Search results - CEJSH

1

MOTIFS IN THE DECOR OF ART NOUVEAU ARCHITECTURE IN RIGA AND THEIR ORIGINS (Rigas jugendstila perioda arhitekturas dekora motivi un to izcelsme)

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Grosa S.

Makslas Vesture un Teorija

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2009

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vol. 12

5-21

EN

As soon as Art Nouveau began to appear in the architectural decor of Riga at the turn of the 19th and 20th centuries, depictions of nature became increasingly popular. Of course, there was not just the main and specific Art Nouveau approach, which Robert Schmutzler cleverly described as 'Biological Romanticism', there were also other ways of approaching the natural world. Paul Greenhalg has described this as 'symbolic conventionalization', pantheism, metamorphosis and evolutionism. Pantheism became the main strategy for interior design at the turn of the 19th and 20th centuries in Riga, particularly insofar as vestibules are concerned. By contrast, façades manifested ideas of conventional Symbolism or of metamorphosis and evolutionism. Stylisation of natural motifs was one of the most popular techniques in designing wallpaper and stenciled decor on walls. Specialist publications had a major influence when it came to selecting the range of colours and ornamentation and since the mid 19th century their number had increased very rapidly. In Riga, as in several other provincial centres in the Russian Empire, Historicism played a particularly important role in architectural décor. When architects and designers began to move toward Art Nouveau it was often in the context of a reinterpretation of motifs that were popular in various neo-styles. New meaning was also attached to motifs and subjects that had been tested in the decorative arts and remained well known in the latter half of the 19th century and whose sources were to be found in various popular publications such as the ornamental handbook by Franz Sales Meyer, the edition 'Alegorien un Embleme' issued by Martin Gerlach, etc.

2

HYBRIDISM OF DIGITAL PHOTOGRAPHY. THEORY AND PRACTICE

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Zawojski P.

Rocznik Historii Sztuki

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2006

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vol. 31

269-283

EN

The article deals with the issue of hybrid nature of digital photography, which in a model way meets the criteria presented by Lev Manovich in the context of description of new media. Apart from digital representation, modularity, automation, and variability, its characteristic feature is the possibility to transcode, idiosyncratic inter-mediality. The author depicts the theoretical horizon of the reflections on aesthetic and artistic consequences of the breakthrough caused by digital photography and adoption of new digital technologies in art. Digital photography participates in the formation of modern cyberculture - a new paradigm of media culture resulting from the development of computer technologies. Beside the theoretical ruminations, the author presents the works and ideas of Chinese-born American photographer, Daniel Lee. His works, such as the 'Manimals' (1993), 'Origin' (1999), 'Nightlife' (2001), he treats as a sui generis exemplification of the possibilities offered to the artists by a new, digital devices to create the works representing a totally new approach to the photographic medium. Digital photography is an example of cyberart, which very often refers to the synthophy of art, science and technology. Its hybridism manifest itself in the practices of 'cultural (re-)mix' consisting in continuous processing of both visual material within the range of individual work and re-working of photographic tradition. Over twenty-year tradition of this medium reveals that it is a border phenomenon - traditional, analogue photography based on photo-chemical processes is now increasingly often replaced by photographic digital images, which does not mean, however, that the era of post-photography, photography after photography, stands for the end of the art of photography. On the contrary - digital technology becomes a remarkable ally of such artists as Daniel Lee, who in original, creative and unique way create the universe of digital photography as a new medium.

3

The Word, the Picture and the Theatre. Comments on the subject of the 'Dominican Reflections'

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Kopania K.

Biuletyn Historii Sztuki

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2004

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vol. 66

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issue 1-2

7-48

EN

For years now Dominican Reflections, a manuscript originating from 1532 decorated with 119 miniatures describing the life of Christ from his arrival in Jerusalem to being laid to rest in the tomb, have been the object of thematically wide-ranging studies and analyses. Until the present moment a large number of works have been devoted either entirely or in part to the Reflections in relation to the culture of 16th-century Poland and their place in godliness at the turn of the mediaeval and Renaissance eras, the literary source which conditioned their creation, the text's linguistic properties and the miniatures' graphic prototypes. Apart from these, attempts have also been made to relate the manuscript with mystery theatre. It has even become a basis for general considerations on the mutual links between painting, literature and theatre. This article focuses on the question of the assumed dependence of Dominican Reflections, in its textual as well as pictorial level, on the mystery plays. Karol Górski, who discovered the manuscript, first suggested such a link with the theatre might exist, and especially with the non-existent Passion, which was supposedly staged by the Dominicans of Cracow in 1534, exerted a remarkably influence on subsequent research on the subject. Attempts have been undertaken to link the miniature with the tableau painting known as the Torun Passion originating from St. James's church in the city (1480), which is said to be strongly dependent in its form upon the mystery scene. It seems however that Górski's stipulations, just like those of later researchers following the same line of reasoning, find no support in source materials available as well as the ascertainments of researchers active in various academic fields. It is safer to accept Julian Lewanski's suggestion that the miniaturist himself was the author of such an innovative stage construction for which plans were depicted in his drawings. However, no evidence is available to prove his aim was ever to carry out such constructions, just as it is not known for whose use it might have been intended and what objective he had in mind. Stipulating that similarities exist between Reflections and the Torun Passion is completely unfounded. Furthermore, the second of these historical documents does not in itself reveal any dependence on mystery plays.The miniatures illustrating Dominican Reflections are dependent on the text, and not vice versa. 22 Illustrations.

4

GOING BEYOND THE NORM OF THE RECITATIVE IN ITALIAN 'DRAMMA PER MUSICA' 1600-1640

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Szweykowski Z. M.

Muzyka

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2006

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vol. 51

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issue 3(202)

3-26

EN

In the Italian 'dramma per musica' 1600-40, the basic means of producing melodic contour was the recitative. It comprised about eighty percent of the musical course of the composition. From the beginning of the genre's existence, composers had been introducing fragments consisting of a few bars which, being contradictory to the premises of the genre of recitative, disturbed its course. In musicological literature such fragments are sometimes called 'arioso', although one does not encounter such a description used as a term in the Italian 'dramma per musica' in the seventeenth century. However, those fragments which disturb the course of the recitative contribute towards the formation of features of the future arioso. Additionally, they result in an enrichment of the effects of the musical language of comic heroes. The process comes to be initiated in the period under discussion. The present article (which is a fragment of a book in preparation about the beginnings of 'dramma per musica' in Italy) presents its features on the basis of a number of examples. The disturbances in the course of the recitative are not motivated by purely musical considerations and introduced in freely chosen fragments, but in places where this is justified by the dramatic action. Their melodics is often little different from the recitative proper (frequent repetitions of a sound); in consecutive decades they become more differentiated. In general they are treated syllabically, but both little grazie and gradually increasingly expanded coloraturas are being introduced. Repetition of words not required by the rhetoric but on purely musical grounds becomes admissible. At times melodics is linked with triple metre or mobile basso continuo. This last is treated in two ways; at the beginning of the century it moves in longer values, not being very different from the basso continuo of the recitative. However, more typical here is the mobile basso continuo, differentiated both in terms of rhythm and melody. Going beyond the norms of the recitative, the metre in the fragments under discussion may be both duple and triple. In the latter case, the basso continuo may rhythmically double the vocal part

5

REDEFINING THE THEATRE?

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Lindovska N.

Slovenské divadlo (Slovak Theatre)

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2008

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vol. 56

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issue 3

319-325

EN

The authoress brings to attention the changes in the Slovak theatre of the latter half of the 1990s, which, beyond the magic line of the year 2000, have been increasingly powerful and dynamic. She makes note of the development of the plurality of theatrical forms. This process is linked to the process of the European integration of Slovak culture. She refers to the development of feministic theatre, art-therapy and drama-therapy, community theatre, and to particular individualistic concepts of the visual theatre. She contemplates the dynamic development of the Slovak theatre science, literature, and the theatre. In the authoress' view, the development of the invariant forms of the theatre and theatricality, new experiences, information and terminology pose a challenge to redefining the theatre of our time

6

Ken Russell: A Look at the Artist's Biography

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Kolos S.

Kwartalnik Filmowy

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2006

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issue 53

52-59

EN

The authoress examines the issue of British biographical films. Making references to the most known biopics, Alexander Korda's 'The Private Life of Henry VIII', David Lean's 'Lawrence of Arabia' and Richard Attenborough's 'Chaplin', she traces the manner in which the biographies of historical figures have been dealt with. She points to the peculiar traditionalism of the directors who tried to promote national heroes, to remain faithful to facts and to render the socio-political atmosphere of the time period. She also points to the 'subversive trends' of the directors who treated historical figures with less profound reverence. Ken Russell, with his films 'The Music Lovers', 'Mahler' and 'Lisztomania', is one of the directors, she says. In her view, the common feature of the film portraits of the artists is oneiric imagery, lack of logical dramatic construction and peculiar and pretentiousness. The films also visualize the director's personal obsessions, which makes them particularly prone to various interpretations. In the conclusion the authoress says that it is necessary to re-define the term film biography with reference to the films by Russell.

7

THE KITCHEN DEBATE. THE HISTORY OF A RECORDING AND A PHOTOGRAPH (Debata kuchenna. Historia jednego nagrania i jednego zdjecia)

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Gizycki M.

Kwartalnik Filmowy

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2009

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issue 65

220-223

EN

In 1959 the Vice-president of USA, Richard Nixon visited Moscow in order to take part in the opening ceremony of the American National Exhibition. The main attractions of the exhibition were fully furnished American interiors, for example a fully equipped kitchen. The exhibition was of a significant symbolic importance: it signaled a thawing of the relations between East and West. It also showed that after years of isolation, USSR was ready to show its citizens how people live in the capitalist system.The authori writes about the 'kitchen debate' between Nixon and Khrushchev, the photograph published in the Soviet newspaper 'Izvestia' and about the famous photograph taken by William Safire.

8

NARRATION IN THE RAIN. ABOUT HEAVY RAIN - A GROUNDBREAKING GAME FROM THE QUANTIC DREAM STUDIO (Narracja w deszczu. O Heavy Rain, przelomowej grze studia Quantic Dream)

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Pitrus A.

Kwartalnik Filmowy

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2010

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issue 71-72

281-290

EN

In the introduction the author presents an overview of technological developments in games of the sandbox category. Games of this type do not have a linear storyline forced upon the player and are not particularly popular on the market. Heavy Rain appears to be a groundbreaking development in this area. Pitrus supposes that the game might give rise to a new trend in interactive entertainment, and for sure will prove to be a challenge for theoreticians. The shape of 'narration' in Heavy Rain is different from most interactive games, as the characters are not immortal, and in the case of failure in a stage of the game, the game does not end, but continues, taking on a different character. If we are not happy with the events taking place, we can restart the game, and retry to influence the destinies of the characters. In his further analysis of the narrative meanders in Heavy Rain Pitrus refers to the theories of Rick Altman, David Bordwell and Jacek Ostaszewski. He concludes that the pleasure of playing Heavy Rain, comes above all from the sphere of building the narrative.

9

REMBRANDT VAN RIJN AND MICHAEL WILLMANN, OR A STORY OF DISPELLING A CERTAIN MYTH (Rembrandt van Rijn i Michael Willmann, czyli historia upadku pewnego mitu)

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Koziel A.

Rocznik Historii Sztuki

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2008

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vol. 33

153-176

EN

The article presents a new interpretation of artistic relation between Rembrandt van Rijn and Michael Willmann (1630-1706), the greatest Silesian painter in the age of Baroque, who came for education to Amsterdam around 1650. The author shows how a myth of Willmann as 'Silesian Rembrandt - the pupil and follower of the master of Amsterdam was created in 19th- and 20th-century literature. On the basis of a new reading of the biography of Willmann published by Joachim von Sandrart in 1683 in the Latin edition of 'Teutsche Academie der Bau-, Bild- und Mahlerey-Knste' and an analysis of the series of twenty prints by Josef Gregory, carried out in 1794-1795 after Willmann's drawings - the most probable documentation of the artist's education in Amsterdam - the author tries to revise the myth and reconstruct a real role Rembrandt and his art played not only in the education of Willmann, but also in his later artistic activity (drawings, paintings and etchings). In conclusion the author states, that Willmann did not follow the Rembrandtesque inspirations because the Italian art was an artistic ideal for him. Unfortunately, not having enough money Willmann could not go to Italy to provide full artistic education for himself. It was Willmann's life defeat and the painter was aware of lacks in his artistic education till the end of his life (Polish Summary).

10

THE LIFE AND WORKS OF DAMIAN STACHOWICZ IN THE LIGHT OF NEWLY DISCOVERED DOCUMENTATION

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Jochymczyk M.

Muzyka

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2006

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vol. 51

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issue 3(202)

67-83

EN

The article presents the results of research conducted at the Roman 'Archivio Generale delle Scuole Pie', as well as Polish, Slovak and Hungarian State and Piarist archives. This research has made it possible to establish with relative accuracy the details of the biography of Damian Stachowicz, one of the most prominent Polish composers of the second half of the seventeenth century. At the age of 17, Stachowicz entered the Piarist monastery in Rzeszów, taking the name of Damian of Holy Trinity. He was educated at the local Piarist school. From 1678 he lived at the monastery in Prievidza, where he was educated in the areas of philosophy and theology, taught a grammar class, and most probably continued to be involved in music as well, since a large number of his compositions is mentioned in the musical inventory of that monastery. During 1681-1690 he was active in Warsaw, where he was ordained into priesthood. From 1691 until his death he lived in Lowicz, fulfilling the duties of choirmaster, teacher of rhetoric and theology, prefect of the school (from at least 1696), and finally vice-rector of the collegium (from 1698). He died on 27 November 1699. Stachowicz's known legacy includes genres of church music for liturgical and non-liturgical texts: psalms (8), a litany (1), a requiem (1), motets (2) and concerti (2). Out of fourteen compositions, three are preserved in incomplete form, and further two only in fragments.

11

THE YEARS OF GREYNESS

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Kret A.

Slovenské divadlo (Slovak Theatre)

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2005

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vol. 53

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issue 3

229-233

EN

(First indications of changes in an artistic orientation of the Slovak post-war theatrical art in recollections of a participant) During the period between 1950s and 60s also the Slovak theatrical culture was trying to adjust to oppressive heritage of schematise and non-creative application of descriptive-realistic theatrical dogmas. In the time when a group of young theatre critics was considering the possibility of criticising the lurking stage style of a certain part of the Slovak National Theatre drama repertoire, this troupe took part in an extremely successful trip to the Soviet Union. Following favourable international acceptance thus significantly affected critical reservations against the artistic programme of the Slovak National Theatre, and entirely eliminated some of then registered contributions.

12

Tadeusz Konwicki's 'Salto' as Film Adaptation of His Writing Method

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Kaniecki P.

Kwartalnik Filmowy

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2007

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issue 59

113-146

EN

The authort argues in his essay that 'Salto' heralds the most mature stage of Konwicki's creative activity in which the correspondence of the components of his various works is based on the principle of complementing or self-interpretation and not - as in the case of 'Salto' - on the principle of polemical dialogue. The writer-turned-director's third film is a self-polemical dialogue towards 'A Dreambook for Our Time'. As Konwicki says he had elevated himself too much in the book, so he made the film to dissociate himself from himself. The novel-film relationship is built not only by numerous fictional parallels but also by the structure of the represented world. In Salto Konwicki drew on the poetics supported by means of expression that constituted the cinematic equivalent of his writing technique. The author focuses on the analogies between formal elements of the two works, which build the category of unreality and conventionality of the represented world and the status of the narrator-protagonist.

13

THE CHARACTER OF UNKNOWN WITH JULIUS BARC IVAN AND ITS REALISATION ON THE SLOVAK STAGES

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Zamiskova B.

Slovenské divadlo (Slovak Theatre)

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2007

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vol. 55

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issue 2

163-174

EN

The Slovak dramatist and prosaist Julius Barc-Ivan (1909-1953) was in the period of the Second World War working besides other pieces also on a drama 'Neznamy' (Unknown). In this drama with three acts seven male characters - representatives of the city headed by Mestanosta - are featuring. The character of unknown is never shown on the stage. The unknown is taking a concrete image mainly through attitudes of other characters taken towards him. The drama 'Unknown' was produced and performed by three theatre bodies. In 1944 the Slovak Chamber Theatre in Martin (directed by Jan Martak, stage settings by Emil Mankovicky), in October 1969 'Unknkown' was introduced by the Regional Theatre in Nitra (directed by Karol Spisak, stage settings by Frantisek Perger), and in Bratislava the drama was introduced in 1995 (directed by Pavol Haspra, stage settings by Vladimir Suchanek). The TV staging version had its first run in 1992 (directed by Martin Kakos).

14

IMAGES COMING TO LIFE: PETER WATKINS' 'EDVARD MUNCH' (1974) AND JEAN-LUC GODARD'S 'PASSION' (1982) (Ozywianie obrazow: 'Edvard Munch' (1974) Petera Watkinsa i 'Pasja' (1982) Jean-Luca Godarda

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Mazierska E.

Kwartalnik Filmowy

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2009

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issue 65

117-128

EN

The aim of this article is to show how Watkins and Godard reconstruct the creation of paintings from ages past. The authoress notices that these directors, literally and metaphorically put the painting in motion, using techniques available to the film maker. At the same time as they analyse the paintings, they perform an auto analysis of sorts. Especially for Watkins, the analysis of life and work of Edvard Munch is a medium through which he reaches his own identity and subjectivity, a way of looking at one self as the 'other'. Godard's aim is to show the viewer that film consists of images that do not have to form a coherent narrative. The vanguard character of these films is explained by the period of their creation: from mid 70s till early 80s. These two films are a swan song of cinematic modernism, with its roots in the high arts, and conviction that cinema is the rightful heir of fine art.

15

RIGA CHIEF ARCHITECT JOHANN DANIEL FELSKO AND THE PINKI ST. NICHOLAS'S CHURCH (Rigas pilsetas buvmeistars Johans Daniels Felsko un Pinku Sveta Nikolaja baznica)

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Lace D.

Materiali Latvijas makslas vesturei

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2003

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vol. 3

44-54

EN

The old, deteriorated wooden churches were replaced with new stone buildings in the Riga Patrimonial District during the 19th century. Churches at the Pinki estate (Pinkenhof) that belonged to the Riga city were designed by the Riga chief architect and builder Johann Daniel Felsko (1813-1902). In 1856, Felsko designed the project of the St. Nicholas's Church in the so-called semi-circular arch style (Rundbogenstif). It was a hall church with a nave, two aisles, a polygonal apse and a Western tower. The complicated arrangement of premises at the Eastern side of the church coincides with designs of the Danish Neo-Classicist Christian Frederik Hansen (1756-1845), Felsko's instructor at the Copenhagen Royal Academy of Art. In 1862 the Cash Board of the Riga City Council examined the second, Neo-Gothic project of the St. Nicholas's. Considering the previous objections, the architect had prepared a design with a simple planning and ascetic, early Gothic decoration. If the project was accepted in general, except some small comments on decoration, financial and technical problems were just coming to the fore. In 1864 the parish members wrote to the City Council that it is impossible to build the church with their own powers. The State Inspectorate for Heritage Protection of Latvia keeps the third variant (photocopy) of the St. Nicholas's project. Dated by the year 1871, this one was used for building of the church. The architect had especially elaborated on the composition of tower and the arrangement of decorative elements. The foundation stone of the Pinki St. Nicholas's Church was laid on May 25, 1872, and the consecration took place two years later, on June 16, 1874. It is a hall church with a Western tower and a polygonal apse with symmetrical extensions. Rubble was used as the main building material but decorative elements are made in red brick. The church interior has retained most of Felsko's ideas from the first project - rood-screen (Lettner), direct ascent from the priest's dressing room to the pulpit and elevation in the covering of the central part of the nave.

16

A PIETA AT THE 'GERMANISCHES NATIONALMUSEUM' - IMPORTATION OR A WORK OF LOCAL PRODUCTION?

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Kvapilova L.

Umění (Art)

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2007

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vol. 55

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issue 6

442-458

EN

There is a wooden Pieta at the 'Germanisches Nationalmuseum' in Nuremberg labelled 'Salzburg, circa 1390'. This is how Heinz Stafski characterised it in the museum catalogue of 1956. In the museum yearbook of 1941 it was described with the words 'Prague, circa 1400' and at an exhibition titled 'Kunst und Kultur in Böhmen, Mahren und Schlesien' as '(Southern) Bohemia'. This article aims to reassess these controversial arthistorical determinations regarding the work in question. Whereas we find no direct analogues either in Bohemia or in the Salzburg region for the Nuremberg Pieta, two wooden Pietas closely akin to the Nuremberg sculpture in style and motif have survived in the Mittelfranken region: one Pieta in the All Saints Church in Allersberg and another in the St George parish church in Dinkelsbuhl. The monumental Allersberg Pieta (circa 1400-1410) foreshadows the expressive insistence and the effort to approach the real developments that followed the Beautiful style. By contrast, the composition, a square outline and the body of Christ in horizontal position, alludes to Bohemian-style horizontal Pietas. It is not impossible that the sculptor already knew this work, which was thirty years older, or had perhaps studied Pietas imported into Bavaria from Bohemia. Despite the differences in composition, the Allersberg and Nuremberg Pietas share such similarities which suggest the possibility of common origins in a single workshop. The Dinkelsbuhl Pieta closely resembles the sculptures at the Allersberg and Nuremberg museums in the physiognomy of Mary's face and hair. The arthistorical assessment that the sculpture at the Museum is from 'Salzburg' or 'Prague' thus appears to be unsuitable. It seems instead that the Pieta may be considered a domestic product from a Franconian workshop working within the framework of the International style and under the influence of the contact between the two Central European artistic centres of Prague and Nuremberg.

17

ROBERT KONSTANTIN SCHWEDE - A HALF-FORGOTTEN NAME IN LATVIAN ART HISTORY (Roberts Konstantins Svede - piemirsts vards Latvijas makslas vesture)

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Smite E.

Makslas Vesture un Teorija

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2006

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vol. 6-7

65-70

EN

Painter Robert Konstantin Schwede's 200th anniversary is a good reason to present an overview of his creative career and to examine some of the problems that arise in this context. Artists with identical or similar surnames are often found in various sources of information; two painters usually appear under the name of 'Schwede' - Robert Konstantin Schwede (1806-1871) and his cousin Theodore (Fyodor Fyodorovich) Schwede (1819-?). Both are associated with the St. Petersburg Academy of Art where they obtained their artist's qualification. The same time span and links with the Academy have created a series of misunderstandings in encyclopaedic sources, publications and museum work with respect to the attribution of paintings. The situation becomes even more complicated because Theodore Schwede's brother Adelbert Schwede also took up painting. Considering the three above-mentioned artists, Robert Schwede has been most often associated with Latvia. As far as the author knows, of Robert Schwede's portraits only the 'Portrait of Maria Miln' is in Latvia (collection of the Latvian National Art Museum), but no sure facts are known about his landscapes. The majority of over 30 Robert Schwede's works are owned by the families of his progeny in Russia and Germany. These works are accessible to the author only in photographs, so any conclusions are fragmentary. Opinions on Robert Schwede start with Wilhelm Neumann's publications. Latvian art historian Janis Silins has described the artist more completely, as Karl Timoleon von Neff's contemporary and pupil but not his follower. Although Schwede adopted many techniques from Neff he did not follow him in the Raphael tradition.

18

SUSAN SONTAG AND ETHICS OF PICTURE

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Leszkowicz P.

Rocznik Historii Sztuki

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2007

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vol. 32

185-208

EN

The text is dedicated to the last book by Susan Sontag 'Regarding the Pain of Others', from 2003 and her last essay 'Regarding the Torture of Others' from 2004. Her ruminations on the war photography are presented in the context of her biography, history of her reflection on photography and American imperialism, as well as her involvement in the fight for human rights. Susan Sontag ruminated on photographic representations of violence and human suffering in reference to the modern media culture. Her analyses pertained to the history of war report, photographs of lynch mobs, photographic evidence of the World Trade Center attack and photographs of tortures from Abu Ghraib. The authoress contemplated the ethical impact of photographic images of suffering. The article presents the various doubts of Susan Sontag as to impingement of such representations. It was emphasised that Sontag departed from her early scepticism: photography expressed in her book 'On Photography'. In her last reflections on photography she stressed its role played in protest against violence and its ability to mirror and convey the truth about the reality of war. For Sontag photography plays also a role in disclosing the truth about the dark side of human nature. The ruminations of Susan Sontag on the violence images are situated in the context of using violence by the media as the weapon in the present 'war against terrorism' and of the art by Alfredo Jaar pertaining to the alternative presentations of genocide. The essay emphasises an ethical approach to photography and relationship between visuality and human rights. It is supplemented by an outline of a history of war photography.

19

Václav Koranda ml.: O zpievaní a čtení českém tractat. Příspěvek k dějinám užívání českého jazyka v liturgii

100%

Batova E.

Hudební věda (Musicology)

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2009

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vol. 46

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issue 1-2

31-57

EN

The musicologists examining the share of liturgical chant in Czech language in the Jagellonian period often encounter the problem of lacking historical sources. Therefore it is surprising that the treatise of Vaclav Koranda the Younger, an important official of the Utraquist church in his time, has not yet been studied in detail. The authoress' study tries to square up with this; it analyses first the content of the treatise and its possible outreach to the liturgical practice, then it brings new observations on the development of liturgical chant translation into Czech made on the basis of the study of the Kolin cantional. At the end she has attached the complete edition of the Koranda‘s treatise.

20

HOLLYWOODEN HEART. ELVIS PRESLEY'S FILM CAREER (Hollywooden Heart. Filmowa kariera Elvisa Presleya)

100%

Stacewicz J.

Kwartalnik Filmowy

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2009

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issue 66

108-126

EN

During his life Elvis Presley played in over 30 films. His first films from the second half of the fifties looked promising. The films fitted well with the then popular genre of films dealing with young rebels, and Presley was being groomed to take the place of James Dean. However a combination of factors prevented this plan from coming to completion and changed the path of his career. Soon a model of an Elvis movie was developed - that is a film with a predictable story and wooden characters, a film that was far below the standard of the early films with Elvis. This series of banal music comedies unfortunately came to represent his entire acting career. Many of these productions are now being reconsidered, and research into his career has shown that Elvis could have taken part in many excellent films, but was prevented from doing so by his manager.

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