drama with melodrama of mischance. The result remains the same — the world of Fargo stays noir, dark and pessimistic and permeated with the absurd.
3
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Poetyka grozy. Wykorzystanie konwencji gatunkowej horroru w grach cyfrowych

67%
Sikorska J.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2018
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vol. 23
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issue 32
EN
The aim of the article is to illustrate the using of the horror’s convention in video games and to indicate the way of reinterpretation this convention in the digital medium. In the first part of the work the author presents ways of spaces’ arrangement in survival horror. The analysis of mise-en-scene, including non-interactive cut-scenes, revealed in which ways video games refer to the film genres. In the second part of the work the author analyzes the category of the suspense in the digital medium, taking audial and visual aspects of video game into consideration.
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