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Halloween and the Limits of Cinematic Meaning

100%
Kalmár G.
Acta Universitatis Sapientiae, Film and Media Studies
|
2013
|
vol. 6
|
issue 1
149-163
EN
The article reads John Carpenter’s Halloween (1978) from the perspective of the (im)possibilities of cinematic meaning. The horror film seems to be an especially fruitful field for such studies, since its aestheticpsychological mechanism usually aims at destroying the kind of spectatorial position necessary, at least according to semiotic and postsemiotic theory, for the generation and reading of meaningful signs. Placing the film in the theoretical context of such scholars as Roland Barthes, Jacques Lacan, Kaja Silverman, Steven Shaviro and Todd McGowan, I attempt to analyse the ways the film disables the production of semiotic meaning and rewrites some of the well-established concepts of film theory. I call into play Barthes’s concept of the punctum, McGowan’s cinema of intersection, Lacan’s later theory of the sinthome, Silverman’s post-Lacanian ideas about the cinematic gaze and the spaces of spectatorship, and Shaviro’s provocative insights about affective cinema so as to indicate how a film may prove its quality precisely at the points where it does not make sense
2
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The Cult ural Legacy of Mary Shelley’s Frankenstein

58%
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.
3
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Próba analizy Rodziny wilkołaka (Siemji wurdałaka) Aleksieja K. Tołstoja, jej przekładu pióra René Śliwowskiego i adaptacji filmowych

51%
Kajtoch W.
Literatura i Kultura Popularna
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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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