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IT IS ONLY A MATTER OF STYLE: HOLLYWOOD AND THE MYTH OF AMERICAN CULTURAL INFLUENCE IN POLAND

100%
Lewandowski T.
Stylistyka
|
2006
|
vol. 15
399-408
EN
The paper deals with the perceived hegemony of American mass culture in Poland and its effects on young people. It is argued that the supposed 'Americanization' of Poland through Hollywood films does not constitute any serious threat to Polish national identity, and in fact has little to do with any genuine American cultural influence. Rather, it amounts to the passing adoption of American styles. Explaining that Hollywood is an internationally owned and operated force that works more to appeal to the tastes of the worldwide audience than America's, it is concluded that the globalization of American cinema is more a threat to the U.S.A. national identity than that of other countries. Additionally, the fact that many Americans such as right-wing politicians and conservative Southerners and Midwesterners have viewed Hollywood antagonistically from its inception, indicates the degree to which it should not be considered as representative of American culture or the nation as a whole. Likewise, the content of Hollywood's films has almost nothing to do with the reality of the country it happens to rest in. To illustrate the point that Poland does not suffer from Americanization, American and Polish national characteristics are detailed to demonstrate the vast differences between the world views and cultures of these two nations and peoples. Ultimately, it is suggested that there has been no significant internal cultural impact on Polish youth due to contact with American entertainment, other than on the surface in the form of fashion and appearance. Also, they are becoming more and more derisive of American mass culture as time passes. Therefore, core Polish attitudes have not become more American and the Polish culture, which has survived so much in the past, has very little to fear from the vapid Hollywood fantasy land a continent away.
2
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FROM STARS TO STARMAKERS. SPOTLIGHTING THE PRODUCERS OF POPULAR SCREEN IDENTITIES

75%
Hain M.
Slovenské divadlo (Slovak Theatre)
|
2021
|
vol. 69
|
issue 3
307 – 321
EN
Forty years ago, Richard Dyer almost single-handedly inaugurated a new discipline within film studies devoted to the study of stars and their social significance. Since the publication of his ground-breaking book, there have been many attempts at expanding his semiotic and sociological paradigm and also at redirecting the focus to gain a better understanding of the role of ideology, performance style or historically positioned audiences. One meaningful avenue of research was opened up, in particular, by Paul McDonald who has called for studying the industrial and economic processes behind what he calls the production of popular identities. While his model proved influential, it seems that most research projects are still dominated by emphasis on individual stars, neglecting or marginalizing other important agents in the star-making process. In this article, I propose to move one step further and refocus our attention on film producers, talent scouts, agents, publicists and other skilled professionals whose business was in the Hollywood studio era to discover, develop, promote and sell stars. Using a case study focused on producer David O. Selznick and his “Swedish discovery” Ingrid Bergman I demonstrate that the actress’ public identity – often assumed to be wholly authentic and autonomous – was in fact systematically constructed by Selznick’s independent production company.
3

On Cinderella Men and Peaceful Warriors: “Sportainment” in American Mainstream Cinema

75%
RADOŠINSKÁ J.
Communication Today
|
2018
|
vol. 9
|
issue 2
20–37
EN
Being one of the portmanteau words related to media entertainment, “sportainment” is a term that refers to the processes of merging sports and entertainment within the media sphere, predominantly for commercial purposes. Even though the concept is mostly discussed in terms of various forms of reality TV, live broadcasting of sports or globally successful spectacular sporting events such as the Olympic Games, there are many other forms of sportainment to consider. The author reflects on sportainment and its use in the present-day American mainstream film production. The aim of the article is to offer a set of theoretical outlines which are related to sport and its social, cultural and media frameworks, as well as knowledge on sports feature films produced in Hollywood and their thematic aspects. That is why the second part of the text addresses the ways various sports and athletes are portrayed in American mainstream films. The author works with the basic assumption that the current forms and variations of so-called sports dramas made in Hollywood apply multiple practices of genre hybridisation, and they thus tend to involve a wide variety of topics, ideas and heroes which may or may not be primarily focused on sport.
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