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Filmowa franczyza. Od tematu do widowiska telewizyjnego (na podstawie cyklu „Prawdziwe Historie”)

100%
Otto W.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2019
|
vol. 26
|
issue 35
159-170
EN
The TV series True Stories (Prawdziwe Historie) is an example of contemporary commercial cinema. It is located on the border of documentary film and an attractive version of fictional cinema. In specific circumstances, it can be treated as a commercial product, but not only in the sense of film production and distribution, but more broadly, as a recognisable brand on the domestic cinema market, containing all the elements of industry know-how, as well as significant and commonly seen features of a film style that guarantees both turnout and financial success. In a sense, therefore, this phenomenon can be considered in terms of a film franchise which offers creators, most often beginners, a proven business patent in the form of a coherent television series, but also giving the possibility of a safe feature debut and the space for creative exploration.
2

The Indian struggle for independence in popular Hindi films of last decade

87%
Szurlej T.
Cracow Indological Studies
|
2012
|
vol. 14
215-254
EN
The present paper is a short presentation on the most popular historical films produced in Bollywood after 2000, which proved to be a great success both in India and abroad, and which represent not only the era of British domination in the Subcontinent but also the subsequent independence. This time was rather traumatic for India, because of the division of the country and the accompanying violence, which was on an unprecedented scale, making it unappealing material for a mainstream movie. This paper presents some common ways in which filmmakers in India introduce every uncomfortable historical fact and show victory in a particular way without revealing the dark and uncomfortable aspects of the times in question. The purpose of this article is to present the observed basic methods employed by filmmakers in manipulating the audience, rather than to be historical research, or detailed discussion of all historical films about the era of British domination in the Subcontinent.
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