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Мотиви медійного наративу «жінка-заробітчанка» в українському, польському та італійському кіно

100%
Rosinska O.
Studia Interkulturowe Europy Środkowo-Wschodniej
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2023
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vol. 16
135-158
EN
Motifs of the Media Narrative ‘Female Migrant Worker’ in Ukrainian, Polish, and Italian Cinema: Lately, the image of a woman-wage earner, a migrant from another country, has become a particular symbol of the economic disadvantage of some countries and a symbol of the search for a better life in a foreign land. In the Ukrainian cultural context, the image of a wage earner in literature is classic: starting with oral folk art and fiction and ending with film images of the modern period. Instead, our study proposes to change slightly the aspect of view to the problem and to analyse it through the prism of gender and national stereotypes, highlighting the critical narratives of the history of migration and employment of women, not only Ukrainian but also Polish. This will remove some of the connotations of cross-national insults or under-appreciation and open up areas for further exploration of such narratives in film content. Stereotyped images broadcast in film material through rigid narratives are even more important for research because, on the one hand, they reflect specific structures of collective ordinary consciousness. On the other hand, they form them. It is, in particular, about the processes of the transgression of stable consciousness concepts through mass media. While analysing film images, we can trace certain constructs of narratives related to a migrant woman trying to earn money in another country. First of all, she appears as rightless, unadapted to another culture, the one who can apply for unskilled work (usually due to the language barrier and other factors), and under challenging conditions, her country is poor and does not give her opportunities; also women earn for family, that suits men completely, so there is an emphasis on the inability of some people at the expense of others, on gender stigmatisation.
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Stereotypical Elements in the Narrative Structure of the Nationally “Other” in Contemporary Polish and Ukrainian Cinema

100%
Rosinska O.
Roczniki Nauk Społecznych
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2023
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vol. 51
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issue 4
61-81
PL
W publikacji badane są aktualne narracje kina ukraińskiego i polskiego dotyczące interakcji z przedstawicielami innych narodowości na terytorium jednego kraju. Celem badań jest analiza zmian w narracjach międzykulturowych związanych ze stereotypami narodowymi we współczesnych filmach. Obecny etap rozwoju kultury światowej wymaga nowych narracji; sygnały o tym pojawiają się w kinie światowym i ukraińskim. Dla Ukrainy te narracje stają się szczególnie aktualne po 2014 roku. Teraz Ukraińcy zastanawiają się nad swoją historią i relacjami z tymi, z którymi historia ich zjednoczyła w nowy sposób. Analizowane filmy Dlaczego żyję (ukr. „Chomu ya zhyvyi”) (2015) i Shchedryk (2022), w których bohaterowie budują nowy dyskurs swojej wartościowej egzystencji poprzez uwolnienie się od narodowych stereotypów, są tego znakomitym przykładem. W szerszej analizie wybranych stereotypów uwzględniono filmy Lekcje perskiego, Pianista, Żyd.
EN
This paper researches topical Ukrainian and Poland cinema narratives related to interaction with the representatives of other nationalities in the territory of one country. The purpose of the research is to analyse changes in intercultural narratives related to the national stereotypes in contemporary films. The current development stage of the world culture requires new narratives –signals about that appear in the world and Ukrainian cinema. For Ukraine, these narratives become especially relevant after 2014. Now, the Ukrainians are thinking over their history and their relationship with those who the history united them with in a new way. This is perfectly illustrated by the films under analysis, Why I Am Alive (Ukrainian title: Chomu ya zhyvyi) (2015) and Shchedryk (2022), where the characters build a new discourse of their value-based existence by getting released from national stereotypes. Some stereotypes are analysed extensively in relation to films Lessons of Farsi, The Pianist, The Jew (Żyd).
3
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Sex, Drugs, and Suicide in Youth-oriented TV Series of Different Countries: Controversial Content and the Level of Acceptability for a Sensitive Audience

100%
Rosinska O.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2024
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vol. 37
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issue 46
93-107
EN
This article investigates the portrayals of acute problems faced by young people, a sensitive population category, in youth-oriented series available on various open media platforms, both international (such as Netflix, YouTube) and national ones (for example, Polsat Box Go, TVP, Megogo, Volia, Oll. tv, etc.). Additionally, the study aims to examine the censorship methods employed by national media platforms for media content targeting a highly sensitive youth audience. The research focuses on TV series for youth and adolescents as a specific genre of artistic and educational content that addresses significant personal and social issues while entertaining. This includes the Polish series Sexify (2021, 2022); the Ukrainian series First Swallows (2019, 2020), Sex, Insta and ZNO (2020), the Spanish web series Elite (2018); the British series Sex Education (2019); and the American series 13 Reasons Why (2017–2020), all of which are intended for viewers aged 16 and over. The Ukrainian series of The New One (2019) is not subject to detailed analysis but is mentioned for comparison and as an example available on the Netflix platform. The research addresses such issues as differing perceptions of youth-oriented series by representatives of different generations and the provision of certain behaviour models through media content.
4
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Methods for designing strategic narratives in the description of the 2022 Russian-Ukrainian war in documentaries

63%
Rosinska O., Tymińska M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2023
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vol. 34
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issue 43
79-95
EN
The article discusses methods of designing strategic narratives in teledocumentaries created by various production teams and distributed through the YouTube platform. The authors underline the important role of teledocumentaries in creating an emotional and intellectual response to geopolitical topics among television viewers and attempt to analyse six documentaries focusing on the current war in Ukraine. The aim of the research was to determine key narrative patterns that are presented by production teams from various countries in the context of the armed aggression of the Russian forces in Ukraine. From this research, we can outline three main narrative templates: identity issues (“Us” vs. “Them”), temporal cognition and feeling of “stopping the time”, the image of enemy inter-twined with death, unforgiveness and fear.
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