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  1. 2 Studia Humanistyczne AGH

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  1. 2 Konefal S. J.

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  1. 1 2011

  2. 1 2010

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BETWEEN UTOPIAN TOURISM GAZE AND DYSTOPIAN INAUTHENTICITY: THREE ROAD MOVIES ABOUT ICELAND (Miedzy utopia turyzmu a antyutopia nieautentycznosci. Trzy filmowe podroze po Islandii)

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Konefal S. J.
Studia Humanistyczne AGH
|
2011
|
vol. 10
|
issue 1
203-213
EN
The road movie is a genre associated with the American counterculture breakthrough of the late sixties, which both criticised the 'American way of life' and in a sophisticated way also strengthened the capitalistic system. Icelandic road movie uses the semantics and syntactic known from the American productions by combining them with national and transnational components. Marked by irony, the postmodern perspective of such movies as Julius Kemp's Blossi/810551, Fridrik Fridriksson's Cold Fever and Solveig Anspach's Back Soon may be read as a visual invitation to get acquainted with the touristic utopian image of Iceland. However, the close reading of these productions can also indicate that they may be regarded as cultural texts that attempt to deconstruct the inauthentic images of the utopian island.
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THE APOSTLES OF INTERGALACTIC RELIGIOCITY. MOTIF OF SPACE CONTACT IN NEW HOLLYWOOD CINEMA (Apostolowie miedzygwiezdnej religijnosci. Motyw kosmicznego konfliktu w kinie nowej przygody)

100%
Konefal S. J.
Studia Humanistyczne AGH
|
2010
|
vol. 9
85-96
EN
American science fiction cinema of the 1970s began To employ eclectically presented references to eclectic views on religious topics. Films directed by artists such as Steven Spielberg and George Lucas offered viewers the stories influenced by the Christian and Buddhist symbolism as well as selected theses of the New Age Movements. The authors wanted to create in their productions new religiousness patterns, derived from the writings of some leading figures of the counterculture, such as Herbert Marcuse, Charles Reich, and Theodore Roszak. For this purpose they processed some storylines from science fiction novels and mass culture. This strategy was continued in the 1980s and first half of the 1990s, however the productions from this period showed a radicalization of the educational-ideological context which was associated with the conservative policy of the USA during this period. The end of the 1990s and the first decade of the twenty-first century is a period of erosion the New Age optimism of science fiction cinema. The growing popularity of plots with catastrophic and dystopian visions of the future indicates that religious topic in contemporary cinema fulfills different functions.
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