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1

Mimicry – Principle of Identity Transformation from the Perspective of Digital Games Theory

100%
Rusňáková L.
Communication Today
|
2016
|
vol. 7
|
issue 2
18–29
EN
The article focuses on man’s identity in the environment of digital games. Special attention is given to clarifying one of Roger Caillois’s game principles (mimicry) and its application into the process of creating digital games. The author defines corresponding terminological axis and works with an assumption that the reflection on identity transformation related to digital ‘mimicry games’ remains a subject of discourse analysis in the dimension of digital game studies. One of the aims of the article is thus to define the term “game” from the position of game studies, taking into account its multidisciplinary character. The analysed game principle mimicry is specified in greater detail; the existence of direct connection between ‘mimicry games’ and simulated, interactive or fantasy games represents an important base for further inquiry and is placed in the centre of the author’s attention. Based on the defined theoretical outlines, the author has an opportunity to apply the acquired information directly on specific games that may be classified as digital ‘mimicry games’. The primary goal of the article is therefore to address the given phenomenon by explaining its presence and meaning in the context of various digital games.
2

Philosophical Meta-Story about The Little Prince as a Synergy of Book and Film Industries: On the Possibilities of Film Adaptation of Literature for Children and Youth

63%
Rusňáková L., Kopecká Z.
Communication Today
|
2022
|
vol. 13
|
issue 1
74-91
EN
The present study explores the ways in which children’s and young adult literature is adapted to film, as these stories allow the autonomous world of childhood, distinctly different from the adult perspective, to emerge. At the same time, however, literary testimony presented through children’s perception and interpretation of reality can bring contemporary social or existential problems closer to the adult reader through imagery accessible to people of all ages. A representative result of the confrontation of the children’s and the adult world is also the literary work of the French writer Antoine de Saint-Exupéry, originally intended for children. The depth and topicality of the philosophical fairy tale The Little Prince (originally in French, Le Petit Prince, first published in 1943) lie in the fact that it is one of the world’s most translated fairy tales, which has been the basis for numerous dramatic adaptations, re-editions and film adaptations. The main aim of the study is, therefore, to clarify the way the philosophical metanarrative of The Little Prince is expressed in the literary source and in the audiovisual film of the same name, The Little Prince (Le Petit Prince, 2015, directed by Mark Osborne). In order to achieve this goal, we apply a narrative analysis of both research materials based on analytical categories defined in the methodological section of the study. The identification and subsequent comparison of the chosen analytical categories is the starting point for determining the mode of filmic adaptation of the literary subject matter. The categorisation of film adaptations of literary works according to L. Giannetti and T. Leitch becomes the focus. Within the theoretical delineation of the issue under discussion, we point to its interdisciplinary character (the ‘intermingling’ of media and communication studies, literary criticism, but also media philosophy, film studies and other related disciplines), emphasising the cultural overlap of the philosophical metatheory of The Little Prince. This timelessness opens up space for further research into the possibilities of the story’s cinematic adaptations and interpretative planes. Characteristic logical-conceptual procedures are employed to achieve the stated aims.
3
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Signs and Values of Mainstream Audio-Visual Content Intended for Children and Youth

63%
Rusňáková L., Prostináková Hossová M.
Media Literacy and Academic Research
|
2022
|
vol. 5
|
issue 2
26-53
EN
Mainstream audio-visual culture is a firmly established part of our everyday lives, reflected in an uncomplicated approach of recipients to individual products as part of ordinary activities. Mainstream works compete for daily attention of media audiences, relying on the viewers' belief that desires, common to the entire society, can be realized in social reality. They raise the interest of the recipients mainly by means of perceived meanings, signs and values. Regarding the topic of the study, we assume that the story of audio-visual contents intended for children and youth equally reflects a set of several preferred values and signs from which the given content is built and which are part of most globally successful films. The main goal of the study is therefore the reflection of the globalization tendencies of the media industry in the sense of identifying the universal features and preferred values in mainstream images intended for children and youth. For the purpose of achieving this goal, we carry out a discursive analysis of the most commercially successful films of 2021 and one of the most profitable films worldwide within the entire “film history”, Spider-Man: No Way Home (2021, director Jon Watts), based on the analytical categories defined in the methodological part of the study. In this context, it is necessary to define the discussed issue from a theoretical point of view (with an emphasis on the cultural overlap of stories intended for a mass audience) supplemented by a case study (discursive analysis) of representative research material.
4

The Blockbuster Biopic Bohemian Rhapsody as an Expression of Cinema / Music Synergy

51%
Radošinská J., Rusňáková L., Točená Z., Schwarz M.
Communication Today
|
2023
|
vol. 14
|
issue 1
4-21
EN
The study focuses on Bohemian Rhapsody (2018, directed by Bryan Singer, later Dexter Fletcher), the biographical drama that reflects on the extraordinary lives and career patterns of the four members of the rock band Queen, predominantly the band’s frontman, Freddie Mercury. Given the fact that this feature film has changed the way we perceive the economic potential of biopics entirely, we offer an overview of some of the reasons why it was so successful in terms of the globalised film industry. The main objective of the study is to outline the biographical drama’s synergistic tendency in relation to the movie industry and the music business. Acknowledging Bohemian Rhapsody’s unprecedented global success, we work with the assumption that certain biographical dramas can, in fact, become globally popular, partly thanks to the fact that they utilise music as a nostalgia-driven narrative tool making portrayals of musicians deeper and more complex. The assumption is addressed via a theoretical reflection on the given topic and through a qualitative content analysis of the biographical drama Bohemian Rhapsody.
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