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1

Dracula as Inter-American Film Icon: Universal Pictures and Cinematográfica ABSA

100%

Barrenechea A.

Review of International American Studies

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2020

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vol. 13

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issue 1

259-277

EN

My essay explores the vampire cinema of Hollywood and Mexico. In particular, I trace the relationship between Universal Pictures as the progenitor of horror during the Great Depression and Cinematográfica ABSA's "mexploitation" practices. The latter resulted in the first vampire film in Latin America--"El vampiro" (1957). Rather than strengthening separatist national cinemas, the unintended consequences of genre film production make this a case of inter-American scope.

2

The market of major film distributors in Poland in 2002-2018

100%

Bartosiewicz A., Orankiewicz A.

Journal of Economics and Management

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2020

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vol. 39

5-20

EN

Aim/purpose – The purpose of the paper is to describe and analyse the functioning of the cinema distribution market in Poland in 2002-2018. Design/methodology/approach – The results of the quantitative research of the fifteen major film distributors operating in Poland in the analysed period are presented in the paper, together with market capacity, market share ratios and measures of market concentration. Findings – Thanks to the analysis, large distributors operating in the Polish film market are characterised. The analysis of the structure and the concentration of the sector in question shows that nowadays over half of the cinema distribution in Poland is concentrated in the hands of four companies (UIP, Kino Świat, Monolith and Disney), two of which (UIP, Disney) are foreign branches of the major American studios. Thus, the results of the research provide empirical evidence on the impact of international distribution consortia on the Polish cinematographic industry. They are similar to the existing literature findings which concern other countries (e.g. Canada, New Zealand, Western Europe). This means that Poland is part of the trend of dominance of American distributors on global domestic markets. Research implications/limitations – The paper opens a wider discussion about the Polish film distribution. Yet, the research results concern Poland and cannot be generalised to other countries. In addition, studies refer only to the cinema distribution, not taking into account other channels of distribution as DVD, VOD and online distribution. Originality/value/contribution – The cinema distribution market in Poland is still poorly recognised by researchers. The paper is a valuable addition to this research gap.

3

Kina w Lublinie w latach 1908-1939

86%

Staniak A.

Folia Bibliologica

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2004-2005

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vol. 46-47

7-17

4

Otázka rasy objektivem režisérů fašistické propagandy

72%

Červenková M.

Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

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2018

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vol. 57

131-138

EN

This article deals with movies made during the fascist era which are treating the topic of colonial expansion. I tried to analyse these films to find out if they were primarily racist and what message the fascist directors wanted to give to the public. I discovered that the films were mostly meant to justify the Italian intervention rather than to denigrate the African natives. In the movies the key scope was to show the Italians in the best light and depict them as a highly developed nation, which is able and willing to civilize the underdeveloped Africa. Through the analysis of these films we can take a look into the complex core of the fascist ideology.

5

Catholic Culture and Cinema in the Thirties: the example of L’Illustrazione Vaticana

72%

Torre P. D.

Perspektywy Kultury

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2018

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vol. 20

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issue 1

115-142

PL

Artykuł omawia magazyn L’Illustrazione Vaticana, publikowany przez wydawców L’Osservatore Romano w latach trzydziestych XX w. W tamtym okresie był dobrze rozwiniętym periodykiem, którego jed nym z istotnych tematów było kino. Znaczące osobistości katolickiego życia kulturalnego na tych łamach dyskutowały, analizowały, krytyko wały i inspirowały dzieła filmowe. Trzeba zaznaczyć, że opieranie się na kulturze katolickiej nie było w żadnym razie jedynie formą kultu rowej obrony, była to także postawa proaktywna. W związku z tym, lata 30. XX w. jawią się jako dekada, która obrodziła pierwszą znaczą cą kinematograficzną krytykę katolicką.

EN

This essay talks about the magazine L’Illustrazione Vaticana, edited by the newspaper L’Osservatore Romano during the Thirties. It’s an ad vanced magazine for that period and one of the field of his topics is cinema. From the pages of this magazine, the catholic culture stars to study cinema: analyzing it, criticizing it and encouraging it. It’s im portant to say that the attitude of catholic culture isn’t only a difensive attitude, but also a proactive. It’s in the Thirties that was born a first important catholic film critic.

6

THE CURRENT STATE OF LANGUAGE IN CONTEMPORARY ART AND CINEMA: FROM WILLIAM WORDSWORTH AND HUGO VON HOFMANNSTHAL TO JEAN LUC-GODARD AND MILOSZ ODOBROVIC

72%

Vaso J.

Świat Tekstów. Rocznik Słupski

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2019

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vol. 17

21-30

PL

Zdolność języka do pełnego uchwycenia ludzkiego doświadczenia lub objęcia nieograniczonej natury została zakwestionowana przed 1900 rokiem. W „Liście lorda Chandosa” Hugo von Hofmannsthala pisarz Lord Chandos dręczy się brakiem głębi języka, starając się myśleć „w bardziej bezpośredni sposób, bardziej płynny, jaśniejszy niż słowa”. Od tego czasu era cyfrowa przyniosła takie uproszczenie języka – z akronimami, emotikonami, rozmowami online i zwiększoną zależnością od obrazów – które bez całkowitego zrzeczenia się języka, nieumyślnie przenosi ludzkość w kierunku pewnego rodzaju cichego istnienia. Czy jest to znak apokalipsy języka, akceptacja jego nieadekwatności, czy tylko faza transformacyjna?

EN

The ability of language to fully capture the human experience or encompass nature’s limitlessness has been questioned since before the 1900’s. “O nature, and O soul of man! how far beyond all utterance are your linked analogies” writes Herman Melville in 1851’s Moby Dick. In Hugo von Hofmannsthal’s The Letter of Lord Chandos, the former writer Lord Chandos agonizes over language’s lack of profundity, seeking to think “in a medium more immediate, more liquid, more glowing than words.” Lord Chandos indeed describes a future “with a language that is no language and that, until this language is found, the only possibility is silence” (Richard Sheppard, Modernism: A Guide to European Literature), echoing Ludwig Wittgenstein’s words: “what can be said at all can be said clearly, and what we cannot talk about we must pass over in silence”. Since then, the digital age has brought on such a simplification of language – with acronyms, emoticons, chatting, and an increased reliance on images – that without entirely relinquishing language, is unintentionally moving humanity towards a kind of silent existence. Is this a sign of the apocalypse of language, an acceptance of its inadequacy or merely a transformational phase? In Invisible Cities, Italo Calvino attributes the undoing of language to the cyclical nature of communication, as Marco Polo and Kublai Khan shift from simplistic gestures to descriptive language and vice versa, failures of one leading to the reintroduction of the other. As contemporary art and cinema illustrate (specifically Jean Luc-Godard’s recent film Goodbye to Language as well as the works of modern artists like Milosz Odobrovic, among others) we find ourselves confronting the failures of language but not yet equipped to fathom a world without it.

7

Kim Jong Il: a film director who ran a country

58%

Levi N.

Journal of Modern Science

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2015

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issue 2(25)

155-166

EN

Th e considered text aims at explaining the passion of the former North Korean leader Kim Jong Il (1942-2011) for cinema. Th e paper will proceed in three steps: Explaining the Cinema Passion of Kim Jong Il, outlining its realizations in North Korea. Th e third party will focus on the kidnapping of Choi Seun Hee and Shin Sang Ok. Kim Jong Il wanted that all fi lms were made according to the North Korean ideology for which he was responsible. Starting from the mid 1970’s, Kim Jong Il implemented cinema in his strategical polical approach through some of the political departments of the Korea Workers’ Party. North Korean movies were supposed to strengthen and legitimate the power of the Kim family and the image of North Korea abroad. As far as media were under the control of the state organization Kim Jong Il was a director, a producer, even a costume maker, a screenwriter, cameraman, a sound engineer and he was also seen as a fi lm theorist. What has to be enlighten is the fact that until the his death, Kim Jong Il was aff ected by cinema.

Refine search results

1 Folia Bibliologica

1 Journal of Economics and Management

1 Journal of Modern Science

1 Perspektywy Kultury

1 Review of International American Studies

1 Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)

1 Świat Tekstów. Rocznik Słupski

1 Barrenechea A.

1 Bartosiewicz A.

1 Levi N.

1 Orankiewicz A.

1 Staniak A.

1 Torre P. D.

1 Vaso J.

1 Červenková M.

3 2020

2 2018