Pub Date : 2024-01-02DOI: 10.1080/2040350x.2023.2298537
Tanya Silverman
{"title":"Revelatory Inebriation and Westward Projections: Bolek Polívka’s Father Figures in Mid-2000s Czech Cinema","authors":"Tanya Silverman","doi":"10.1080/2040350x.2023.2298537","DOIUrl":"https://doi.org/10.1080/2040350x.2023.2298537","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"117 33","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139390939","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}
Pub Date : 2023-11-27DOI: 10.1080/2040350x.2023.2283295
Jan Culik
{"title":"Cosmopolitanism, Immigration, State Collapse and the Oppression of Women A Report from the Karlovy Vary International Film Festival, June 30 th - July 8 th , 2023","authors":"Jan Culik","doi":"10.1080/2040350x.2023.2283295","DOIUrl":"https://doi.org/10.1080/2040350x.2023.2283295","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139230067","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}
Pub Date : 2023-11-15DOI: 10.1080/2040350x.2023.2282242
Mariliis Elizabeth Holzmann
{"title":"Reading the Mermaid Sisters of Smoczyńska’s (2015) “The Lure” as More Than Shoreline Strangers: Toward a Feminist Solidarity with Nonhuman Others","authors":"Mariliis Elizabeth Holzmann","doi":"10.1080/2040350x.2023.2282242","DOIUrl":"https://doi.org/10.1080/2040350x.2023.2282242","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"20 5-6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139275099","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}
Pub Date : 2023-11-10DOI: 10.1080/2040350x.2023.2279463
Christian Ferencz-Flatz
{"title":"A non-philosophy of non-cinema <b>Romanian cinema: thinking outside the screen</b> , by Doru Pop. New York and London: Bloomsburry, 2022, 280 pp., Hardback £81, ISBN 978-15-01366-23-9","authors":"Christian Ferencz-Flatz","doi":"10.1080/2040350x.2023.2279463","DOIUrl":"https://doi.org/10.1080/2040350x.2023.2279463","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"122 39","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135136692","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}
Pub Date : 2023-09-02DOI: 10.1080/2040350x.2023.2255456
Sony Jalarajan Raj, Adith K. Suresh
Roman Polanski’s films are noted for their subversive psychological style that explores themes of sexuality, desire, alienation, and violence. His narratives often reflect a dark sense of humour through which the director perceives the absurdity of the human condition in relation to his own cultural dislocations and artistic eccentricity. This article investigates how different connotations of transgression play a major role in defining Roman Polanski as a filmmaker. It specifically explores how the polysemy of transgression structures Polanski as an artist whose real and cinematic negotiations are often intertwined. Through the constant subversion of moral, cultural, and social discourses, his visual style and narrative ideology maintain a notorious affinity that disturbs the notion of reality and manipulates it with new narrative texts. It is the idea of transgression that changes the way Polanski’s auteur status is perceived, appreciated, and rejected for his actions and creations in the past and their repercussions in the present. Polanski’s works use historical, social, and personal realities to renegotiate his transgressive image in real life by incorporating his contested victim status and persecuted selfhood in narratives that manipulate both the past and present.
{"title":"Between the Borders of Life and Art: Roman Polanski’s Transgressive Negotiations","authors":"Sony Jalarajan Raj, Adith K. Suresh","doi":"10.1080/2040350x.2023.2255456","DOIUrl":"https://doi.org/10.1080/2040350x.2023.2255456","url":null,"abstract":"Roman Polanski’s films are noted for their subversive psychological style that explores themes of sexuality, desire, alienation, and violence. His narratives often reflect a dark sense of humour through which the director perceives the absurdity of the human condition in relation to his own cultural dislocations and artistic eccentricity. This article investigates how different connotations of transgression play a major role in defining Roman Polanski as a filmmaker. It specifically explores how the polysemy of transgression structures Polanski as an artist whose real and cinematic negotiations are often intertwined. Through the constant subversion of moral, cultural, and social discourses, his visual style and narrative ideology maintain a notorious affinity that disturbs the notion of reality and manipulates it with new narrative texts. It is the idea of transgression that changes the way Polanski’s auteur status is perceived, appreciated, and rejected for his actions and creations in the past and their repercussions in the present. Polanski’s works use historical, social, and personal realities to renegotiate his transgressive image in real life by incorporating his contested victim status and persecuted selfhood in narratives that manipulate both the past and present.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134968357","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}
Pub Date : 2023-09-02DOI: 10.1080/2040350X.2023.2250155
Żaneta Jamrozik
Abstract The article analyses Olivier Assayas’ Personal Shopper (2016) and Roman Polanski’s Based on a True Story (2017) as post-horrors. Post-horror, sometimes called slow, quiet, or ambient horror, focuses on creating atmospheres rather than chains of events. Its themes of family and loss are often focalised through a single, female character. Sound design becomes key in creating auras of suspension as the films tend to omit dramatic events and focus on their aftermaths, showing the characters struggling to re-establish their daily routines. Assayas’ Personal Shopper begins after Maureen (Kristen Stewart) has lost her twin brother and Polanski’s Based on a True Story – after the suicidal death of Delphine’s (Emmanuelle Seigner) mother. In both films the loss is not followed by mourning but by what both characters verbalise as waiting. The films foreground the scenes of waiting: from the most mundane of waiting at the train station to the most sophisticated of waiting for the spectre. Spectres are waited on and appear, manifesting the fluidity between life and death rather than the linearity and the acceptance of loss typical for mourning. Waiting for the spectre is the main trope in Derrida’s ‘Specters of Marx’, where he imagines it as an ethics of responsibility towards that which does not exist according to traditional western ontology. He argues for a relational ethics that takes seriously the agency of such absent others, suggesting that ethics should reach beyond the immediate and the present. The figure of the spectre, through its hauntings, is both present and absent and, according to Derrida, tele-technologies like cinema were invented to explore such disturbances in time and space. The two films emphasise sound as a way to communicate with spectres, playing with Gothic and Victorian motifs of female mediumism, as they present the women’s waiting as transcending the personal (and interpersonal) and reaching towards a cosmic awe or terror that can be analysed through a combination of what Bauman called the ‘cosmic fear’ of negative globalisation and Lovecraft – cosmic indifference.
{"title":"The Women in Waiting: Olivier Assayas’ Personal Shopper and Roman Polanski’s Based on a True Story","authors":"Żaneta Jamrozik","doi":"10.1080/2040350X.2023.2250155","DOIUrl":"https://doi.org/10.1080/2040350X.2023.2250155","url":null,"abstract":"Abstract The article analyses Olivier Assayas’ Personal Shopper (2016) and Roman Polanski’s Based on a True Story (2017) as post-horrors. Post-horror, sometimes called slow, quiet, or ambient horror, focuses on creating atmospheres rather than chains of events. Its themes of family and loss are often focalised through a single, female character. Sound design becomes key in creating auras of suspension as the films tend to omit dramatic events and focus on their aftermaths, showing the characters struggling to re-establish their daily routines. Assayas’ Personal Shopper begins after Maureen (Kristen Stewart) has lost her twin brother and Polanski’s Based on a True Story – after the suicidal death of Delphine’s (Emmanuelle Seigner) mother. In both films the loss is not followed by mourning but by what both characters verbalise as waiting. The films foreground the scenes of waiting: from the most mundane of waiting at the train station to the most sophisticated of waiting for the spectre. Spectres are waited on and appear, manifesting the fluidity between life and death rather than the linearity and the acceptance of loss typical for mourning. Waiting for the spectre is the main trope in Derrida’s ‘Specters of Marx’, where he imagines it as an ethics of responsibility towards that which does not exist according to traditional western ontology. He argues for a relational ethics that takes seriously the agency of such absent others, suggesting that ethics should reach beyond the immediate and the present. The figure of the spectre, through its hauntings, is both present and absent and, according to Derrida, tele-technologies like cinema were invented to explore such disturbances in time and space. The two films emphasise sound as a way to communicate with spectres, playing with Gothic and Victorian motifs of female mediumism, as they present the women’s waiting as transcending the personal (and interpersonal) and reaching towards a cosmic awe or terror that can be analysed through a combination of what Bauman called the ‘cosmic fear’ of negative globalisation and Lovecraft – cosmic indifference.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"4 1","pages":"335 - 355"},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79232141","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}
Pub Date : 2023-07-07DOI: 10.1080/2040350x.2023.2233306
E. Mazierska
{"title":"A Concise History of Slovak Cinema","authors":"E. Mazierska","doi":"10.1080/2040350x.2023.2233306","DOIUrl":"https://doi.org/10.1080/2040350x.2023.2233306","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90559804","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}
Pub Date : 2023-06-07DOI: 10.1080/2040350x.2023.2220251
Andrea Průchová Hrůzová
{"title":"From Ruptures to Continuities: Czechoslovak Cultural Heritage in Non-Fiction Cinema 1948-1956","authors":"Andrea Průchová Hrůzová","doi":"10.1080/2040350x.2023.2220251","DOIUrl":"https://doi.org/10.1080/2040350x.2023.2220251","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"119 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80403276","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}
Pub Date : 2023-05-26DOI: 10.1080/2040350x.2023.2217031
Teisi Ligi, Teet Teinemaa
{"title":"Performative Cinematic Acts of Form in the Baltic New Wave Documentary: The Old Man and the Land, Ruhnu, and Bridges of Time","authors":"Teisi Ligi, Teet Teinemaa","doi":"10.1080/2040350x.2023.2217031","DOIUrl":"https://doi.org/10.1080/2040350x.2023.2217031","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82164404","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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