The article, “Look, here is a Polish film production.” Pre-war Polish musical comedy as a musical, is an attempt to prove that Polish musical comedies from the 1930s can be recognized as a local version of a classic film musical. Based on an analysis of two representative films from this period, Piętro wyżej (L. Trystan, 1937) and Zapomniana melodia (J. Fethke, K. Tom, 1938), the author proves that these productions are in line with the definition and determinants of the American genre. The historical context invoked allows the author to better describe the musical’s Polish variant and how it differs from the original. The article cites press reviews from the 1930s, based on which the author describes the evolving approach of critics and audiences to the changes in music present in these films as a result of drawing on American works. Finally, the article focuses on the importance of interwar musical comedies in Polish culture.
那篇文章，"看，这是一部波兰电影"战前波兰音乐喜剧作为一部音乐剧，是试图证明波兰音乐喜剧从20世纪30年代开始可以被公认为一部经典电影音乐剧的地方版本。通过对这一时期的两部代表性电影《Piętro wyżej》(L. Trystan, 1937)和《Zapomniana melodia》(J. Fethke, K. Tom, 1938)的分析，作者证明这些作品符合美国类型片的定义和决定因素。引用的历史背景使作者能够更好地描述这部音乐剧的波兰版本，以及它与原版的不同之处。文章引用了20世纪30年代的新闻评论，作者在此基础上描述了评论家和观众对这些电影中音乐变化的演变方法，这是借鉴美国作品的结果。最后，文章着重讨论了两次世界大战之间的音乐喜剧在波兰文化中的重要性。
{"title":"„Patrzcie, oto jest film produkcji polskiej”. Przedwojenna polska komedia muzyczna jako musical","authors":"Małgorzata Nowińska","doi":"10.14746/i.2022.40.13","DOIUrl":"https://doi.org/10.14746/i.2022.40.13","url":null,"abstract":"\u0000 \u0000 \u0000The article, “Look, here is a Polish film production.” Pre-war Polish musical comedy as a musical, is an attempt to prove that Polish musical comedies from the 1930s can be recognized as a local version of a classic film musical. Based on an analysis of two representative films from this period, Piętro wyżej (L. Trystan, 1937) and Zapomniana melodia (J. Fethke, K. Tom, 1938), the author proves that these productions are in line with the definition and determinants of the American genre. The historical context invoked allows the author to better describe the musical’s Polish variant and how it differs from the original. The article cites press reviews from the 1930s, based on which the author describes the evolving approach of critics and audiences to the changes in music present in these films as a result of drawing on American works. Finally, the article focuses on the importance of interwar musical comedies in Polish culture. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"189 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77384400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The term ‘flea market’, which we have now replaced with the more neutral ‘antique market’, has been known in Europe since at least the end of the 17th century. Its meaning and function have evolved over the centuries. Initially, the things gathered there were intended for the poorest people, who were able to buy the basic items they needed for daily living there cheaply. From the mid-19th century, flea markets became the focus of interest for collectors. Today, they fulfil a slightly different role. This is linked to a change in attitude to ‘old’, worn-out, broken and unfunctional things, to ‘junk’. This is sometimes associated with an environmentally friendly attitude. It is becoming fashionable to give objects a second life by transforming them, giving them a different meaning and function, sometimes creating original works of art through them, but this is not the only expression of a change in attitude towards discarded objects. The public visiting antique fairs is looking for unique, but imperfect, often worn-out objects with traces of use among the “rubbish,” which most often comes from the flats being emptied. Once introduced into the everyday surroundings of their new owners, they will contradict the unified world of objects that constitute the iconosphere of modern life. It cannot be ruled out that the interest in what until recently was considered something of rubbish dump is connected to the changes in everyday life, the acceleration of everyday existence that we have all experienced in recent years. Times of exceptionally rapid globalisation, the expansion of electronic media, which have revolutionised communication between people, often stripping it of personal contact, may translate into an attitude towards these “junk” objects. Perhaps this is how the fear of losing traditional, “old” values is expressed, the desire to preserve a piece of history and to establish a special relationship, based on imagination and empathy, with the owner of the discarded object.
{"title":"O targu staroci, ekologii i stosunku do przedmiotów starych","authors":"Małgorzata Hendrykowska","doi":"10.14746/i.2022.40.07","DOIUrl":"https://doi.org/10.14746/i.2022.40.07","url":null,"abstract":"\u0000 \u0000 \u0000The term ‘flea market’, which we have now replaced with the more neutral ‘antique market’, has been known in Europe since at least the end of the 17th century. Its meaning and function have evolved over the centuries. Initially, the things gathered there were intended for the poorest people, who were able to buy the basic items they needed for daily living there cheaply. From the mid-19th century, flea markets became the focus of interest for collectors. Today, they fulfil a slightly different role. This is linked to a change in attitude to ‘old’, worn-out, broken and unfunctional things, to ‘junk’. This is sometimes associated with an environmentally friendly attitude. It is becoming fashionable to give objects a second life by transforming them, giving them a different meaning and function, sometimes creating original works of art through them, but this is not the only expression of a change in attitude towards discarded objects. The public visiting antique fairs is looking for unique, but imperfect, often worn-out objects with traces of use among the “rubbish,” which most often comes from the flats being emptied. Once introduced into the everyday surroundings of their new owners, they will contradict the unified world of objects that constitute the iconosphere of modern life. It cannot be ruled out that the interest in what until recently was considered something of rubbish dump is connected to the changes in everyday life, the acceleration of everyday existence that we have all experienced in recent years. Times of exceptionally rapid globalisation, the expansion of electronic media, which have revolutionised communication between people, often stripping it of personal contact, may translate into an attitude towards these “junk” objects. Perhaps this is how the fear of losing traditional, “old” values is expressed, the desire to preserve a piece of history and to establish a special relationship, based on imagination and empathy, with the owner of the discarded object. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82202668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article explores the concept of studio filmmaking in the context of early Hollywood and a new incarnation of studio filmmaking in the age of digital visual effects. The author analyses the old studio era in terms of shaping the cinematic image (primarily compositing) and the meaning of the studio, understood as an atelier. Kalbarczyk argues that originally the final look of the film used to be achieved by blending all the shot elements in the physical space of the studio, while nowadays the final form is most often created in a virtual space, deepening the decentralization of the filmmaking process. The author argues that more than the atelier space, the new studio filmmaking concept would refer to the holistic way of thinking about cinema as a heterogeneous structure, not so much attained integrally through filming, but carefully constructed. Various dimensions of studio filmmaking are discussed using the following films: Sunrise: A Song of Two Humans (1927), Citizen Kane (1941), Everest (2015) and Avengers: Endgame (2019).
{"title":"Atelier, czyli tam i z powrotem. Ewolucja filmu studyjnego od czasów kina niemego do ery cyfrowej","authors":"K. Kalbarczyk","doi":"10.14746/i.2022.40.10","DOIUrl":"https://doi.org/10.14746/i.2022.40.10","url":null,"abstract":"\u0000 \u0000 \u0000The article explores the concept of studio filmmaking in the context of early Hollywood and a new incarnation of studio filmmaking in the age of digital visual effects. The author analyses the old studio era in terms of shaping the cinematic image (primarily compositing) and the meaning of the studio, understood as an atelier. Kalbarczyk argues that originally the final look of the film used to be achieved by blending all the shot elements in the physical space of the studio, while nowadays the final form is most often created in a virtual space, deepening the decentralization of the filmmaking process. The author argues that more than the atelier space, the new studio filmmaking concept would refer to the holistic way of thinking about cinema as a heterogeneous structure, not so much attained integrally through filming, but carefully constructed. Various dimensions of studio filmmaking are discussed using the following films: Sunrise: A Song of Two Humans (1927), Citizen Kane (1941), Everest (2015) and Avengers: Endgame (2019). \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81267000","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper provides an analysis of the documentary Polluting Paradise (2012) by Fatih Akın within the context of eco-trauma cinema. The movie depicts ecological contamination as a social problem and mutual catastrophe, exactly as the theory of eco-trauma cinema suggests. Through a careful observational mode of filmmaking that characterize Polluting Paradise, the mechanisms that are responsible for environmental pollution are being scrutinized. The author argues that the movie combines documentary techniques with melodramatic structures for the sake of the audience’s emotional involvement. The article concludes with a reflection on the cinematic rhetoric used by Akın to affect the viewers.
{"title":"‘You’re ignoring the truth’ – Fatih Akın’s Polluting Paradise (2012) and Eco-Trauma Cinema","authors":"Adam Domalewski","doi":"10.14746/i.2022.40.03","DOIUrl":"https://doi.org/10.14746/i.2022.40.03","url":null,"abstract":"\u0000 \u0000 \u0000The paper provides an analysis of the documentary Polluting Paradise (2012) by Fatih Akın within the context of eco-trauma cinema. The movie depicts ecological contamination as a social problem and mutual catastrophe, exactly as the theory of eco-trauma cinema suggests. Through a careful observational mode of filmmaking that characterize Polluting Paradise, the mechanisms that are responsible for environmental pollution are being scrutinized. The author argues that the movie combines documentary techniques with melodramatic structures for the sake of the audience’s emotional involvement. The article concludes with a reflection on the cinematic rhetoric used by Akın to affect the viewers. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"77 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77860179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article examines the ways in which the slowly evolving and invisible processes of the ongoing ecological crisis can be represented in the format of a contemporary serial television drama. The author argues that despite heavy reliance on spectacular and captivating character-born plots, the long-form storytelling of new television narratives can be well suited to representing the complex and unspectacular temporalities of the ecological crisis. With the Swedish-French Arctic noir TV series Midnight Sun as a case study, the analysis shows how a highly spectacular criminal plot is developed to reveal the invisible temporal action and nonhuman agency of a special kind of waste paradigmatic of the era of the Anthropocene, defined by Timothy Morton as a hyperobject (2013). This idea is established in Midnight Sun not only by placing radioactive waste at the center of the narrative but also by gradually foregrounding its nonhuman agency behind the events. The aim of the analysis is to demonstrate that by both using and reimagining the conventions of the television crime drama (Arctic noir), Midnight Sun translates into quotidian terms the unspectacular and long-term aspects of human-induced ecological destruction, which surpass the individual human scale and evade our cognition. An important strategy adopted in Midnight Sun is bringing together two levels of criticism: ecocritical and postcolonial. The slow ecological violence (R. Nixon, 2011) and nuclear colonialism (G. Schwab, 2020) exerted by the powerful against regions and people who are globally less visible are depicted as a continuation of the history of colonization, and more specifically, the systemic and longstanding ill-treatment of the indigenous Sámi people in Sweden.
{"title":"Rendering slow ecological crisis in a popular medium: Hyperobjects and Sámi resistance in the Swedish-French TV series Midnight Sun","authors":"A. Mrozewicz","doi":"10.14746/i.2022.40.02","DOIUrl":"https://doi.org/10.14746/i.2022.40.02","url":null,"abstract":"\u0000 \u0000 \u0000The article examines the ways in which the slowly evolving and invisible processes of the ongoing ecological crisis can be represented in the format of a contemporary serial television drama. The author argues that despite heavy reliance on spectacular and captivating character-born plots, the long-form storytelling of new television narratives can be well suited to representing the complex and unspectacular temporalities of the ecological crisis. With the Swedish-French Arctic noir TV series Midnight Sun as a case study, the analysis shows how a highly spectacular criminal plot is developed to reveal the invisible temporal action and nonhuman agency of a special kind of waste paradigmatic of the era of the Anthropocene, defined by Timothy Morton as a hyperobject (2013). This idea is established in Midnight Sun not only by placing radioactive waste at the center of the narrative but also by gradually foregrounding its nonhuman agency behind the events. The aim of the analysis is to demonstrate that by both using and reimagining the conventions of the television crime drama (Arctic noir), Midnight Sun translates into quotidian terms the unspectacular and long-term aspects of human-induced ecological destruction, which surpass the individual human scale and evade our cognition. An important strategy adopted in Midnight Sun is bringing together two levels of criticism: ecocritical and postcolonial. The slow ecological violence (R. Nixon, 2011) and nuclear colonialism (G. Schwab, 2020) exerted by the powerful against regions and people who are globally less visible are depicted as a continuation of the history of colonization, and more specifically, the systemic and longstanding ill-treatment of the indigenous Sámi people in Sweden. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"203 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77879609","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The author analyzes the mutual determinants of the ecological and social crisis. The starting point is Zygmunt Bauman’s concept of wasted lives and the concept of expulsions proposed by Saskia Sassen, referring both to activities destroying specific areas and the communities inhabiting them. This frame includes films showing various scenarios of a dystopian future in which individual characters or entire groups have been consumed and expelled by the aggressive Capithalocene and doomed to live in the dustbin of contemporary civilization. The article focuses on the production Beasts of the Southern Wild directed by Benh Zeitlin. The author looks at the reality and, at the same time, the symbolism of the film’s wall/dam; communities living on both sides of it, relationships between nature and culture, or rather (in posthumanist terms it is written as one word – natureculture); the methods and consequences of excluding and expelling human and non-human beings used by the mechanisms of late capitalism.
{"title":"Wasted lives and expulsions. A study of Beasts of the Southern Wild by Benh Zeitlin","authors":"G. Gajewska","doi":"10.14746/i.2022.40.04","DOIUrl":"https://doi.org/10.14746/i.2022.40.04","url":null,"abstract":"\u0000 \u0000 \u0000The author analyzes the mutual determinants of the ecological and social crisis. The starting point is Zygmunt Bauman’s concept of wasted lives and the concept of expulsions proposed by Saskia Sassen, referring both to activities destroying specific areas and the communities inhabiting them. This frame includes films showing various scenarios of a dystopian future in which individual characters or entire groups have been consumed and expelled by the aggressive Capithalocene and doomed to live in the dustbin of contemporary civilization. The article focuses on the production Beasts of the Southern Wild directed by Benh Zeitlin. The author looks at the reality and, at the same time, the symbolism of the film’s wall/dam; communities living on both sides of it, relationships between nature and culture, or rather (in posthumanist terms it is written as one word – natureculture); the methods and consequences of excluding and expelling human and non-human beings used by the mechanisms of late capitalism. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88562946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay and review article provides a panorama of phenomena and themes related to the fundamental difference of interests and the permanent conflict stemming from the schism and crisis in values that occurs between he changes in the field of broadcasting technology and technological revolutions and the memory of cinematography and film culture.
{"title":"Kinematografia na śmietniku","authors":"Marek Hendrykowski","doi":"10.14746/i.2022.40.05","DOIUrl":"https://doi.org/10.14746/i.2022.40.05","url":null,"abstract":"\u0000 \u0000 \u0000This essay and review article provides a panorama of phenomena and themes related to the fundamental difference of interests and the permanent conflict stemming from the schism and crisis in values that occurs between he changes in the field of broadcasting technology and technological revolutions and the memory of cinematography and film culture. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85053288","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is concerned with the fate of trash and plants which grow on it. As an example of this, the video game Cloud Gardens was chosen, along with installation arts by Elżbieta Rajewska and Diana Lelonek. The paper analyzes the process of creating landscapes known from popular works of post-apocalyptic fiction; what in other titles is only a background to events and human tragedy is of greatest importance here. Later parts of the article discuss human responsibility for the unexpected development of other species, as well as plants’ indifference to the human apocalypse. This text is part of the non-anthropocentric humanism trend and refers to the concept of “plant art” as proposed by Anna Wandzel.
{"title":"Postapokaliptyczne role ludzi i roślin w grze Cloud Gardens. Czym jest ogród?","authors":"Karol Zaborowski","doi":"10.14746/i.2022.40.08","DOIUrl":"https://doi.org/10.14746/i.2022.40.08","url":null,"abstract":"\u0000 \u0000 \u0000This article is concerned with the fate of trash and plants which grow on it. As an example of this, the video game Cloud Gardens was chosen, along with installation arts by Elżbieta Rajewska and Diana Lelonek. The paper analyzes the process of creating landscapes known from popular works of post-apocalyptic fiction; what in other titles is only a background to events and human tragedy is of greatest importance here. Later parts of the article discuss human responsibility for the unexpected development of other species, as well as plants’ indifference to the human apocalypse. This text is part of the non-anthropocentric humanism trend and refers to the concept of “plant art” as proposed by Anna Wandzel. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88762242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article aims to analyze the educational dynamics of activists and the film production system of the Open Cages Association (SOK). It is an organization that fights for the rights of ‘farm animals’ through campaign videos published on the internet. In video-activist film productions and through educating volunteers and authors of audiovisual materials, SOK is aims at the effectiveness and optimization of time and costs of work. For this reason, it uses non-formal and informal forms of education. This organizational approach resembles that of a corporate strategy and strengthens social inequalities (non-formal and informal education is not available to everyone). This is in contradiction with the postulate of SOK – equality of all animals. Nevertheless, the activities of the organization are recalibrated. SOK subordinates them to the primacy of effectiveness in acting for the benefit of non-human living beings. I reconstruct the experiences of activist-filmmakers on the basis of in-depth interviews I have carried out with members of the organization.
{"title":"Dynamika edukacyjna aktywistów i system produkcji filmowej Stowarzyszenia Otwarte Klatki","authors":"Patrycja Chuszcz","doi":"10.14746/i.2022.40.06","DOIUrl":"https://doi.org/10.14746/i.2022.40.06","url":null,"abstract":"\u0000 \u0000 \u0000The article aims to analyze the educational dynamics of activists and the film production system of the Open Cages Association (SOK). It is an organization that fights for the rights of ‘farm animals’ through campaign videos published on the internet. In video-activist film productions and through educating volunteers and authors of audiovisual materials, SOK is aims at the effectiveness and optimization of time and costs of work. For this reason, it uses non-formal and informal forms of education. This organizational approach resembles that of a corporate strategy and strengthens social inequalities (non-formal and informal education is not available to everyone). This is in contradiction with the postulate of SOK – equality of all animals. Nevertheless, the activities of the organization are recalibrated. SOK subordinates them to the primacy of effectiveness in acting for the benefit of non-human living beings. I reconstruct the experiences of activist-filmmakers on the basis of in-depth interviews I have carried out with members of the organization. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79475153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article presents the theoretical views and, to a lesser extent, artistic practices of Joanna Zylinska, who in her artistic activity combines epistemological strategies of a researcher and theorist with her activities in the field of art. She develops in different manners an original project of philosophy as photography, or photography as a form of philosophizing. Posthumanist and post-anthropocentric inspirations and the inclusion of her reflections in a wider circle of a nonhuman turn constitute an epistemological framework of numerous statements devoted to the “photographic condition” in the age of dominance of digital technologies. The author argues that, in fact, photography has been a nonhuman practice since its beginnings, which is developed in her book Nonhuman Photography, preceded by the concepts of mediation and photomediation. In her latest proposals addressing the issues of the functioning of art in the era of algorithmic systems, the author develops the concept of undigital photography, which constitutes an extension of thinking about those manifestations of photography that are not of/by/for the human. The idea of “vision machines” (once proposed by Paul Virilio) takes the form of a holistic view of photography as a “medium of life,” which, unlike modernist descriptions of it as a “medium of death” (Roland Barthes), makes a significant contribution to both the theory and the history of photography. The synthetic presentation of Zylinska’s concepts is an attempt to describe and interpret the contemporary state of theoretical and methodological awareness in the field of contemporary image studies. It stems from the need to constantly reinterpret the canon of thinking about the medium of photography in the epoch of cooperation between human and non-human agencies in the area of pictorial production of images addressed to both people and machines.
{"title":"The Invisible World of Images. From “Nonhuman” to “Undigital” Photography in Joanna Zylinska’s Reflections","authors":"P. Zawojski","doi":"10.14746/i.2022.40.01","DOIUrl":"https://doi.org/10.14746/i.2022.40.01","url":null,"abstract":"\u0000 \u0000 \u0000The article presents the theoretical views and, to a lesser extent, artistic practices of Joanna Zylinska, who in her artistic activity combines epistemological strategies of a researcher and theorist with her activities in the field of art. She develops in different manners an original project of philosophy as photography, or photography as a form of philosophizing. Posthumanist and post-anthropocentric inspirations and the inclusion of her reflections in a wider circle of a nonhuman turn constitute an epistemological framework of numerous statements devoted to the “photographic condition” in the age of dominance of digital technologies. The author argues that, in fact, photography has been a nonhuman practice since its beginnings, which is developed in her book Nonhuman Photography, preceded by the concepts of mediation and photomediation. In her latest proposals addressing the issues of the functioning of art in the era of algorithmic systems, the author develops the concept of undigital photography, which constitutes an extension of thinking about those manifestations of photography that are not of/by/for the human. The idea of “vision machines” (once proposed by Paul Virilio) takes the form of a holistic view of photography as a “medium of life,” which, unlike modernist descriptions of it as a “medium of death” (Roland Barthes), makes a significant contribution to both the theory and the history of photography. The synthetic presentation of Zylinska’s concepts is an attempt to describe and interpret the contemporary state of theoretical and methodological awareness in the field of contemporary image studies. It stems from the need to constantly reinterpret the canon of thinking about the medium of photography in the epoch of cooperation between human and non-human agencies in the area of pictorial production of images addressed to both people and machines. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89558053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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