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„ŽENA S KINOAPARÁTOM“ ALEBO DOKUMENTÁRNY FILM PODĽA ZUZANY PIUSSI

100%
Palúch M.
Slovenské divadlo (Slovak Theatre)
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2014
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vol. 62
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issue 3
268 – 284
EN
This paper interprets the work of documentary filmmaker Zuzana Piussi in terms of its clear similarities and differences to the principles of filmmaking employed by Dziga Vertov and the style of cinéma-vérité. Only in this way can one reach a definition of the additional original elements in her approach to directing and her distinctive authorial style. The paper outlines the main characteristics of Piussi’s work, so that it can be reflected upon from the perspective of authorial strategy, and discusses the relationship of Piussi as filmmaker to the protagonists in her films, her involvement in the plot itself, the thematic focus of her work, the use of technology in capturing both image and sound, the editing of the filmed material and the resolution of ethical matters in her authorial approach to the protagonists. Piussi is a filmmaker more concerned with the content of a film than its objectivity or form. She has a talent for finding current, controversial, ethically questionable and politically “unpleasant” themes to base her work on. She works with a small film crew and often at her own expense, so she is not subject to the demands of a film producer. Her independence allows her to critically act as a journalist and thus unmask the ills in our society.
2

ANI ÚMYSEL, ANI NÁHODA – SKÔR NIEČO MEDZI TÝM: POSTHUMANISTICKÉ TÉMY VO FILME EX MACHINA

100%
Lacko I.
Filozofia (Philosophy)
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2020
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vol. 75
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issue 2
148 – 157
EN
This article presents a post-humanist analysis of Alex Garland’s 2014 movie Ex Machina with a specific focus on how the story, plot and style present post-humanist themes. The central issues discussed herein include the narrative and visual representation of the social and ethical questions related to the process of creating artificial intelligence with a humanoid appearance. The article discusses theses of post-humanism and post-humanization in the philosophical and aesthetic approach of the movie creators.
3

Potwór nie-my. Rzecz (o) zombie

100%
Mikołaj M.
Świat i Słowo
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2012
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vol. 10
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issue 1(18)
102-112
EN
In their first cinematic embodiment (in Halperin brothers’ film White Zombie) “the living dead” were presented, contrary to the later versions, as silent phantoms of people, whom they once were. Today, after George A. Romero’s and his followers’ films, they have become bloody monsters posing threat to mankind. In this context it is worth to recall the words of the film’s character Gabrien Van Helsing, whose remarks from the conversation with the Churchman go as follows: “For you they are monsters, only the evil which must be destroyed. I see them dying and becoming humans whom they once were.” Zombies are those monsters who make this visible: they are creatures, who ceased to be human, they once had been, and become mute “things” – the evil to be destroyed. A living dead remains mute (Pol. niemy), and becomes something that “we are not” (Pol. nie my). Slavoj Žižek states, that zombies are the dead which come back from their graves, since they are unable to find the place they deserve in the texts of culture, being the ones deprived of the right to tell their own stories. Somewhere else Žižek says that Mary Shalley’s Frankenstein is unique, since the author decides to give voice to the monster, letting him present his version of the story. Thus, according to Žižek, her monster ceases to be a sheer “thing” – and becomes a “subject”. It seems that the status of a monster in our culture is related to the fact that “monster” [le monster] is derived from the French verb “to show” [montrer], as Jacques Derrida suggested. Marina Warner indirectly refers to that, when she writes about a phantasmatic aspect of an anemy/monster: a monster, which in a way remains an image without history – the one which is perceived as a monster, a phantom, deprived of a human dimension. Taking that into accout we may pose a question: can the monster speak? Can we perceive anything more than just a mute “thing”? If yes, what an how does it speak to us?
4

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

75%
Kučera J.
Verba Theologica. Teologický časopis
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2020
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vol. 19
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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.
5

Sztuka popularna – doświadczenie dla każdego (Dewey, Shusterman)

75%
Dobrowolski R.
Lectiones & Acroases Philosophicae
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2011
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vol. 4
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issue 2
224-233
EN
John Dewey thought that the aesthetic quality constitutes integrating the core of everyone’s experience. In that case, the existence of a contemporary man, increasingly shaped by omnipresent mass media is, above all, experienced from the perspective of a popular art. Its character determines not only the course of everyday personal experience, but also the quality of social interactions. For this reason the popular art requires a theoretical appreciation. Therefore Richard Shusterman, inspired by the reflection of the author of Art as experience, creates a vision of aesthetics of "moderate emotions", correlating with the standards of an average pop culture consumer. The question arises whether one of the most popular arts, that is the movie, turning towards the mass audience, does not sometimes lead them towards transgressive experience, more than causing quite extreme emotional states.
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