Search results

1

Chodzić do kina

100%

Głowiński M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2011

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vol. 8

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issue 15-16

202-202

EN

.

PL

Chodzić do kina

2

Ewa Fiuk, "Obrazo-światy, dźwięko-przestrzenie. Kino Toma Tykwera" (Centrum Studiów Niemieckich i Europejskich im. Willy’ego Brandta, Oficyna Wydawnicza ATUT, Wrocław 2016, ss. 289)

63%

Włodek P.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2017

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issue 9(4)

128-129

XX

Recenzja książki.

3

Rozwój i funkcjonowanie kin w Łodzi

51%

Litaszewska A., Mordwa S.

Space – Society – Economy

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2008

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vol. 08

EN

This case study considers the development and functioning of the cinemas in Łódź as a complex process of decision making which several interests and concepts with one other. Contemporary cinemas network in the city is the result of different localization decisions in various periods of the history of the city. The paper concerns: the genesis of cinemas network, cinemas present situation and current functioning; the image of the Łódź's cinemas.

PL

Od początku swego powstania kino cieszyło się ogromną popularnością. W początkowej fazie rozwoju sieci kin nierzadko zdarzało się, że kina ze sobą sąsiadowały, a mimo to dobrze prosperowały. W latach 70-tych ubiegłego wieku, latach największego rozkwitu sieci łódzkich kin, wciąż powstawały nowe placówki. Później niestety nastąpił jednak regres. Wyniknął on głównie z utraty widzów na rzecz innych odbiorników audiowizualnych i form przekazu, oraz ze zmiany zachowań klientów i ich preferencji gospodarowania wolnym czasem. Swoje piętno na kinach odcisnęły również: kryzys społeczno-gospodarczy ostatnich dekad XX wieku, a następnie procesy transformacji. Obecnie w Łodzi obserwować można efekty ścierania się dwóch głównych tendencji w polskim kinie. Z jednej strony są wielo- i wielkosalowe sieci kin premierowych nastawione ze swoim produktem na widza popularnego. Stoją za nimi wielkie, nawet ponadnarodowe, koncerny dystrybucyjno-medialne. Alternatywę dla nich stanowią kameralne kina studyjne, preferujące niszowy, ambitny repertuar. Kina te nakierowane są na różnorodne formy kontaktów bezpośrednich z widzami, oferują wiele festiwali artystycznych i imprez okołofilmowych.

4

18 FESTIWAL KINA LATYNOAMERYKAŃSKIEGO W LIMIE

51%

Kotarski J.

Ameryka Łacińska. Kwartalnik analityczno-informacyjny

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2014

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vol. 22

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issue 3-4(85-86)

106-111

5

Kino Nipponu przełomu cyfrowego

51%

Bochniarz M.

Przestrzenie Teorii

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2014

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issue 22

287-291

EN

This article is a review of a book written by Mitsuyo Wada Marciano – Japanese Cinema in the Digital Age. The author of this book examines the recent developments in the Japanese film industry at the turning point in the development of digital technologies. The book seeks to overcome the western approach to the subject, reinterprets classic films and explores new trends in transnational Japanese cinema (the term was proposed by the author to explain the situation of Japanese films in the context of Asian countries).

6

Zachód słońca. Scenariusz filmu kinowego

51%

Filipowicz K., Różewicz S.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2009

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vol. 7

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issue 13-14

280-308

EN

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PL

Zachód słońca. Scenariusz filmu kinowego

7

Totalitaryzm w historii kina science fiction

51%

Patrzylas A.

In Gremium. Studia nad Historią, Kulturą i Polityką

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2016

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vol. 10

191-201

EN

Science fiction genre has more than a hundred years of history. At this time, it has experienced a significant evolution, being divided into several subgenres along the way. The purpose of this article is to systematize, analyze and describe this extremely extensive genre, which is very important, both because of its artistic contribution to the history of cinema, as well as its content, including the characteristics of the population, eminent units and their types and exemplification. Science fiction cinema has also never avoided political references. The history of science fiction film has been introduced in chronological order. The timeframe of the analysis results from subjective and intuitive selection and the purpose of this is the fullest and most transparent presentation of the genre history. The article is about the whole science fiction, however, particular interest will be aimed at films referring to the issue of totalitarian regimes.

8

O sztukach mechanicznych oraz estetycznym i naukowym awansie anonimowych jednostek

51%

Rancière J.

Panoptikum

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2008

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issue 7(14)

15-21

EN

This essay is a representative excerpt from Jacques Rancière’s book Le Partage du sensible. Esthetique et politique (eng. The Politics of Aesthetics: The Distribution of the Sensible) – one of the most significant books concerning relations between art and politics, in which Rancière systematically and comprehensively formulates the basis of his aesthetic theory, from the definition of the main title notion, through account and analysis of the three main regimes of art, to the reflection on the relations between the artistic creation and labor (where he refers to young Marx). Taking into account the general profile of “Panoptikum” we decided to publish the fragment on mechanic arts.

9

I tak oto kończy się świat...: Jubileusz, The Last of England i współczesność jako Apokalipsa

51%

Rode D.

Panoptikum

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2010

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issue 9(16)

120-132

EN

The article interprets the apocalyptic visions of the future in two films of British filmmaker Derek Jarman. Both Jubilee and The Last of England contrast Arcadian images of the past (Elizabethan period in first case, director’s childhood in the second) with the contemporary/future world of chaos and destruction to make a clear political commentary. Jubilee seems to concentrate on the influence of mass media on society and the possibility of resistance. The Last of England, edited after Jarman was diagnosed HIV-positive, refers to politics of Thatcher’s government, but also reveals a deep personal crisis.

10

Postmodernistyczne kino fantastycznonaukowe a ekologia

51%

Brerenton P., Szczubiałka M., Gierczak J.

Panoptikum

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2010

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issue 9(16)

30-55

EN

Pat Brereton analyzes postmodernist science fiction films in order to explore the “myth” of posthuman cyborgs and demonstrate that although these apparently transgressive postmodernist expressions can be applied to an ecological utopian discourse. Despite the fact that some contemporary theoreticians are dismissing interest in real spaces and seem to lean towards the utopian unlimited possibilities offered by cyberspace Brereton intends to search for renewed sublime mode which affirms and produces a ‘positive’ form of ecological expression. To this end he scrutinizes, among others, films such as Dark City, The Terminator and Alien Resurrection, to show how the discourse of post-human agency overlaps with ethical and ecological dialogue.

11

Wokół Choppersów Anny Okrasko

51%

Łazar A.

Panoptikum

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2008

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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.

12

Kino jako machina wyobraźni - teoria kina Gillesa Deleuze'a w kontekście teorii wyobraźni Immanuela Kanta

51%

Wejman K.

Panoptikum

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2014

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issue 13(20)

136-149

EN

The aim of this paper is to show that the film theory of Gilles Deleuze could be thought of as a new theory of imagination.

13

Filmowy ślad środkowoeuropejskiej tożsamości. Uwagi o filmie Niepochowany Márthy Mészáros

51%

Miller A.

Panoptikum

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2008

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issue 7(14)

331-334

EN

In her essay the author examines A Temetetlen halott by Márta Mészàros – a Hungarian director and screenwriter usually associated with feminist cinema. Due to the use of the quasidocumentary narrative strategy, A Temetetlen halott seems to fit the contemporary paradigm of telling (about) history. Produced in 2004, the film is a reconstruction of the last two years in the life of Imre Nagy, the legendary prime minister of the revolutionary Hungarian government in 1956, thus creating a perfect opportunity for the investigation of the so called Central European identity. A Temetetlen halott – a Polish-Slovak-Hungarian co-production – points to the close historical bonds between Poland and Hungary; the protest in Budapest was after all a sign of support for the changes taking place in Poland at that time (therefore one has to keep in mind that the revolt in Poznan in 1956 creates the historical context for these events). Built upon biographical experiences of real witnesses of the 1956 October revolution, the film shows the urgent need for an effort to keep the past alive, as it forms the basis of the collective identity.

14

Wszystko pod kontrolą? (Post)panoptyczne dystopie Haruna Farockiego

51%

Zając B.

Panoptikum

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2010

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issue 9(16)

193-205

EN

The author discusses the dystopian vision of contemporary world that gradually limits the freedom of individual using as illustration cinematic works of German documentary filmmaker and media theorist Harun Farocki. In the context of phenomena such as simulations, usage of innovative techniques of invigilation outside the gates of contemporary panopticons, functions of technical images and apparatus creating them, the author searches through Farocki’s works in order to find and answer to the question of where to find a space that would enable the strategies of resistance.

15

Jak zabija kapitalizm? Requiem dla snu Darrena Aronofsky’ego jako film radykalny

51%

Pietrzak J.

Panoptikum

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2008

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issue 7(14)

119-136

EN

The author mercilessly examines the neglected context of Darren Aronofsky’s film Requiem for a Dream – its radical and political significance. Pietrzak follows the film’s construction of the cinematic world and the way its postmodern form (editing full of redundancy, repetitions and chronological disorders, as well as other “non-transparent” devices, among which the physiological realism seems to be dominating) is almost entirely subordinated to its content (which, contrary to the empty variant of this kind of devices, that refer to nothing but themselves). Following Aronofsky, the author relates the postmodern interpretation of reality to its socio-economic dimension. Apart from interpretational movements of ideas, symbols and contexts, cinematic representation of the mechanisms of “structural, intentional and functional exclusion” become the most important issue. The author internalized the theoretical tools of Althusser, Adorno and Foucault, whereby he demonstrated the process of destruction of the culture appropriated by the capital.

16

The L Wor(l)d: Czasoprzestrzenie utopii/dystopii

51%

Pelczar M. J.

Panoptikum

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2010

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issue 9(16)

86-94

EN

This article explores the idea and representation of lesbian or non-heteronormative utopia at work in The L Word TV series. Drawing from such theorists as Grosz, Keinhorst, Johnson or Mellor the article attempts to capture selected utopian qualities of the series as well as to present various redefinitions of the utopian as such, for these redefinitions prove to be pregnant with consequences for the applicability of the concept of utopia in lesbian longing and striving for visibility and emancipation. As lesbian utopia has long been the subject of interest to lesbians themselves and an eroticized theme for heterosexist fantasy it comes as no surprise that the topic has returned in an immensely successful TV production, though the utopian quality in it might be described rather as hinted rather than stated explicitly. What this article insists on in particular is Elizabeth Grosz’s proposition to see the utopian as a mode of temporality and uncontrollable generativity as well as her observation that utopia is always a figure of self-undermining, thus always bordering on the dystopian. In this way my analysis is wary of treating the lesbian utopia as unequivocally emancipatory and didactic, yet seeing it nevertheless as very productive and refreshing both in respect to traditional invisibility of lesbianism or its marginality as well as to the cultural taboo that women should not occupy too much space, not to mention all the space. The text also interrogates the dystopian elements of the series, but from a point of view which sets them as not contradictory to its utopianism.

17

Hasło rewolucji permanentnej, czyli gejowska fantazja na tematy narodowe

51%

Szymański W.

Panoptikum

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2008

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issue 7(14)

163-175

XX

This text is an attempt to describe gay and Marxist coalition in politics, art and humanities. By the analysis of the works of three artists: Felix Gonzales-Torres (“Untitled. Ross in L. A.”), Pedro Almodovar (“All about My Mother”) and Tony Kushner (“Angels in America”), the author seeks to find and define Marxist and queer basis of thinking of those artists and their works. The essay is also a critique of Polish gay and leftist movements that, according to the author, use trivialized aspects of Marxist thought. The idea of emancipation is possible only in art and thought experiments, such as those offered by Torres, Kushner and Almodovar – the great artists, whose projects of emancipation based on deep and profound analysis of Marx and, conscious or not, queer thinking are the most beautiful political utopias that the world has ever seen and created.

18

Smutny los automatów. Sztuczni ludzie w dystopijnej ikonografii science fiction

51%

Konefał S. J.

Panoptikum

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2010

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issue 9(16)

73-84

EN

A robot is an important figure in the patterns of dystopian literature and science fiction cinema. Over the years, artificial humans played the roles of victims or enemies rebelling and fighting with homo sapiens. This conflict was related to the genesis of the robot, that was at the beginning an imaginary character serving the role of mechanical slave. Another important theme developed in dystopian science fiction is the usage of robots in the plots inspired by some counterculture theses. Such inspirations are presented in the short stories and novels of Philip K. Dick who successfully re-interpreted the most popular conventions of the genre. The clichés connected with the iconography of artificial humans also became a significant element of the plots in comic books and cartoons where they are often used to deconstruct some significant stereotypes and indicate postmodern crisis of identity.

19

Kultura audiowizualna i jej podmiot: kontrolowany technicznie schizofrenik

51%

Ilnicki R.

Panoptikum

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2014

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issue 13(20)

104-117

EN

Audiovisual culture annihilates boundaries between dualisms such as nature/culture and human/machine. In that process desire is also released and it can operate acrosss many regimes not being bound by dualisms.

20

Uwięzieni w środku Europy – dystopijne kino Béli Tarra

51%

Bartczak M.

Panoptikum

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2010

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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.

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Chodzić do kina

Ewa Fiuk, "Obrazo-światy, dźwięko-przestrzenie. Kino Toma Tykwera" (Centrum Studiów Niemieckich i Europejskich im. Willy’ego Brandta, Oficyna Wydawnicza ATUT, Wrocław 2016, ss. 289)

Rozwój i funkcjonowanie kin w Łodzi