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Przeznaczenie, pokusa, przekleństwo. (Nie)przemijanie w filmach wampirycznych przełomu XX i XXI wieku

100%
Wolski M.
Studia Filmoznawcze
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2013
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vol. 34
153 – 169
EN
The motif of passing is one of the most significant elements of the image of a vampire. As a creature which is unable to die by natural means, vampire represents both fear and fascination of death; curse of eternal life and desire of immortality, which is — by all means — as old as civilization or culture. Popularity of vampire motifs in contemporary films provides a great amount of reflections about such crucial for vampiric imaginations aspects as fear of ugliness, old age or death. On the other hand, they often reflect potential horrors of immortality, costs of eternal beauty and curse of inability to die, which was brilliantly exposed in Werner Herzog’s Nosferatu: Phantom der Nacht. Although those aspects of vampiric films were present in reflections about wampiric movies, almost all of important works consider vampire films up to Francis Ford Coppola’s Bram Stoker’s Dracula. The idea of this paper is to expand scientific reflection about the motif of passing in vampire films beyond this point, considering movies produced between 1992 and 2012. Those films can be categorised in three groups. The first group contains characters (mostly vampires) which are trapped in infinity, unable to get old and often suffer because of it. They consider their immortality an obstacle to participation in social and technological advancement, but sometimes find it crucial for their agendas. The second group contains people (not only vampires) who escape in immortality because of illness or because they find it crucial to achieve their goals. Those characters often fail to achieve full immortality or die in the process. Finally, the third group contains vampiric characters which were immortal long enough to suffer mental corruption. Their goal is often to find some new meaning for their eternal life or be driven to madness.
2
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Więcej niż gra wyobraźni. Kilka uwag o komputerowych adaptacjach gier RPG

100%
Wolski M.
Literatura i Kultura Popularna
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2013
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vol. 19
51 - 69
EN
Computer games industry in the 21th century is vastly expanded and brings bigger game developers large financial profits. Budgets of the most popular computer games can be compared to budgets of many Hollywood blockbusters, and overall incomes of both quite often are almost equal. In the age of digital media and in the wake of Web 2.0 expansion computer games should be considered as possible future of entertainment industry. Many successful computer games are based on their paper predecessors, Role Playing Games. What is more, large number of means, ideas and themes were almost directly transferred from traditional, storytelling games to their digital adaptations. In this article, we make a comparison of popular RPG’s (Dungeons & Dragons, Star Wars d20, Vampire: the Masquerade and Wiedźmin: Gra wyobraźni [The Witcher: Game of Imagination]) and computer games (Baldur’s Gate, Knights of the Old Republic, Vampire: the Masquerade — Bloodlines, The Witcher) based on them. We also want to find out, which original aspects were adapted to digital versions and which benefits of virtual reality were used to improve computer RPGs in comparison to their predecessors.
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Zmory, które straszą na jawie. Motyw dziecka w amerykańskim horrorze lat 80.

100%
Wolski M.
Studia Filmoznawcze
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2012
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vol. 33
71-86
EN
In modern culture ― especially in movies ― we can observe plenty of texts using the theme of a child, as well as the theme of a vampire. Popularity of the latter may be considered as temporary, but its effect on overall vampire myth is unquestionable. Vampires represent fear of death, they are incarnations of sin and guilt, unstoppable lust and eternal damnation. Children ― on the other side ― are largely considered as innocent, naïve, brilliant but unwise, they are also symbols of new beginning. Contamination of these two themes may bring an interesting effect, suprisingly ― as they may be considered as opposites ― immature vampires in film are not as common as they could be. There are only about 20 movies which use this theme and that is only a small percent of the overall number of movies about children or vampires. Immature vampires in film can be categorised in three groups. The first group contains children who actually became vampires, their childhood had been reshaped into eternal struggle as blood-drinking monsters. They also often struggle to change their vampiric condition or at least make it less monstrous. The second group contains vampires who are trapped in the bodies of children. They often suffer great pain and unrest, but also use their appearance to prey on human. Finally, the third group contains teenagers, people who are becoming vampires in order to manifest their rebel attitude before entering the adulthood. Many of them often turn back and become human again. The overall idea of immature vampire, however, is ― as Carl Gustav Jung said ― to constructively merge opposites.
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Transylwania zmyślona? Obraz Karpat w literaturze wykorzystującej motyw wampira

100%
Wolski M.
Góry, Literatura, Kultura
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2012
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vol. 6
141-150
EN
Siebenbürgen [Seven Fortresses], a geographical area in the Eastern Carpathians just as often called Transylvania, is a region frequently used by popular literature and culture referring to the motif of the vampire. In the present article the author examines descriptions of the region, starting from both geographical conditions and a definition of adventure space. It turns out that Transylvania described or presented in cultural texts has more in common with stereotypical locations of the action of adventure or Gothic novels and less with the actual geographical region. The analysed material includes Bram Stoker’s classic novel, descriptions of Romania in Brian Lumley’s Necroscope, the visit to Transylvania by the protagonists of Anne Rice’s Interview with the Vampire, clashes with the creature living in the fictitious Dinu Pass and described by F. Paul Wilson in The Keep as well as the space described in Christine Feehan’s cycle about the “Carpathians,” a series of paranormal romances.
5
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Recenzja: Arkana Nowej Przygody

100%
Wolski M.
Studia Filmoznawcze
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2013
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vol. 34
255 – 260
EN
New Adventure Cinema is a collection of essays and lexicon of films often described as New Adventure. For many years New Adventure movies have been determining the current progress of American (but not only) cinematography. The term ‘New Adventure’ was coined by a Polish film critic, Jerzy Płażewski, in 1986 and since then it has been the most popular designation of modern Hollywood adventure films, as says Jerzy Szyłak — main editor of the reviewed collection. Collection — as said — contains seven essays about various aspects of this branch of Hollywood (but not only) productions. Jerzy Szyłak in his opening essay reviews connected with film genetics and historical limitations of New Adventure genre. Next, Katarzyna Kaczor focuses on elements of fantasy in this kind of movies. Tomasz Pstrągowski shows similarities and connections between New Adventure films and video games, especially when those media intermingle with each other. In the next essay, Marcin Adamczak shows — often ignored — business aspects of Hollywood entertaining industry. On the other hand, Sebastian Jakub Konefał focuses on religion and mystical topics of New Adventure films, and Paweł Sitkiewicz shows correlations between this branch of movies and animation. Finally, Krzysztof Kornacki shows how New Adventure cinema inspired Polish filmmakers and what becomes of it. The second part of the collections contains vast lexicon of New Cinema movies, all of them critically reviewed and commented.
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„Na ducha Lenina!” Historia sowieckich bohaterów komiksowych w popkulturze amerykańskiej

51%
Dudziński P., Głownia D., Pisula R., Wolski M.
Praktyka Teoretyczna
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2014
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vol. 14
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issue 4
81-109
EN
The tension between Soviet Union and United States thatdefined the global political landscape of the second half of the twentiethcentury, had its clear impact on perceptions and creation of Soviet heroes in the context of American culture. The first and primary goal of our article is to investigate and describe the functioning of a particular theme – Russian characters, especially Russian meta-humans in the area of American popular culture, especially mainstream comics. This inquiry is intended to demonstrate the basic historical dimension, i.e. the periods of growth and decline in popularity, and even the complete disappearance of that theme. The purpose of the second goal is an attempt to analyze the structures of comics characters associated with the Soviet Union and place them in a broader historical and cultural context. These treatments allow to signal changes in time-sensitive structure, which consists of values, stereotypes and pop culture clichés appropriate for the American culture. Thus, we hope that this article will be an important contribution to the further study of these issues.
PL
Napięcie między Związkiem Radzieckim a StanamiZjednoczonymi, definiujące światowy polityczny krajobrazdrugiej połowy dwudziestego wieku, miało swoje wyraźneprzełożenie na sposoby postrzegania i kreacji sowieckichbohaterów w ramach amerykańskiej kultury. Pierwszymi podstawowym celem naszego artykułu jest prześledzeniei opisanie funkcjonowania konkretnego motywu – figurRosjan, w szczególności zaś rosyjskich meta-ludzi w przestrzeniamerykańskiej kultury popularnej, przede wszystkimkomiksu głównonurtowego. Kwerenda ta ma w miarę możliwościwykazać podstawowy wymiar historyczny tj. okresywzrostu i spadku popularności, a nawet całkowitego zanikuposzukiwanej figury. Celem drugim jest analiza sposobówkonstrukcji komiksowych bohaterów związanychze Związkiem Radzieckim i postawienie ich w szerszymkontekście historyczno-kulturowym. Te zabiegi umożliwiąz kolei zasygnalizowanie zmieniającej się w czasie konstrukcji,na którą składają się wartości, stereotypy i popkulturoweklisze właściwe dla kultury amerykańskiej. Tym samymmamy nadzieję, że artykuł ten stanie się ważnym przyczynkiemdo dalszych badań nad omawianymi zagadnieniami.
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Temporal Expressions in Polish Corpus KPWr

45%
Kocoń J., Marcińczuk M., Oleksy M., Bernaś T., Wolski M.
Cognitive Studies
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2015
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issue 15
EN
Temporal Expressions in Polish Corpus KPWrThis article presents the result of the recent research in the interpretation of Polish expressions that refer to time. These expressions are the source of information when something happens, how often something occurs or how long something lasts. Temporal information, which can be extracted from text automatically, plays significant role in many information extraction systems, such as question answering, discourse analysis, event recognition and many more. We prepared PLIMEX - a broad description of Polish temporal expressions with annotation guidelines, based on the state-of-the-art solutions for English, mainly TimeML specification. We also adapted the solution to capture the local semantics of temporal expressions, called LTIMEX. Temporal description also supports further event identification and extends event description model, focusing at anchoring events in time, ordering events and reasoning about the persistence of events. We prepared the specification, which is designed to address these issues and we annotated all documents in Polish Corpus of Wroclaw University of Technology (KPWr) using our annotation guidelines.
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Towards an event annotated corpus of Polish

45%
Marcińczuk M., Oleksy M., Bernaś T., Kocoń J., Wolski M.
Cognitive Studies
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2015
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issue 15
EN
Towards an event annotated corpus of PolishThe paper presents a typology of events built on the basis of TimeML specification adapted to Polish language. Some changes were introduced to the definition of the event categories and a motivation for event categorization was formulated. The event annotation task is presented on two levels – ontology level (language independent) and text mentions (language dependant). The various types of event mentions in Polish text are discussed. A procedure for annotation of event mentions in Polish texts is presented and evaluated. In the evaluation a randomly selected set of documents from the Corpus of Wrocław University of Technology (called KPWr) was annotated by two linguists and the annotator agreement was calculated. The evaluation was done in two iterations. After the first evaluation we revised and improved the annotation procedure. The second evaluation showed a significant improvement of the agreement between annotators. The current work was focused on annotation and categorisation of event mentions in text. The future work will be focused on description of event with a set of attributes, arguments and relations.
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