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Poza granice akceptacji – polski horror filmowy w PRL-u

100%
Olszewska M.
Panoptikum
|
2009
|
issue 8(15)
173-189
EN
The article deals with the issue of the horror genre in the Polish People’s Republic’s filmmaking. An indication of the trends that defined the acceptability limits for developing the supranational potential of horror cinema during communist times is accompanied by a discussion of the phenomena inherent to the few of horror movies that were produced at that time.
2
Content available remote

Horror paradokumentalny — próba charakterystyki gatunku

75%
Żakieta K.
Panoptikum
|
2013
|
issue 12(19)
46-60
EN
This article aims to define the characteristics of horror vérité. The author raises issues related to the phenomenon of genealogical contexts – such as cinema vérité or mockumentary that have significantly influenced the formal shape of the species discussed. The controversial film Cannibal Holocaust (1979) dir. Ruggero Deodato, which is considered a pioneering image relative to the horror vérité is discussed in this article. It is one of the first examples in which blurring the boundary between fiction and reality by an extremely reliable styled on the documentaries. The use of 16 mm tape or simulated found footage became an extremely effective method to stimulate the viewer bored with conventional, petrified determinants of the horror genre. This paved the way for other films, and the turning point was amazing blockbuster The Blair Witch Project (1999) dir. D. Myrick, E. Sanchez. The story of the witch of Blair was executed in an almost ascetic manner according to the principle “less is more”. This film has cemented the characteristics of the documental horror set of tricks: shaky camera, natural lighting, unprofessional acting, reflexivity and specific marketing strategies that activate the viewer using a variety of metatexts (casus Sundance and web site). Series such as Paranormal Activity or [REC] show that through balancing on the edge of fictional and factual order, the recipient accustomed to exaggerated gore, is able to refer again to the basic determinant of horror – fear. Paradocumentalism’s immersion can be achieved with varying degrees of intensity and it is up to the viewer to decide whether he will step up to the plate.
3
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The Cult ural Legacy of Mary Shelley’s Frankenstein

51%
Weseliński A.
Zeszyty Naukowe Uczelni Vistula
|
2018
|
issue 58(1) Filologia
5-17
EN
Shortly after the publication of Mary Shelley’s novel, its eponymous character, Victor Frankenstein, and the unnamed creature, often referred to as “Frankenstein”, gained iconic status. Initially, the Creature and his Creator became thriving figures of popular culture through the many theatrical versions produced in the 19th century. The advent of film in the 20th century contributed enormously to the circulation of Frankenstein as a cultural icon, in general, and the dissemination of the myth of a mad scientist, in particular. The aim of this paper is to explore the many representative manifestations and the development of one of the enduring icons of modern culture.
PL
Tytułowa postać powieści Mary Shelley – Wiktor Frankenstein – oraz postać bezimiennego potwora, określanego w potocznym obiegu również jako „Frankenstein”, uzyskały status ikony kulturowej wkrótce po ukazaniu się powieści drukiem (1818). Początkowo, obydwie postaci zdobyły popularność dzięki dziewiętnastowiecznym adaptacjom teatralnym. W XX wieku, liczne ekranizacje powieści przyczyniły się do rozpowszechnienia mitu Frankensteina jako szaleńca-naukowca. Celem artykułu jest zbadanie kulturowej spuścizny powieści i funkcjonowanie mitu kulturowego Frankensteina we współczesnym świecie.
4
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Próba analizy Rodziny wilkołaka (Siemji wurdałaka) Aleksieja K. Tołstoja, jej przekładu pióra René Śliwowskiego i adaptacji filmowych

45%
Kajtoch W.
Literatura i Kultura Popularna
|
2018
|
vol. 24
247 - 288
EN
The article discusses a classic horror story from 1839. It presents those elements of the novel typical of Romanticism, as well as the ones with which Tolstoy exceeded his era. The Polish translation of the piece, published for the first time in 1975, as well as four film adaptations of Tolstoy’s story were analyzed, trying to show how film directors interpreted its universal and timeless themes.
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