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„Era antybohaterów” w amerykańskiej produkcji telewizyjnej. Próba diagnozy nowego zjawiska na mapie kultury popularnej

100%
Major M.
Panoptikum
|
2011
|
issue 10(17)
92-108
EN
The paper circulates around the question of why do we want to watch anti-heroes in American television series. It answers this question indirectly by defining and characterizing the most prominent male and female anti-heroes, who are very popular especially among the youngest fans of TV series. Tony Soprano, Brian Kinney, Nancy Botwin and Jackie Peyton are analyzed here as representatives of this new kind of characters, who blaze new trail in popular culture. The paper concludes with some remarks on the relation of superhero vs. anti-hero and speculation as to who wins, as well as reflections on the future of American television series and their place on the map of popular culture.
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Serialowe emancypacje

100%
Bokiniec M.
Panoptikum
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2011
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issue 10(17)
109-122
EN
The article dwells upon the emancipatory potential of contemporary television, especially in the form of so called new generation of television series. The paper begins with the summary of classic criticisms directed against traditional television as expemplified in Theodor Adorno’s theory in order to illustrate the differences between traditional and contemporary television. The main objection against traditional TV forms was their anti-emancipatory direction. The next step is the characterization of so called new TV and the features of new-shows as well as explanation of the categories of discourse and emancipation. It is followed by the subjective survey of popular contemporary TV series in view of changes in representation of excluded or non-normative groups, which concludes with the claim that the predominant social world in neo-series is the “post-” world in which social, racial, gender etc. differences between people become irrelevant. The paper concludes with the question of whether this is a vision of emancipated and anticipated world or simply a strategy to neutralize and make invisible actual and real social and political conflicts.
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Urzekające wizje ograniczonej utopii kilku spełnionych pragnień, czyli o „wampirycznym” serialu telewizyjnym

100%
Sikorska K.
Panoptikum
|
2010
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issue 9(16)
95-109
EN
The text analyzes the American television show about vampires True Blood in the context of two ways of understanding the representation of reality. Representation is understood either as a presentation of the world, similar to the reality, reflection of the reality beyond the text or as negation of this reality, the establishment of an autonomous world, where representation is the imaginary construction that refers to itself. Bearing in mind these two perspectives associated with different aesthetic and epistemological beliefs, I try to show how the concept of “limited utopia” by Jeffrey C. Alexander may be useful in interpretation of process of presenting the narration and how his proposition of utopia reveals actual practices of television series audiences. Does this proposal of utopia that is not the project of total changes, but is limited to the project of changes associated with particular social niche, also influence the actions undertaken by the show’s producers and consumers? In this article I try to show that the idea of “limited utopia” can become a part of the collective imagination that transforms reality, and is “a form of negotiation between the location of personal agency of activity (human beings) and globally defined fields of opportunity” (A. Appadurai).
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Wielka włóczęga? Negocjowanie tożsamości bohaterów seriali kryminalnych w kontekście Ponowoczesnych wzorów osobowych Zygmunta Baumana

88%
Petelenz A.
Panoptikum
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2009
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issue 8(15)
156-164
EN
In one of the papers printed in the „Two sketches on postmodern morality” Zygmunt Bauman describes four types of postmodern identities. Bauman chooses as a best example showing the idea of postmodern’s episodic character a tv series. The author of this article chooses a crime drama as yet another example of that theory. The main character of the “Cop” (dir. by Wladysław Pasikowski) is a police officer that could be considered as an example of a “walker”. He also represents a classic type of masculinity which is, despite the gender discourse, rather stable. The player – described by Bauman, as a type ready for both: loosing and gaining, whereas none is eternal – is typical for the “Kryminalni” series. The last example considered in the article is the “Pitbull” (created by Patryk Vega). The police officers shown in the drama are no longer representing the "macho-type", because the classic masculinity is being deconstructed. It is also almost impossible to decide which of Bauman’s identity types they could represent, because their behavior is not foreseeable. It is the best example of the postmodern instability.
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Tylko dla dzieci. Krótka historia filmów o Bolku i Lolku

88%
Sitkiewicz P.
Panoptikum
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2011
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issue 10(17)
137-148
EN
The article is a brief history of the most popular and the longest animated series in the history of Polish cinema and television: Bolek i Lolek (in English distributed as Jym & Jam or Bennie & Lennie), produced in Bielsko-Biała. The paper describes the origin of the cycle – from initial ideas, through a stage of designing the characters, to the premiere of first episode in 1964. Article also characterizes particular seasons of the show, reveals its evolution and reception, both in Poland and abroad. The paper presents series against the background of historical events in the People’s Republic of Poland as well as in the political context, as Bolek i Lolek played an important role in the discussion about duties and poetics of film art for children in communist system. At the end the article describes unsuccessful attempts to continue the series in a democratic Poland (including gay pride scandal).
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Kino i jego reprezentacje w brytyjskim sitcomie (od Spaced do Extras)

75%
Gierczak J.
Panoptikum
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2011
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issue 10(17)
183-195
EN
The article is a guide that mainly discusses the tendencies of the latest instances of the television form called Britcom. The paper deals with a series broadcasted on Channel 4 (Spaced) and the BBC coproduction with the HBO (Extras). A very specific alternation of so called cringe comedy genre, the politics of fandom and fan fiction as well as a celebrity figure – these are just the most gripping plots and strategies in the British situation comedy of the last decade. The paper also tackles on more general issue, namely the question whether sitcom is still a proper term for this kind of TV series? “Maybe this is all semantics that the term sitcom is just a handy shorthand for media writers, but that begs the question: what kind of situation is inherently funny, let alone not funny in and of itself (…) Successful comedies should be called «witcoms», not sitcoms” – considers David Horowitz. According to the various aspects of r(evolution) it is just the beginning of the subversive turn.
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Ile Lucyfera w Lucyferze? Serialowa postać a jej biblijny pierwowzór. Różnice i podobieństwa

63%
Bartosiewicz A.
Acta Universitatis Lodziensis. Folia Historica
|
2021
|
issue 108
237-253
EN
Satan and the origins of Evil have fascinated mankind since the dawn of time. Therefore, this article attempts to answer the question who is Satan and why is he often identified with Lucifer? We will then follow his fate written on the pages of the Holy Bible and apocryphal literature, and finally compare Satan with the title character of the popular TV series Lucifer. Thus it will be possible to answer the next question – to what extent the protagonist of the series, the personification of the common ideas about Satan rooted in popular culture, resembles his biblical prototype.
PL
Szatan i początki Zła fascynują ludzkość od zarania dziejów. W artykule podjęta zostanie próba odpowiedzi na pytanie, kim jest Szatan i dlaczego bywa często utożsamiany z Lucyferem? Prześledzimy następnie jego losy spisane na kartach Pisma Świętego oraz literatury apokryficznej, by na koniec porównać Szatana z tytułowym bohaterem popularnego w ostatnich latach serialu Lucyfer. Dzięki temu możliwa będzie odpowiedź na kolejne pytanie – w jakim stopniu serialowy bohater, uosobienie zakorzenionych w popkulturze powszechnych wyobrażeń na temat postaci Szatana, przypomina swój biblijny pierwowzór.
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Serial jako element praktyk społecznych

51%
Sokołowski Ł.
Kultura i Społeczeństwo
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2011
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vol. 55
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issue 2-3
187-208
EN
The purpose of the article is to show how the TV-series — one of the most important forms of television production — is incorporated into the daily routines of the spectators. Michel de Certeau perspective of applied sociology of everyday life and critical reflection on everyday life is used as a theoretical framework. In the case of TV-series, the routines can take a form of: (1) “logging in” and “reading”” TV-series, (2) movement and sociability routines, and (3) discursive development of received meanings. “Soap opera experience” consists mainly of linguistic practices cultivated while watching the series, which is a modern form of storytelling, socializing, which changes the audiences’ view of reality, its social framework for evaluation and interpretation. A viewer is critical and active; they use consumption processes as an excuse to construct their own meanings and narratives, and negotiate the meaning of what is presented to them.
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The breakthrough character of The X-Files: Genre hybridity and narrative structure

51%
Smoręda A.
Literatura i Kultura Popularna
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2018
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vol. 24
173 - 183
EN
The X-Files should be considered a breakthrough television series, based on its approach to genre hybridity and narrative structure. The series defies traditional genre classifications, combining elements usually attributed to police procedurals, science fiction, and including elements that can be found in horror and sitcom, as well. The article examines how the series mixes these mainstream and cult genres to create a unique genre hybrid attractive to various types of audience. Furthermore, the article analyzes the narrative strategies employed in The X-Files, such as narrative special effects (e.g. voice-over narration) and multi-episode story arcs that engage viewers and bridge seasons. Finally, the balance between two distinctive episode categories (mytharc and standalone/monster-of-the-week) will be discussed to understand the series’ innovative character.
10
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Elementy ludyczne w nauczaniu cudzoziemców języka polskiego (na materiale serialu „Świat według Kiepskich”)

51%
Maćkowiak R., Katedra Lingwistyki Stosowanej i Kulturowej I. F. P., rafalmac@o2.pl
Acta Universitatis Lodziensis. Kształcenie Polonistyczne Cudzoziemców
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2014
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vol. 21
EN
This article shows how to use the fragments of the sitcom Świat według Kiepskich in teaching Polish as a foreign language. The author presents and analyzes the ludic elements of the sitcom. The material was divided into eight groups: rhymes, proverbs and idioms, intertextuality, lexis of young people, phonetics, neologisms, humorous names and ambiguity.
PL
W artykule pokazano, jak w nauczaniu języka polskiego można wykorzystać fragmenty serialu Świat według Kiepskich. Autor prezentuje oraz analizuje elementy ludyczne pochodzące z tego serialu. Materiał w publikacji podzielony został na osiem grup tematycznych, tj.: rymowanki; wykorzystanie przysłów i frazeologizmów; intertekstualność; leksyka młodzieżowa; zestawienie nazwiska z wyrazem, od którego ono pochodzi; neologizmy; nawiązanie do nazw własnych i wieloznaczność.
11
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Filmy w TV Trwam: przysposobienie do publicznych debat

26%
Ślósarz A.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
|
2017
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issue 9(2) "Film w działaniu"
54-84
PL
Nadawcy społeczni mają obowiązek emisji audycji o treściach prospołecznych i zgodnych z profilem swej działalności, a estetyka ich przekazów jest konwencjonalna. Aby sprawdzić zasadność tych założeń, poddano jakościowej analizie filmy: The Perfect Wave (Idealna fala), Nasze dzikie serca (Our Wild Hearts) i drugą część serialu When Calls the Heart (Głos serca) emitowane w TV Trwam. Okazało się, że podejmują m.in. tematy: górnictwa, sądownictwa, ojcostwa, ekologii, funkcjonowania służb publicznych. Dokumenty recepcji wskazują na życzliwy odbiór. Sprzeciwy budzi konwencjonalna estetyka tych filmów, rzadziej przesłania religijne i społeczne.
EN
Community broadcasters are obliged to emit pro-social programs in line with their profile, however the aesthetics of their programs and messages is traditional and conventional. To test this assumption, the second season of the TV movies: The Perfect Wave, Nasze dzikie serca and series When Calls the Heart were subjected to qualitative analysis. It was found that they addressed issues of: mining, fatherhood, ecology, and functioning of public services. Analysis of reception indicated a favourable response. Conventional aesthetics of the movies, not so much their religious and social messages, was found to be objectionable by some viewers.
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