Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 17

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  CINEMA
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

VIETNAMSKÝ TUCET

100%
Langerová V.
Slovenské divadlo (Slovak Theatre)
|
2012
|
vol. 60
|
issue 3
343 – 358
EN
The environment of this South Asian country is immersed in the water element. The seas and rivers, their intricate delta channels, surrounded by vibrant green jungles, rice fields and floating villages, colourful boats and fishermen - all this creates a poetic essence of Vietnam visuals, projected to nearly every film. It forms also the key to the cultural topography of the country with a turbulent history with alternated and mixed influences of Chinese, French, American and Soviet. The military paradoxically intertwines the lyric, Confucian severity meets Taoist poetry and creates in this "country floating on the water" theatre of dramatic counterpoints. The author provides a comprehensive analysis of the situation of filmmaking in the turbulently changing Vietnam society. She examines the degree of authenticity and impact of non-national initiatives, whether during the French colonial rule, during the protracted war, until the new expansion of cinema after a peaceful reunification of Vietnam and its first inroads into the context of the most advanced film cultures.
2
Content available remote

FILMOVÝ OBRAZ

100%
Ciel M.
Slovenské divadlo (Slovak Theatre)
|
2012
|
vol. 60
|
issue 1
3 – 12
EN
The term image relates to the reference of the film to reality. It is one of the principal areas of the considerations of film theoreticians. The subject of image occurs in the early beginnings of the film theory having been hitherto verified by various speculations. It is about finding the most exact denomination of film in volatile and changing environment and whether is it technological or methodological. History of examination of the image thus replicates history of cinema and allows quite accurate understanding of its perception and the changes of its perception throughout its performance. Many elements of the fundamental characteristics of the image are often repeated by several theoreticians, but there are also many points in which their views differ. Unlike conventional signs, such as words, the film signs in the image do not automatically comprise into chains. They are surrounded by a wide semantic area with the different interpretations in the different cultures and times. How film creates meanings and how and why are we captivated by these meanings – these are the basic questions of a film theory. The film image is a material phenomenon, which objectifies through film ability of reproduction subjective idea of the author´s signs in the image. The chain of communication depends on how the viewer comprehends the meaning. Unlike an abstract art, the film (with the exception of some experiments) must operate with reality. It is important how the film can encode it and make it exceptional. It gives a new or a different view and particularly, sort signs forming the images into the contexts.
3
Content available remote

PIATA LOĎ, ŠPINA, NINA. TRI ARTOVÉ SLOVENSKÉ FILMY A ICH ÚSILIE OSLOVIŤ DIVÁKOV V KINÁCH

100%
Križková E.
Slovenské divadlo (Slovak Theatre)
|
2018
|
vol. 66
|
issue 1
79 - 95
EN
The text analyses the distribution of three Slovak films created in 2017 (Piata loď (Little Harbour), Špina (Filthy), Nina to Slovak cinemas. This year new Slovak films reached 1,414,132 cinemagoers, which is a 21.13% share of total cinema admissions. This is the highest annual number recorded since the establishment of the Slovak Republic (1993). The study looks for an answer to the question, why do some Slovak films achieve higher admissions then others? It also seeks to point out the variability of the criteria to measure the success of a film with the audience.
4

Walter Benjamin and Mickey Mouse

100%
Majewski T.
Przegląd Kulturoznawczy
|
2007
|
vol. 1
|
issue 2
145-162
EN
The subject of the article is Walter Benjamin's relation to animated cartoons with Mickey Mouse as the main protagonist. The author presents all the data connected with that problem in context of Benjamin's work. He emphasizes a revolutionary potential of those films and their influence on mass public. Then, he refers to laughter and destroying mechanisms and their liberating character. Benjamin's opinions are the background for author's considerations of the function of cinema, and are compared with the theories created by Fourier, de Sade or Marx. The analysis of Benjamin's opinion on the Mickey Mouse cartoons leads the author to the conclusion that on the one hand these films are kitsch, but, on the other, they are able to overcome it.
5

JULES DASSIN MEETS GREEK TRAGEDY

100%
STEHLÍKOVÁ E.
Eirene. Studia Graeca et Latina
|
2012
|
vol. 48
|
issue 1-2
143-146
EN
The essay concentrates on three films made by famous film director, a major Philhellene of the 20th century, Jules Dassin (1911–2008), i.e. the comedy Never on Sunday (Ποτέ Την Κυριακή) from 1960 that became most popular all over the world, also thanks to the famous song “Never on Sunday” (Τα παιδιά του Πειραιά), written by Manos Hatzidakis; Phaedra in 1962, an adaptation of Euripides’ Hippolytus (based on a melodrama written by Margarita Lymberaki), and A Dream of Passion (Κραυγή Γυναικών) in 1978, the drama of an actress playing Medea and visiting a jailed mother who had murdered her own children.
6

Romana Ingardena “Kilka uwag o sztuce filmowej” w perspektywie dzisiejszej

100%
Konicka H.
Kwartalnik Filozoficzny
|
2010
|
vol. 38
|
issue 3
69-81
EN
This article considers the originality of Ingarden’s approach to the cinema with respect to the classical theory of the Seventh Art. Among the philosopher’s observations it brings out in full relief the points of convergence and anticipation with respect to contemporary ideas on the subject of film inspired by inquiries concerning the processes of cognition. The illusion of perceptive flux, the material’s status and the pragmatic function of cinematographic representation, the interactive relation between movie and spectator, diegesis as a cognitive-perceptive structure are the subjects of reflexion considered in Ingarden’s work devoted to moving pictures.
7
Content available remote

OD ŽÁNROVÉ TERMINOLOGIE K SOCIOKULTURNÍMU FENOMÉNU. MULTIDISKURZIVNÍ OBRAZ POPULÁRNÍCH ŽÁNRŮ V ITALSKÉ KINEMATOGRAFII 60. A 70. LET – 1. ČÁST

88%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
|
2012
|
vol. 60
|
issue 1
49 – 68
EN
The study examines popular genres in Italian cinema of 1960s and 1970s as a sociocultural phenomenon in the context of cultural background and film industry. The text is structured as interdisciplinary interpretation and explores the theme in the level of textual and inter-textual analysis. It includes wide framework of various aspects related to questions of the subject of study. It examines also Italian genre terminology and titles of some films that belong to popular cycles and series of concrete genres. It demonstrates that interests and intentions of filmmakers, producers, distributors and the audience with regard to film genres are absolutely different. The text is based on methodological approach of interdisciplinary conception of history of Italian cinema that was elaborated by film historian and theorist Gian Piero. The first part of the study is focused on two Italian genres: peplo or storico-mitologico (in the foreign context, the genre is known as peplum or sword and sandals) and western all‘italiana (in popular and academic writing about cinema known also as spaghetti-western).
8
Publication available in full text mode
Content available

Western Gypsies or Eastern Mexicans? Exoticism and Ignorance in the Construction of the Image of Basque Immigrants in American Cinema, 1913-1980

88%
Álvarez-Gila Ó.
Studia Migracyjne - Przegląd Polonijny
|
2015
|
vol. 41
|
issue 4 (158)
283–301
EN
This article analyzes how cinematic and TV industries in the United States (“Hollywood” for short) attempted and managed to create a very specific stereotype of Basque immigrants, based on several elements from different sources such as the local stereotypes created in the places Basque immigrants had settled, based on their monopolistic relationship with sheepherding, the influence and misunderstandings derived from being Basque immigrant citizens from two European states (France and Spain) with strong, recognizable national stereotypes, and the mistaken identification that Hollywood has historically made between the Spanish and Latin Americans.
9
Content available remote

IMPROVIZÁCIA, DRAMATURGIA, SPOMIENKA: VPLY DIVADELNEJ SCÉNY NA FILMOVÉ HERECKÉ VÝKONY V SÚČASNOM POĽSKOM FILME

88%
Katafiasz O.
Slovenské divadlo (Slovak Theatre)
|
2015
|
vol. 63
|
issue 1
40 - 47
EN
The author examines the influence of stage acting on movie acting in contemporary Polish cinema, citing the example of three movies: Małgośka Szumowska’s 33 sceny z życia (2008) and W imię... (2013), and Władysław Pasikowski’s Pokłosie (2012). She argues that the experience gained in constructing the characters in the performances directed by Krystian Lupa and Krzysztof Warlikowski played an essential role in conceiving the corresponding movie characters. In addition, the model of work with actors introduced by these two directors has had a very significant effect on stage acting as well as movie acting concepts in Poland. The author draws the reader’s attention not only to Małgorzata Hajewska-Krzysztofik, Andrzej Chyra, Mateusz Kościukiewicz and Maciej Stuhr’s parts, but also to the film dramaturgy which also displays the influence of theatre narrative structures.
10
Content available remote

THE APOSTLES OF INTERGALACTIC RELIGIOCITY. MOTIF OF SPACE CONTACT IN NEW HOLLYWOOD CINEMA (Apostolowie miedzygwiezdnej religijnosci. Motyw kosmicznego konfliktu w kinie nowej przygody)

88%
Konefal S. J.
Studia Humanistyczne AGH
|
2010
|
vol. 9
85-96
EN
American science fiction cinema of the 1970s began To employ eclectically presented references to eclectic views on religious topics. Films directed by artists such as Steven Spielberg and George Lucas offered viewers the stories influenced by the Christian and Buddhist symbolism as well as selected theses of the New Age Movements. The authors wanted to create in their productions new religiousness patterns, derived from the writings of some leading figures of the counterculture, such as Herbert Marcuse, Charles Reich, and Theodore Roszak. For this purpose they processed some storylines from science fiction novels and mass culture. This strategy was continued in the 1980s and first half of the 1990s, however the productions from this period showed a radicalization of the educational-ideological context which was associated with the conservative policy of the USA during this period. The end of the 1990s and the first decade of the twenty-first century is a period of erosion the New Age optimism of science fiction cinema. The growing popularity of plots with catastrophic and dystopian visions of the future indicates that religious topic in contemporary cinema fulfills different functions.
11
Content available remote

STEREOTYP AKO OBRAZ

75%
Dudková J.
Slovenské divadlo (Slovak Theatre)
|
2012
|
vol. 60
|
issue 1
13 – 33
EN
The concept of stereotype is closely linked with the concept of image. First, the authoress elucidates the concept of stereotype with respect to its anchoring in collective imaginary, where, according to Homi K. Bhabha, it functions as a fetish pendant. Later, she focuses on the use of stereotypes in audio visual media. She draws the reader’s attention to deconstructing the stereotype as a component part of representation strategies, the role of which is maintaining the power structures. The emphasis is especially laid on stereotypes of the race as a specific kind of social stereotypes. These, due to an obvious visibility of the difference in skin colour (and the impossibility of cover-up) count on a specific set-up of the visual field. An individual with a different skin colour functions as the object of the gaze. His/her image (for instance, in various audio visual and visual media) oftentimes behaves as a synecdoche, metonymy or metaphor. The paper contains examples of Slovak documentary films and TV series, which illustrate some other forms of stereotype functioning – as recognised caricature, or, as distorted, „incorrect“ reality image.
12
Content available remote

PRESENTATION, CURRENTNESS, AUTHENTICITY (Prezentacia, aktualnost a autenticita)

75%
Paluch M.
Slovenské divadlo (Slovak Theatre)
|
2010
|
vol. 58
|
issue 1
33-37
EN
The author focuses on the analysis of the problems of 'time' of images. They may be approached as the alternative counterparts to real time, or just as images. The relationship between the time of images and the real time is characterized by such concepts as presentation and currentness. The presence of each visual information, its 'here and now' is being understood as a relationship between the image and its presentation to the audience. This element of time is omnipresent and in the case of cinema, it is coincident with the present time of the image (the shot). Only convention defines whether it has to be understood as the past time (the retrospect). Within this meaning, only the present time identical with the time of the image, or, viewer's time, is distinguished. Another important concept concerning the relationship between the technical image and time is currentness (which relates to the current situation, the most immediate presence, attractiveness from the point of view of time, temporality, urgency, immediacy) of an information. It is determined by the difference between its 'here and now', i.e. by its presentation, and 'ontological' reference represented by a visual information. For instance, live broadcast is current presentation. A great number of images are produced to serve this sole purpose. If they are not current, they have no information value. The relationship of the time of images and images is especially characterized by authenticity. The authenticity of an image (veracity, credibility, genuineness, originality) is largely determined by the relationship between the information and realism. A feature fiction film may give a realistic impression, however it is not authentic. If it is not authentic, it works with the presentation of actual reality as one of the possible interpretations of realistic authenticity. All visual information, captured in a technical image, generates a meaning, which is inseparably connected with these three aspects. This holds especially for the domain of technical images, for which the presentation in the present time, currentness, and authenticity of information is a natural component and a part of their functioning, as they work with images and time aspect.
13

ZNOVUOBJEVENÝ GODARD: FILM ´ZDRÁVAS MARIA´ JAKO VÝZVA KŘESŤANŮM K PŘEMÝŠLENÍ

75%
Kučera J.
Verba Theologica. Teologický časopis
|
2020
|
vol. 19
|
issue 1
57 – 75
EN
The article recalls the controversial movie ´Je vous salue Marie´ by Jean-Luc Godard from the 1985, which follows the biblical story of the immaculate conception of Virgin Mary – framed inside a contemporary culture – from its psychological, as well as theological point of view. History, proclaimed with a typical sharp symbolism and intellectualism of the French ´New Wave´ cinema, is a masterpiece offering not only new philosophical insights into a biblical mystery of incarnation but also a hypothetical story of a chosen girl, as it would have very probably happened in the twentieth century. This movie was often misunderstood but above all not studied and analyzed as it deserved. Godard´s work with camera, music, and especially with symbols are magnificent, his message hopeful, sweet, and respecting the Holy Writ. After Marxist Pasolini, the French director, who claimed to be an unbeliever, has left us a picture worthy of rediscovery and particularly of deeper thinking.
14

Schools and Universities in Audiovisual Media: Experts’ Opinions

75%
FEDOROV A.
Communication Today
|
2019
|
vol. 10
|
issue 1
110-123
EN
The objects of the research (as part of the project School and University in the Mirror of Soviet, Russian and Western Audiovisual Media Texts), are the opinions of international experts (media educators, researchers, media critics, media culture public figures) about the development of the school and university topic in the mirror of audiovisual media texts, about the transformation of basic concepts and stereotypical models of the school and university theme into media. The main hypothesis of the research is that the opinions of international experts will be based on the classification and comparative analysis of content models, genre modifications, stereotypes of media texts (feature films, documentaries, TV programmes, websites, etc.), related to the interpretation of the topic of school and university, and helped to confirm and refine the earlier theoretical model of audiovisual media texts on the subject of school and university. This model includes such structural components as the historical period of events in the media text; the environment; household items; methods of depicting reality; the traits of the main characters – teachers and students (their values, ideas, clothing, vocabulary, facial expressions, gestures, etc.); significant changes in the lives of characters; problems encountered and options on solving these problems.
15
Content available remote

OD OBRAZOV K MENTÁLNYM OBRAZOM V TEÓRII FIKČNÝCH SVETOV

75%
Jurčák R.
Slovenské divadlo (Slovak Theatre)
|
2012
|
vol. 60
|
issue 1
34 – 48
EN
The text is primarily based on Lubomír Doležel’s conception of fictional semantics. When viewers think about the majority of audio visual works as well as when they recall or watch them, they do not perceive only the real (physical) pictures. They perceive mainly mental images that are inferred from real pictures. The text presents a theoretical model of the „process“ by which a viewer reconstructs a fictional world from the fictional text structure. It shows also that in a similar way we can explain the process of transformation of the real pictures into mental images as well. The introduction of the text briefly introduces the theory of fictional worlds and also the basic properties of the fictional worlds. The core of the study is an analysis of mental transformation of pictures itself. This analysis is not complex; it seeks rather to clearly show the basic principles of picture transformation. The focus is not put on the description of the basic cognitive processes since they are beyond the scope of fictional semantics.
16

NITRIANSKE KINÁ V OBDOBÍ DRUHEJ SVETOVEJ VOJNY

75%
Mikulášová A., Palárik M.
Historický časopis (Historical Journal)
|
2015
|
vol. 63
|
issue 2
291 – 312
EN
During the war years 1939 – 1945, films were popular way of spending free time and escaping from everyday reality. They were not only a means of entertainment, thanks to them it was possible to present a specific message to the general public, and they were misused for political, ideological and propaganda purposes. In this period, cinemas showed anti-Semitic films, full of xenophobic ideas, films celebrating the German army and “Aryan ideals”, but also films offering simple entertainment. The financial and creative potential of the Slovak Republic was limited, so the demand for films was supplemented by pictures distributed from abroad. As a result of the political and military situation, German films predominated in Slovakia. Using the example of the town of Nitra, the study presents information about films shown in a middle sized Slovak town, analysing their origin, genre, message and price. It gives information about visits to the cinema as one of the possibilities for spending free time, as well as about efforts to politically exploit them.
17

DOWNCAST COLOSSUS. COMMUNIST ARCHITECTURE IN ROMANIA’S POST-COMMUNIST CINEMA

63%
Maxim J.
ARS
|
2012
|
vol. 45
|
issue 1
6 – 17
EN
The article takes a closer look at a series of films and video performances that confront, assault, and more generally re-imagine the legacy and meaning of communist architecture in a post-communist world. Some of the works discussed are the Romanian artist Irina Botea’s video installations and photographs of 2003, revolving around the gigantic Ceausescu’s People’s House in Bucharest, and recent Romanian films in which the scenario revolves around the architecture of communist housing estates: 12:08 East of Bucharest (2006, director Corneliu Porumboiu), 4 Months, 3 Weeks and 2 Days (2007, director Cristian Mungiu), and “C” Block Story (2003, director Cristian Nemescu).
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.