Search results - CEJSH

1

Film jako ikona

100%

Legan M.

Sympozjum

|

2016

|

issue 1(30)

111-122

EN

The image itself, especially the icon, represent material source of religious experience and theological reflection. It is important to prove that a similar role, the role of inspiration to pray can provide also film. Article take this very issues.

2

Słowo od Redaktor Naczelnej

89%

Ogonowska A.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

|

2020

|

vol. 12

|

issue 1

3-3

PL

W niniejszym tomie jego Redaktorzy i Autorzy artykułów odnoszą się do tych zagadnień – mapując i opisując różne wymiary i kategorie topograficzne. Należą do nich: przestrzeń i pejzaż; obszar i jego granice; mapa i terytorium; migracja i podróżowanie czy mediatyzacja doświadczenia topograficznego w filmie, fotografii, projektach artystycznych.

3

Kino i teatr – kulturowa kolizja mediów (1895-1914)

71%

Hendrykowski M.

Kwartalnik Filmowy

|

2014

|

issue 87-88

6-31

PL

Autor skupia się na metodologicznych problemach badania zależności między teatrem i filmem na przełomie XIX i XX w. Tezą wyjściową jest twierdzenie, że w przypadku związków teatru i filmu w najwcześniejszym okresie rozwoju kinematografii mamy do czynienia nie z prostym stykiem dwu zbliżonych do siebie dziedzin, lecz z intrygującym i bardzo złożonym zjawiskiem kulturowym. Związki między teatrem a filmem na ogół były w przeszłości traktowane jako coś oczywistego, dając z jednej strony sposobność do wywyższania teatralnego Olimpu ponad pogardzaną plebejską rozrywkę, jaką stanowiły ruchome obrazy (nieprzypadkowo zwane pogardliwie flickers, czyli „migotkami”). Z drugiej strony długo pokutowało przekonanie wywyższające kino jako dziedzinę twórczości, która stała się sobą dopiero wówczas, gdy rzekomo zerwała więzy teatralnego uwikłania. Autor dowodzi, że teatralno-filmowym powinowactwom z przełomu XIX i XX w. daleko do jednoznacznej oczywistości. Wprost przeciwnie, okazują się one bardzo złożone. Aby je rozpoznać, należy uwzględnić kilka perspektyw badawczych: filmoznawczą, teatrologiczną, medioznawczą, kulturoznawczą oraz komparatystyczną. Kino „spotykało” się w tamtym czasie nie tylko z teatrem, lecz również z innymi dziedzinami kultury: literaturą, malarstwem czy muzyką. Jednak żadne z tych spotkań nie było tak dramatyczne, pełne napięcia i zarazem owocne dla przyszłości ruchomych obrazów, jak właśnie wczesna ewolucja ich relacji ze światem teatru.

EN

The author focuses on the methodological problems of studying the relationship between theatre and film in the late 19 th and early 20 th century. His starting point is the claim that in the case of relations between theatre and film in the earliest stages of the development of the cinema, we are not dealing with a simple junction between domains similar to each other, but an intriguing and very complex cultural phenomenon. Relationships between theatre and film in general have in the past been treated as a matter of course, on the one hand giving one the opportunity to exalt the theatrical Olympus as opposed to the plebeian and despised entertainment of moving pictures (they were not contemptuously called flickers by mistake). On the other hand, a belief lingered exalting the cinema as a field of creativity, which only became itself when it allegedly broke all the bonds with the theatre. The author argues that the affinities between theatre and film of the late 19 th and early 20 th century are not obvious. On the contrary, they prove to be very complex. In order to recognise them, one needs to consider several research perspectives: film studies, theatre studies, media studies, cultural studies and the comparative perspective. The cinema of the time, touched on not only theatre, but other forms of culture such as literature, painting or music. However, none of these relationships was as dramatic, tense and fruitful for future moving images, as the early evolution of the relationship with the world of theatre.

4

Iluzje obecności. Cielesność w Bez końca Krzysztofa Kieślowskiego

55%

Kulessa K.

Przestrzenie Teorii

|

2018

|

issue 30

315-328

EN

This paper aims at providing an analysis of Krzysztof Kieślowski’s film No end (1984), focused mainly on representations of corporality. The article attempts to interpret possible meanings of the phantasmatic dimension of existence and its impact on the reality constructed in the film. It also examines issues related to identification and the articulation of sensuous presence in cinematic images.

5

Film jako medium edukacyjne

55%

Jakubowski W.

Studia Edukacyjne

|

2018

|

issue 47

95-113

EN

Traditional thinking about applying films in educational activities was based on treating them as “didactic vehicles”. Thanks to that approach, it was possible to “smuggle” desirable values, create attitudes or to model pro-social behavior among students. That approach of using art as an education tool (not only films but other forms of art, too) should be understood and associated with the dominance of a communication model in education that is seen through the prism of three basic elements: sender – medium – recipient. Such a view neglects the recipient’s activity in constructing the sense of the work, assuming that the recipient has to “read and acquire” what the sender has offered him. The article, by referring not only to theoretical pedagogical positions, but also to media studies, film studies and cultural studies, considers the possibility of pedagogical application of film from the hermeneutic perspective.

6

Edukacja i film – punkty styczne. Refleksja o filmie w edukacji i w badaniach edukacyjnych

55%

Zamojska E.

Kultura-Społeczeństwo-Edukacja

|

2016

|

vol. 9

|

issue 1

43-55

EN

The paper reflects on the use of film in education and in education research. The author sets out to answer questions on legitimization and specific nature of pedagogical interpretation of films and audiovisual materials. She searches for answers to these questions in two ways: on the one hand, by broadening the research field in connection with a constructivist methodology and using interpretive approaches in social sciences and humanities; on the other hand, by following the postulates of contemporary pedagogy promoting empowering students in the education process.

7

„Klatka bez drzwi i bez klucza”. Analiza aspektów poznawczych i etycznych wybranych przedstawień artystycznych niepełnosprawności i osób z niepełnosprawnościami

55%

Zamojska E.

Interdyscyplinarne Konteksty Pedagogiki Specjalnej

|

2017

|

issue 16

143-162

EN

The aim of my paper is to analyse the cognitive and ethical aspects of selected literary and film depictions of disabilities. Based on theoretical and methodological assumptions of sociology of literature and critical discourse analysis, I set out to demonstrate how selected literary and film works depict situations and problems related to social inclusion of people with disabilities. I focus on two questions: 1) How do artistic creations build able people’s knowledge of the social situation and position of people with disabilities? 2) What ethical problems can such depictions involve?

PL

The aim of my paper is to analyze cognitive and ethical aspects of selected literary and film depictions of disabilities. Based on theoretical and methodological assumptions of sociology of literature and critical discourse analysis I set out to demonstrate how selected literary and film works depict situations and problems with social inclusion of people with disabilities. I concentrate on two questions: 1) How do artistic creations build non-disabled people's knowledge of the social situation and position of people with disabilities? 2) What ethical problems can such depictions involve?

8

Czas nie mija, czas nie stoi… Krótkie filmy Wojciecha Hasa w perspektywie autobiograficznej

55%

Grodź I.

|

2020

|

vol. 10

|

issue 1

238-249

EN

The paper describes short films made by Wojciech Has, for example Harmonia (1947), Moje Miasto (1950), and searches for traces of (auto)biography in them. The purpose was to show their semantic potential and to draw attention to the richness of possible interpretations. Only an attitude of scientific openness enables the avoidance of the burden of all fundamentalisms, certainties, and holistic approaches. The educational perspective was revealed in the update of research tools related to hermeneutics and thematic perspective.

PL

Tematem tekstu są krótkie filmy Wojciecha Hasa, przede wszystkim, takie jak Harmonia (1947), Moje miasto (1950) i poszukiwanie w nich śladów (auto)biografizmu. Celem było pokazanie ich potencjału semantycznego, zwrócenie uwagi na bogactwo możliwych interpretacji. Tylko postawa badawczej otwartości pozwala uniknąć ciężaru wszelkich fundamentalizmów, pewników, całościowych ujęć. Perspektywa edukacyjna ujawniała się w aktualizacji narzędzi badawczych z zakresu tematologii i hermeneutyki.

9

“Dusze przemierzają wieki, jak chmury przemierzają niebo” – Tożsamość sieciowa w filmie Atlas chmur

54%

Front S.

ER(R)GO: Teoria – Literatura – Kultura

|

2018

|

issue 37

EN

Sonia FrontInstitute of English Cultures and LiteraturesFaculty of PhilologyUniversity of Silesia in KatowicePoland“Souls Cross Ages Like Clouds Cross Skies” Network Identity in Cloud Atlas Abstract: In 21st-century science fiction narratives, the figure of the cyborg has been replaced by a new group of liminal characters: avatars, clones, sentient AI, genetically modified humans and time- -displaced individuals. Through these characters, the narratives explore philosophical questions about the unity of personal identity. One of the films that investigate this question is Tom Tykwer’s and Lilly and Lana Wachowski’s film Cloud Atlas (2012), as it proposes the notion of network identity, divorced from time. Network identity – in the form of transmigration of souls – is enacted in the film by the concept of eternal recurrence which is the film’s overriding framework. This identity is what connects the six juggled stories, spanning through various historical eras from the nineteenth century to the distant future. The paper analyses the film’s concept of twenty-first century subjectivity, singular and manifold, separated and connected simultaneously, and how it taps into the theme of global interconnectedness and co-temporality brought about by the media and globalization. Keywords: film, network identity, Cloud Atlas

PL

For an abstract in English, scroll down Sonia FrontInstytut Kultur i Literatur AnglojęzycznychWydział FilologicznyUniwersytet Śląski w Katowicach “Dusze przemierzają wieki, jak chmury przemierzają niebo” – Tożsamość sieciowa w filmie Atlas chmur Abstrakt: W narracjach science fiction XXI wieku figura cyborga została zastąpiona przez nową grupę bohaterów liminalnych: awatary, klony, świadomą sztuczną inteligencję, jednostkę genetycznie zmodyfikowaną oraz człowieka oderwanego od właściwej mu temporalności. Poprzez tych bohaterów narracje te ilustrują pytania filozoficzne dotyczące spójności tożsamości osobowej. Jednym z filmów, który eksploruję tę kwestię jest Atlas chmur (2012) Toma Tykwera oraz Lany i Lilli Wachowskich, gdyż proponuje on koncept tożsamości sieciowej, oderwanej od czasu. Tożsamość sieciowa – w formie transmigracji dusz – pokazana jest za pomocą doktryny Wiecznego powrotu Nietzschego, która stanowi nadrzędną zasadę strukturyzującą film. Tożsamość sieciowa łączy sześć niechronologicznie przedstawionych historii, rozpościerających się poprzez różne ery historyczne, od XIX wieku po postapokaliptyczną przyszłość. Niniejszy esej analizuje ten koncept tożsamości – indywidualnej i mnogiej, oddzielnej i połączonej jednocześnie – i sposób, w jaki wpisuje się ona w doświadczenie czasu i współzależności pomiędzy jednostkami w globalnej erze cyfrowej. “Souls Cross Ages Like Clouds Cross Skies.” Network Identity in Cloud Atlas Abstract: In 21 century science fiction narratives, the figure of the cyborg has been replaced by a new group of liminal characters: avatars, clones, sentient AI, genetically modified humans and time-displaced individuals. Through these characters the narratives explore philosophical questions about the unity of personal identity. One of the films that investigate this question is Tom Tykwer’s and Lilly and Lana Wachowski’s film Cloud Atlas (2012) as it proposes the notion of networked identity, divorced from time. Networked identity – in the form of transmigration of souls – is enacted in the film by the concept of eternal recurrence which is the film’s overriding framework. This identity is what connects the six juggled stories, spanning through various historical eras from the nineteenth century to the distant future. The paper analyses the film’s concept of twenty-first century subjectivity, singular and manifold, separated and connected simultaneously, and how it taps into the theme of global interconnectedness and co-temporality brought about by the media and globalization.

10

Edukacja przez wykorzystanie filmu w kontekście poznawania tematyki niepełnosprawności - szkic problematyki

54%

Rogowska D.

Zeszyty Naukowe Wyższej Szkoły Gospodarki, seria Edukacja - Rodzina - Społeczeństwo

|

2021

|

issue 5

141-150

EN

This article introduces the subject of education through the use of film in the context of learning about the subject of disability. The test is a sketch of the problem. Addressing the issue of disability in films seems to be important due to the specificity of difficult disease dysfunctions and its familiarization in the educational context, as well as due to the huge range of films. The article focuses on the issue of disability. The educational dimension of the film was also introduced. The examples of films in which the subject of disability were discussed in relation to its types were presented. The report on the research on the implementation of the Convention on the Rights of Persons with Disabilities and on the environment of people with physical disabilities was presented in relation to how the examined people with disabilities perceive their presence in the media and films. The most common images of disabled people in the film were indicated.

PL

Niniejszy artykuł przybliża tematykę edukacji poprzez wykorzystanie filmu w kontekście poznawania tematyki niepełnosprawności. Tekst stanowi szkic problematyki. Poruszanie zagadnienia niepełnosprawności w filmach wydaje się być istotne ze względu na specyfikę trudnego tematu dysfunkcji chorobowych i jego oswajanie w kontekście edukacyjnym, a także ze względu na ogromny zasięg filmów. W artykule poświęcono uwagę zagadnieniu niepełnosprawności, przybliżono również edukacyjny wymiar filmu. Podano przykłady filmów, w których poruszona została tematyka niepełnosprawności w odniesieniu do jej typów. Wskazano najczęściej spotykane wizerunki osób niepełnosprawnych w filmie. Zaprezentowano raport z badań odnoszących się do wdrażania Konwencji o prawach osób niepełnosprawnych, analizujący, jak badane osoby niepełnosprawne ruchowo postrzegają swoją obecność w mediach i filmach.

11

Recenzja książki: Tina Welke/Renate Faistauer (red.) "Eintauchen in andere Welten. Vielfalt ästhetischer Texte im Kontext Deutsch als Fremdsprache und deutsch als Zweitsprache", Wien: Praesens Verlag, 2019, 303 s.

54%

Chudak S.

Neofilolog

|

2021

|

issue 56/1

153-156

12

Historie równoległe, zbieżne, przeciwstawne. Teatr dramatyczny w filmie jako alternatywa i dopełnienie fabuły

54%

Dobrowolski P.

Kwartalnik Filmowy

|

2014

|

issue 87-88

32-43

PL

Równoległe, zbieżne i przeciwstawne widzenie opowieści filmowej i teatralnej, która stanowi jej cześć, to trzy wersje – zawsze dialogicznej – intertekstualności typu „teatr w filmie”. Często samo wspomnienie tytułu, cytat czy fragment sceny wprowadzają ważny ładunek znaczeniowy, który przez dyfuzję sensów modyfikuje i uzupełnia treść pierwszoplanowej akcji w świecie przedstawionym na ekranie. Spektakl teatralny, włączany w film jako „wyrażenie cudzysłowowe”, uruchamia – zależnie od kompetencji odbiorcy – całość swoich znaczeń. Osadzone w konkretnych kontekstach fabuły filmowe, w których pojawiają się inscenizacje Szekspira, Goethego czy Wyspiańskiego, dowodzą aktualności klasycznych tekstów kultury, wariantywnie konfrontując ich wymowę z rzeczywistością polityczną i społeczną. Obserwacja ta okazuje się szczególnie interesująca w połączeniu z historycznymi realiami opresyjnej władzy i cenzury PRL, w których powstała większość filmów stanowiących materiał źródłowy tego tekstu.

EN

Parallel, convergent and opposing vision of the story in theatre and the story in film, which forms its part, are the three, always dialogical versions, of intertextuality of the kind “theatre in film”. Often, the mere mention of the title, a quote or excerpt introduce an important semantic load, which through the diffusion of the senses modifies and complements the meaning of the main action on the screen. A theatrical spectacle, that is included in the film as a “quoted expression”, brings about – depending on the competences of the viewer – a full set of its meaning. Embedded in specific contexts, movie plots in which there are productions of Shakespeare, Goethe or Wyspiański, show how current are the classic texts in our culture, and their message is confronted with the political and social reality. This observation is particularly interesting in conjunction with the historical realities of oppressive power and censorship of the communist period during which most of the films constituting the source material of this text was made.

13

O WARTOŚCIACH I WARTOŚCIOWANIU W KINIEO WARTOŚCIACH I WARTOŚCIOWANIU W KINIE

54%

Citko K.

Ars inter Culturas

|

2016

|

issue 5

49-60

EN

Talking about the axiological rule in relation to the art of film, should be taking into account the fact that the values appearing in the film can be seen on several different levels. The film is a work of art, and so realizes and embodies the values artistic and aes-thetic. At the same time its plot carries a variety of moral values. There are in the movie, mixed with each other, values associated with the pleasures of the spectators, the values of vital, spiritual, values ethic and aesthetic, as well as the values of sacrum and pro-fanum. In this case, it should be noted that the values occurring in the world of the screen, and represented by the team of filmmakers and the viewers, can generally distin-guish. Because the films also have the value of commercial objects, it is better talking about values in the cinema than in the film; such approach allows for the inclusion in the discussion of issues related to the film as a work of art, with film production, distribution and the processes of its reception. The article discusses the various types of values oc-curring in the cinema, as well as concrete examples of their corresponding films.

14

The Digital Secret of the Moving Image

51%

Terrone E.

Estetika: The Central European Journal of Aesthetics

|

2014

|

vol. 51

|

issue 1

21-42

EN

This article addresses the definition of cinema by focusing on the related ontological question of which basic category circumscribes cinematic works. According to Noël Carroll, the definition of cinema consists both of ontological conditions that treat the moving image as a type and of other conditions that treat it as a display. But following Carroll’s ontological conditions, the digital encoding of a moving image enigmatically ends up being both a type and a token. Solving such a puzzle by clarifying the relation between the cinematic type and the digital type leads us to define the moving image in general as a type that specifies a spatiotemporal distribution of pixels.

15

Má Bohéma. Meze a možnosti historikova soudu

51%

Hanuš J.

Historie – Otázky – Problémy (History, Issues, Problems)

|

2017

|

vol. 9

|

issue 2

72-80

EN

The study analyses the Czech Television series Bohéma from the perspective of a historian and draws attention to the issue of its genre with an unclear definition. The production follows on a thin boundary line between the trashy, fiction with a historical background, and a work of history, posing a challenge to a historian and asking questions about our relation to historical memory and its instrumentation.

16

Does Film Keep Anti-psychiatry Alive? Aesthetic Knowledge of Mental Illness and Institutions

51%

Hansen J. B.

Res Rhetorica

|

2015

|

vol. 2

|

issue 4

30-37

EN

The paper aims at evaluating contemporary fi lms on psychiatry and their ‘knowledge’ of mental illness: How are mental illness and psychiatric institutions characterized rhetorically, and, are some psychiatric theories more present than others in the epistemological development of the fi lms? I will argue that the film ‘One Flew Over the Cuckoo’s Nest’ (1975) by Milos Forman has an iconic status. It was based on a novel by Ken Kesey from 1961 and can be related to anti-psychiatry – a political movement as well as a psychiatric theory infl uenced by social constructivism, e.g. Michel Foucault. In The Divided Self (1960) by Ronald D. Laing and The Myth of Mental Illness (1962) by Thomas Szasz conventional psychiatric language was deconstructed. Thus, Szasz pleaded that mental illness did not exist and built up a new effective antipsychiatric language characterized by metaphors such as ‘prison’ and ‘prisoner’. These metaphors were given both presence (Perelman) and evidentia by Forman, who focused on clanking keys, bars, and belt fi xation in the introduction to ‘One Flew Over the Cuckoo’s Nest’. Also contemporary movies dealing with psychiatry, such as ‘Girl Interrupted’ (1999) by James Mangold, use the prison as a metaphor, probably as an intertextual reference to Forman’s fi lm. In the end of the paper I will discuss the effect of these movies. Do they keep anti-psychiatry alive in the 21th century – even when the psychiatric theory as well as the political movement have lost infl uence?

17

Krystaliczne kino Gilles Deleuze'a: system otwarty

51%

Jakubowska M.

Panoptikum

|

2014

|

issue 13(20)

54-69

EN

The paper's aim is to introduce Gilles Deleuze's Cinema as a theoretical and philosophical open system of thinking about classical, modern and postmodern movies.

18

Wokół Choppersów Anny Okrasko

51%

Łazar A.

Panoptikum

|

2008

|

issue 7(14)

335-337

EN

The text Around Anna Okrasko “Choppers”, concerns Anna Okrasko exhibition in Okna Gallery (06.08 -26.08.2007) that was devoted to a visit to Saigon museums. Comments about Polish reception of Vietnam War during cold war period and about construing present day historical politics using museums are an introduction to the problematic of the exhibition. The analysis of Choppers is built through developing the context or asking about it. Key figure of the interpretation is Tourist’s view formed by American films on Vietnam.

19

Uwięzieni w środku Europy – dystopijne kino Béli Tarra

51%

Bartczak M.

Panoptikum

|

2010

|

issue 9(16)

180-192

EN

The article explores the theme of dystopia in the cinema of Béla Tarr. The interpretations offered here focus on his three works: Damnation (1989), Sátántangó (1994) and Werckmeister Harmonies (2000). The Hungarian director is a neomodernist, who refers to the style of Andriej Tarkowski, but makes cinema subversive towards tradition of transcendental style. Tarr degrades religious symbols to the rank of elements of the ordinary, material reality, which is slowly falling apart. Dystopian character of his movies is strongly connected with the style of this cinema, which is based on minimalism, slowness and contemplation. Dystopian vision of the world in Tarr’s cinema has three fundamental dimensions and the following parts of this essay consists on these three principal contexts in which the topic of dystopia can be analyzed.

20

O braku utopii. Przestrzeń i bohaterowie w filmie Opowieści o zwyczajnym szaleństwie Petra Zelenki

51%

Ciszewska E.

Panoptikum

|

2010

|

issue 9(16)

206-219

EN

An article explores possibility of applying Michel Foulcaut’s heterotopies and Marc Augé’s non-places discourses to the movie Tales of Ordinary Madness (Příběhy obyčejného šílenství, 2005) by probably most acclaimed contamporary Czech director Petr Zelenka. This text bears the assumption that space (in this particular case mise-en-scène) can visualise some contemporary social and psychological issues: it can reflect or underline conflicts and problems that characters are dealing with. As author suggests, in this particlular movie, the way the film space is designed and its dramatical role has a great influence on how Peter, movie‘s main character, is being perceived. What‘s probably the most interesting, film hero settled in space that can be described as supermodernity, seems to have a lot in common with traditional „little Czech man“ personality model.

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