The article analyses the content and availability of audio-visual archives of Polish Public Television regarding TV shows devoted to film and cinema productions broadcast between 1989 and 2020. This study allows general conclusions to be formulated that concern the research opportunities that this particular archive generates mostly for film and media scholars. Apart from presenting the results of in-depth analysis of archives, the text inscribes these reflections into the latest studies on archives, as well as into discussions on contemporary TV film criticism.
{"title":"Archiwum TVP a programy publicystyczno-kulturalne o tematyce filmowej. Lata 1989–2020","authors":"Mateusz Drewniak","doi":"10.14746/i.2022.40.14","DOIUrl":"https://doi.org/10.14746/i.2022.40.14","url":null,"abstract":"\u0000 \u0000 \u0000The article analyses the content and availability of audio-visual archives of Polish Public Television regarding TV shows devoted to film and cinema productions broadcast between 1989 and 2020. This study allows general conclusions to be formulated that concern the research opportunities that this particular archive generates mostly for film and media scholars. Apart from presenting the results of in-depth analysis of archives, the text inscribes these reflections into the latest studies on archives, as well as into discussions on contemporary TV film criticism. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84690872","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}
After the end of the Second World War, cinema culture in the People’s Republic of Poland underwent a crucial transformation. One of the aspects of this change was the new movie import model: most international sources were replaced by films from the Communist bloc, principally the Soviet Union. Italian movies constituted an important exception. In addition, translations of works by C. Zavattini and U. Barbaro were published (the latter was even appointed a professor at the Film School in Lodz). However, some movies deemed neorealist were either not permitted by the censorship bodies (it banned several of Rossellini’s works) or appeared on Polish screens with a significant delay (which was the case of Umberto D.). The article focuses on the reception of the film Miracle in Milan (dir. Vittorio De Sica) in the Polish movie magazines and books published before 1956. The case of this film seems particularly interesting, as opinions on it have changed over the years (as has the assessment of the neorealist movement as a whole), and the film itself has provoked controversy. In the Stalinist period in Poland, critical opinions dominated, and Italian neorealism (and De Sica’s film) was accused of pessimism and losing sight of “great revolutionary perspectives”. The film’s fairy-tale formula and the “transcendental” themes present in the plot were also difficult to accept. This negative attitude changed during the Thaw, when neorealism became something of a positive example of progressive film aesthetics, an example to follow; the authorities then allowed neorealist films (including Miracle in Milan) to be framed in religious terms.
{"title":"Cud w Mediolanie Vittoria De Siki na tle recepcji włoskiego neorealizmu w polskim piśmiennictwie filmowym do 1956 roku","authors":"Anna Miller-Klejsa","doi":"10.14746/i.2022.40.12","DOIUrl":"https://doi.org/10.14746/i.2022.40.12","url":null,"abstract":"\u0000 \u0000 \u0000After the end of the Second World War, cinema culture in the People’s Republic of Poland underwent a crucial transformation. One of the aspects of this change was the new movie import model: most international sources were replaced by films from the Communist bloc, principally the Soviet Union. Italian movies constituted an important exception. In addition, translations of works by C. Zavattini and U. Barbaro were published (the latter was even appointed a professor at the Film School in Lodz). However, some movies deemed neorealist were either not permitted by the censorship bodies (it banned several of Rossellini’s works) or appeared on Polish screens with a significant delay (which was the case of Umberto D.). \u0000The article focuses on the reception of the film Miracle in Milan (dir. Vittorio De Sica) in the Polish movie magazines and books published before 1956. The case of this film seems particularly interesting, as opinions on it have changed over the years (as has the assessment of the neorealist movement as a whole), and the film itself has provoked controversy. In the Stalinist period in Poland, critical opinions dominated, and Italian neorealism (and De Sica’s film) was accused of pessimism and losing sight of “great revolutionary perspectives”. The film’s fairy-tale formula and the “transcendental” themes present in the plot were also difficult to accept. This negative attitude changed during the Thaw, when neorealism became something of a positive example of progressive film aesthetics, an example to follow; the authorities then allowed neorealist films (including Miracle in Milan) to be framed in religious terms. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88056745","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 discusses animated works by Wojciech Bąkowski and the broader context of their origins addressing Jean-Luc Nancy’s philosophy of division of voices and its hermeneutical implications. Making explicit reference to these theoretical considerations, the author analyzes “Speaking Movies” by Bąkowski and his new productions for art galleries, employing digital tools to reinvestigate their meaning and interpret his autotelic recitation. The analysis follows several distinctive examples that highlight, via different experimental techniques, the interplay between verbal articulations, echo-like effects, and reverberations in the production of a differentiated audiovisual landscape.
{"title":"Echo of everyday life or “wu-es-be” in experimental animation","authors":"Kamil Lipiński","doi":"10.14746/i.2022.40.11","DOIUrl":"https://doi.org/10.14746/i.2022.40.11","url":null,"abstract":"\u0000 \u0000 \u0000The article discusses animated works by Wojciech Bąkowski and the broader context of their origins addressing Jean-Luc Nancy’s philosophy of division of voices and its hermeneutical implications. Making explicit reference to these theoretical considerations, the author analyzes “Speaking Movies” by Bąkowski and his new productions for art galleries, employing digital tools to reinvestigate their meaning and interpret his autotelic recitation. The analysis follows several distinctive examples that highlight, via different experimental techniques, the interplay between verbal articulations, echo-like effects, and reverberations in the production of a differentiated audiovisual landscape. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"22 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":"82713567","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 paper analyses the movie Fight Club (1999) from the philosophical point of view. We reflect on the split personality of the protagonist, showing how the former represents the subject of the modern society, who, unable to find completion in ceaseless consumerism, embarks upon a personal journey towards the annihilation of every value of his world. This process of annihilation, which at first takes the form of a closed group of people, evolves into an expansive way of annihilation. The latter symbolizes modern society’s evolved subject’s will to destroy the foundations of capitalist society.
{"title":"Fight for Nothing: Fight Club and Nihilism in Capitalist Society","authors":"Georgios Karakasis, Jonathan Lavilla de Lera","doi":"10.14746/i.2022.40.09","DOIUrl":"https://doi.org/10.14746/i.2022.40.09","url":null,"abstract":"This paper analyses the movie Fight Club (1999) from the philosophical point of view. We reflect on the split personality of the protagonist, showing how the former represents the subject of the modern society, who, unable to find completion in ceaseless consumerism, embarks upon a personal journey towards the annihilation of every value of his world. This process of annihilation, which at first takes the form of a closed group of people, evolves into an expansive way of annihilation. The latter symbolizes modern society’s evolved subject’s will to destroy the foundations of capitalist society.","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88834985","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 production of silent gilms in Czechoslovakia ended shortly after the advent of sound technology at the very end of the 1920s. The number of available silent films steadily decreased from that point on, yet some cinemas decided to continue to include them in their programming, even though they had sound equipment. The article analyses the scheduling of silent films in the specific case of two cinemas from the periphery of Brno, the second-largest city in Czechoslovakia. On the exhibitors’ side, there was a visible tendency to screen films 1) approximately two years from the premiere and 2) older with renowned stars or plot. This surprising presence of silent films in cinemas leads to the question: “Why were they still scheduled”? The answer lies both in the cinema owners, for whom silent films were a cheaper commodity, and in the audiences, who did not necessarily demand screenings of new sound films.
{"title":"Remaining silent: The ongoing presence of silent films on cinema programmes in Brno between 1930 and 1936","authors":"Michal Večeřa","doi":"10.14746/i.2022.41.04","DOIUrl":"https://doi.org/10.14746/i.2022.41.04","url":null,"abstract":"\u0000 \u0000 \u0000The production of silent gilms in Czechoslovakia ended shortly after the advent of sound technology at the very end of the 1920s. The number of available silent films steadily decreased from that point on, yet some cinemas decided to continue to include them in their programming, even though they had sound equipment. The article analyses the scheduling of silent films in the specific case of two cinemas from the periphery of Brno, the second-largest city in Czechoslovakia. On the exhibitors’ side, there was a visible tendency to screen films 1) approximately two years from the premiere and 2) older with renowned stars or plot. This surprising presence of silent films in cinemas leads to the question: “Why were they still scheduled”? The answer lies both in the cinema owners, for whom silent films were a cheaper commodity, and in the audiences, who did not necessarily demand screenings of new sound films. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"38 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86049571","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 Indian film industry produces the highest number of movies in the world, in various languages, and casts a large shadow of influence on the socio-cultural landscape of the country. However, in terms of box-office value as a share of the total entertainment pie in India, films are a minor segment in a market with vast potential. The pandemic of 2020 drastically changed the fragile dynamics of the already-struggling film distribution and screening sector. Over the years, the Indian film business has staked its future on a business model forged around the “Mall-Multiplex” complex in a country that is mostly low-income or bottom of the pyramid (BoP). This exploratory article, with the help of existing data on theatre screen seats and high-potential population geographies, endeavours to understand India’s existing film entertainment business and sets out to spot the opportunities available for the low-priced film business as a value proposition.
{"title":"Multiplexes in India: Building Castles in a Low-income Market of Uneven Geographies","authors":"Sreeram Gopalkrishnan","doi":"10.14746/i.2022.41.10","DOIUrl":"https://doi.org/10.14746/i.2022.41.10","url":null,"abstract":"\u0000 \u0000 \u0000The Indian film industry produces the highest number of movies in the world, in various languages, and casts a large shadow of influence on the socio-cultural landscape of the country. However, in terms of box-office value as a share of the total entertainment pie in India, films are a minor segment in a market with vast potential. The pandemic of 2020 drastically changed the fragile dynamics of the already-struggling film distribution and screening sector. Over the years, the Indian film business has staked its future on a business model forged around the “Mall-Multiplex” complex in a country that is mostly low-income or bottom of the pyramid (BoP). This exploratory article, with the help of existing data on theatre screen seats and high-potential population geographies, endeavours to understand India’s existing film entertainment business and sets out to spot the opportunities available for the low-priced film business as a value proposition. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"2013 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87997581","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 aim of this article is to present stylistic measures dominating in a movie directed by John Komasa, The Hater, whose screenplay was written by Mateusz Pacewicz. Komasa’s film is an interesting example of how the selection of linguistic means and the way they function within one work can create an illusory, film version of “the art of hating” – the main impression of all the manipulations used by the film’s protagonist. Forms of manipulation, aggression, hate speech or Internet hate in The Hater’s verbal layer are particularly clearly heard thanks to repetitions, paraphrases and a very specific stylistic manoeuvre, which can be called “quotations.”
{"title":"Sztuka hejtu. Powtórzenia, parafrazy i „cytatowość” w filmie Sala samobójców. Hejter Jana Komasy","authors":"Małgorzata Miławska-Ratajczak","doi":"10.14746/i.2022.41.18","DOIUrl":"https://doi.org/10.14746/i.2022.41.18","url":null,"abstract":"\u0000 \u0000 \u0000The aim of this article is to present stylistic measures dominating in a movie directed by John Komasa, The Hater, whose screenplay was written by Mateusz Pacewicz. Komasa’s film is an interesting example of how the selection of linguistic means and the way they function within one work can create an illusory, film version of “the art of hating” – the main impression of all the manipulations used by the film’s protagonist. Forms of manipulation, aggression, hate speech or Internet hate in The Hater’s verbal layer are particularly clearly heard thanks to repetitions, paraphrases and a very specific stylistic manoeuvre, which can be called “quotations.” \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"55 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79427272","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}
My article compares the catalogues and interfaces of a small and a big VOD provider and emphasizes the critical innovative potential of the intervention of the former and, more generally, of small streaming services. I employ a cultural studies approach and closely read the acts of curation of these two types of providers. As a case study, I focus on the curation of the feature film The Death of Mr. Lăzărescu on both platforms. By critical innovation, I understand an economic or industrial intervention that questions and disrupts hegemonic discourses in its field. In the case of VODs, it refers to an engagement with discourses on digital film consumption, the branding of premium content, establishment of taste, and diversity of content. I also approach critical innovation as political and economic. I provide proof that small non-profit providers set up more advantageous viewing experiences that benefit a film and its makers. I also show that they play an important role in maintaining the sustainability of a digital distribution ecosystem.
我的文章比较了小型和大型VOD提供商的目录和界面，并强调了前者的干预以及更普遍的小型流媒体服务的关键创新潜力。我采用了一种文化研究的方法，仔细阅读了这两种类型的供应商的管理行为。作为一个案例研究，我将重点放在两个平台上的故事片《the Death of Mr. llicuricrescu》的策划上。通过批判性创新，我理解一种经济或工业干预，质疑和破坏其领域的霸权话语。就VODs而言，它指的是数字电影消费话语的参与，优质内容的品牌化，品味的建立和内容的多样性。我也从政治和经济的角度来看待批判性创新。我提供的证据表明，小型非营利提供商提供了更有利的观影体验，使电影及其制作者受益。我还指出，它们在维持数字发行生态系统的可持续性方面发挥着重要作用。
{"title":"The Critical Innovation Discourse of Small VODs: The Case of The Death of Mr. Lăzărescu on Cinepub","authors":"C. Parvulescu","doi":"10.14746/i.2022.41.09","DOIUrl":"https://doi.org/10.14746/i.2022.41.09","url":null,"abstract":"\u0000 \u0000 \u0000My article compares the catalogues and interfaces of a small and a big VOD provider and emphasizes the critical innovative potential of the intervention of the former and, more generally, of small streaming services. I employ a cultural studies approach and closely read the acts of curation of these two types of providers. As a case study, I focus on the curation of the feature film The Death of Mr. Lăzărescu on both platforms. By critical innovation, I understand an economic or industrial intervention that questions and disrupts hegemonic discourses in its field. In the case of VODs, it refers to an engagement with discourses on digital film consumption, the branding of premium content, establishment of taste, and diversity of content. I also approach critical innovation as political and economic. I provide proof that small non-profit providers set up more advantageous viewing experiences that benefit a film and its makers. I also show that they play an important role in maintaining the sustainability of a digital distribution ecosystem. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82449351","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 topos of ‘home’ is one of the most important motifs in Andrey Zvyagintsev’s films. The director perceives ‘home’ as a material and symbolic term. It applies to the place where a family lives and to the house of God. The article refers to Eliade’s well-known concept of home, but also to the more modern one created by Zbigniew Kadłubek, who writes about oikology in the context of faith. The article reveals the richness of mythical, cultural, religious and artistic references. Each film exposes different images of ‘home’, but they use common metaphors, such as the fall, destruction and the apocalypse. Contemporary man, turned away from God, recreates the mythical thread of exile and ceases to have a safe place to be in the world. In such works as The Banishment, Leviathan, Elena, and Loveless, the director fully showed the consequences of losing the spiritual dimension of life. The proposed interpretations of Zvyagintsev’s films expand the reception of his work in Poland.
{"title":"Wygnani z raju - analiza toposu domu w filmach Andrieja Zwiagincewa","authors":"Urszula Tes","doi":"10.14746/i.2022.41.16","DOIUrl":"https://doi.org/10.14746/i.2022.41.16","url":null,"abstract":"\u0000 \u0000 \u0000The topos of ‘home’ is one of the most important motifs in Andrey Zvyagintsev’s films. The director perceives ‘home’ as a material and symbolic term. It applies to the place where a family lives and to the house of God. The article refers to Eliade’s well-known concept of home, but also to the more modern one created by Zbigniew Kadłubek, who writes about oikology in the context of faith. The article reveals the richness of mythical, cultural, religious and artistic references. Each film exposes different images of ‘home’, but they use common metaphors, such as the fall, destruction and the apocalypse. Contemporary man, turned away from God, recreates the mythical thread of exile and ceases to have a safe place to be in the world. In such works as The Banishment, Leviathan, Elena, and Loveless, the director fully showed the consequences of losing the spiritual dimension of life. The proposed interpretations of Zvyagintsev’s films expand the reception of his work in Poland. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74961543","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 emanates from a geospatial database of over 600 premieres of the Cines company’s Quo Vadis? (1913), an eight-reel film distributed by George Kleine, and nearly 250 premieres of the Quo Vadis Film Company’s Quo Vadis? (1913), a three-reel film of ambiguous origins distributed by Paul De Outo. By mapping local premieres of both films across the United States from 1913 through 1916, the data show with spatiotemporal precision the spread of Quo Vadis? as one of cinema’s early blockbuster titles. Yet within this national phenomenon, the two films’ footprints reveal differing cultural geographies served by competing efforts to feature Quo Vadis? using alternative practices of distribution and exhibition. The study finds that Quo Vadis? played a more complex role mediating the rise of features than is yet known, serving rival modes of cinema where longer, more expensive films were celebrated but also contested.
{"title":"‘Big’ and ‘little’ Quo Vadis? in the United States, 1913–1916: Using GIS to map rival modes of feature cinema during the transitional era","authors":"Jeffrey Klenotic","doi":"10.14746/i.2022.41.01","DOIUrl":"https://doi.org/10.14746/i.2022.41.01","url":null,"abstract":"\u0000 \u0000 \u0000This article emanates from a geospatial database of over 600 premieres of the Cines company’s Quo Vadis? (1913), an eight-reel film distributed by George Kleine, and nearly 250 premieres of the Quo Vadis Film Company’s Quo Vadis? (1913), a three-reel film of ambiguous origins distributed by Paul De Outo. By mapping local premieres of both films across the United States from 1913 through 1916, the data show with spatiotemporal precision the spread of Quo Vadis? as one of cinema’s early blockbuster titles. Yet within this national phenomenon, the two films’ footprints reveal differing cultural geographies served by competing efforts to feature Quo Vadis? using alternative practices of distribution and exhibition. The study finds that Quo Vadis? played a more complex role mediating the rise of features than is yet known, serving rival modes of cinema where longer, more expensive films were celebrated but also contested. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"69 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82819448","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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