Pub Date : 2023-05-16DOI: 10.1080/2040350x.2023.2213539
Robert Birkholc
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Pub Date : 2023-04-25DOI: 10.1080/2040350x.2023.2203578
Natascha Drubek-Meyer
Many festivals and their programming choices in 2022 were overshadowed by the war against Ukraine – in several cases leading to a radical change in outlook when it comes to accepting or boycotting productions funded by the Russian state, which went hand in hand with a heightened interest in films from Ukraine. Policies have been changing, as well as strategies for submitting films to Festivals. The Karlovy Vary International Film Festival (KVIFF) was also affected by this circumstance, as it coincided with the decision to remove the ‘East of the West’ perspective of its internationally most followed ‘second’ competition. Truth be told, this proposition had already been made at the end of 2021. As it transpired, this was happening at a moment when the festival’s historical expertise as well as the traditionally strong Czech pragmatism and political grasp of the rapidly changing situation in the East of the West would have been badly needed. Despite the programmers’ in-depth knowledge and experience, namely Lenka Tyrpáková and the festival’s CEE networks dating back to the 1940s, and regardless of the interest of international professionals and cinephiles, the distinctive presentation of moving images from Eastern Europe and the Post-Soviet countries, which was both analytical and historically informed, had to leave centre stage. This decision was perceived by many professional visitors as casting away one’s old identity before defining a new one, and it appeared to have some effect on the reformed 56th edition and its coverage by English-speaking media which seemed less thorough in 2022. Could it be that KVIFF, which is the biggest cultural event in the Czech Republic, during the pandemic has become more inward-looking? Partially this was reflected in the prizes. Even though the Crystal Globe for Best Film in 2022 went to Sadaf Foroughi’s CanadianIranian drama, Summer with Hope, ‘the latest crop of Czech films by the young generation stole the limelight’, as Martin Kudláč (2022) remarked. Adéla Komrzý – the discovery of last year’s festival edition – in 2022, together with Tomáš Bojar won with the observational documentary Art Talent Show the Proxima award for Best Film. Aware of its value as a strong Czech brand (both locally and internationally), KVIFF appeared well recovered from the Covid-19 pause and the delayed date in 2021, returning to its slate at the beginning of July. KVIFF in 2022 presented itself confidently, with plans of the newly formed KVIFF Group with several arms, grouped around the body of the festival. They are called KVIFF Events (such as ‘Variace’, with the Czech Philharmonic Orchestra, Prague Shorts, the COVID-19 created ‘Tady Vary’, a traveling programme in regional cinemas), KVIFF Distribution, and KVIFF TV. The ambitious media group in 2021 has purchased a majority stake in Ivo Andrle’s Czech art-house distribution company Aerofilms which runs its own internet VOD platform, Aerovod, merging the Aerofilms catalogue with t
{"title":"Karlovy Vary International Film Festival 2022: A Shift in Perspective","authors":"Natascha Drubek-Meyer","doi":"10.1080/2040350x.2023.2203578","DOIUrl":"https://doi.org/10.1080/2040350x.2023.2203578","url":null,"abstract":"Many festivals and their programming choices in 2022 were overshadowed by the war against Ukraine – in several cases leading to a radical change in outlook when it comes to accepting or boycotting productions funded by the Russian state, which went hand in hand with a heightened interest in films from Ukraine. Policies have been changing, as well as strategies for submitting films to Festivals. The Karlovy Vary International Film Festival (KVIFF) was also affected by this circumstance, as it coincided with the decision to remove the ‘East of the West’ perspective of its internationally most followed ‘second’ competition. Truth be told, this proposition had already been made at the end of 2021. As it transpired, this was happening at a moment when the festival’s historical expertise as well as the traditionally strong Czech pragmatism and political grasp of the rapidly changing situation in the East of the West would have been badly needed. Despite the programmers’ in-depth knowledge and experience, namely Lenka Tyrpáková and the festival’s CEE networks dating back to the 1940s, and regardless of the interest of international professionals and cinephiles, the distinctive presentation of moving images from Eastern Europe and the Post-Soviet countries, which was both analytical and historically informed, had to leave centre stage. This decision was perceived by many professional visitors as casting away one’s old identity before defining a new one, and it appeared to have some effect on the reformed 56th edition and its coverage by English-speaking media which seemed less thorough in 2022. Could it be that KVIFF, which is the biggest cultural event in the Czech Republic, during the pandemic has become more inward-looking? Partially this was reflected in the prizes. Even though the Crystal Globe for Best Film in 2022 went to Sadaf Foroughi’s CanadianIranian drama, Summer with Hope, ‘the latest crop of Czech films by the young generation stole the limelight’, as Martin Kudláč (2022) remarked. Adéla Komrzý – the discovery of last year’s festival edition – in 2022, together with Tomáš Bojar won with the observational documentary Art Talent Show the Proxima award for Best Film. Aware of its value as a strong Czech brand (both locally and internationally), KVIFF appeared well recovered from the Covid-19 pause and the delayed date in 2021, returning to its slate at the beginning of July. KVIFF in 2022 presented itself confidently, with plans of the newly formed KVIFF Group with several arms, grouped around the body of the festival. They are called KVIFF Events (such as ‘Variace’, with the Czech Philharmonic Orchestra, Prague Shorts, the COVID-19 created ‘Tady Vary’, a traveling programme in regional cinemas), KVIFF Distribution, and KVIFF TV. The ambitious media group in 2021 has purchased a majority stake in Ivo Andrle’s Czech art-house distribution company Aerofilms which runs its own internet VOD platform, Aerovod, merging the Aerofilms catalogue with t","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"17 1","pages":"196 - 201"},"PeriodicalIF":0.0,"publicationDate":"2023-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79466981","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 : 2023-04-19DOI: 10.1080/2040350X.2023.2201975
Robert Birkholc
Abstract The article is devoted to the reception of Roman Polanski’s cinema in Poland. The author examines both critical-film articles (opinions formulated in reviews after the first viewing of a movie) and academic articles and monographs. Instead of criticizing the existing readings of the director’s works, the author considers which frames they were inscribed into by the reviewers and how this placement influenced the interpretations and evaluations of the films. As he argues, Polanski’s artistic propositions did not quite fit the vision of great cinema shared by Polish journalists at a given moment. The author shows that the reception of the artist’s work is a testimony to the changes in Polish critics’ attitude towards genre cinema and to the gradual mending of the division between high and low art. When commenting on the director’s works, Polish critics and scholars have had to struggle with a socialist realist view of art, an aversion to popular culture, and finally, postmodern prejudices against the “classic” form of cinema. The Polish researchers have not always overcome the limitations of dominant discourses, but it seems that Polanski’s cinema shaped and changed these discourses to some extent.
{"title":"Polish Reception of Roman Polanski’s Films. Outline of the Main Tendencies in Film Criticism and Film Studies","authors":"Robert Birkholc","doi":"10.1080/2040350X.2023.2201975","DOIUrl":"https://doi.org/10.1080/2040350X.2023.2201975","url":null,"abstract":"Abstract The article is devoted to the reception of Roman Polanski’s cinema in Poland. The author examines both critical-film articles (opinions formulated in reviews after the first viewing of a movie) and academic articles and monographs. Instead of criticizing the existing readings of the director’s works, the author considers which frames they were inscribed into by the reviewers and how this placement influenced the interpretations and evaluations of the films. As he argues, Polanski’s artistic propositions did not quite fit the vision of great cinema shared by Polish journalists at a given moment. The author shows that the reception of the artist’s work is a testimony to the changes in Polish critics’ attitude towards genre cinema and to the gradual mending of the division between high and low art. When commenting on the director’s works, Polish critics and scholars have had to struggle with a socialist realist view of art, an aversion to popular culture, and finally, postmodern prejudices against the “classic” form of cinema. The Polish researchers have not always overcome the limitations of dominant discourses, but it seems that Polanski’s cinema shaped and changed these discourses to some extent.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"10 1","pages":"229 - 248"},"PeriodicalIF":0.0,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90235104","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 : 2023-04-04DOI: 10.1080/2040350x.2023.2196756
P. Zwierzchowski
{"title":"Polish Spy Movies of the 1960s in Light of Transcripts from Meetings of Script Assessment and Film Approval Commissions","authors":"P. Zwierzchowski","doi":"10.1080/2040350x.2023.2196756","DOIUrl":"https://doi.org/10.1080/2040350x.2023.2196756","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73325239","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 : 2023-04-03DOI: 10.1080/2040350X.2023.2196784
Aleksandra Piętka
Abstract This article analyzes the cinematographic means used by Roman Polanski in Death and the Maiden to portray the characters of the movie and the relationship between them. It discusses how Polanski toys with the thriller convention to create a cognitive dissonance in the viewer and uses artistic devices to reflect the process of restoring the identity by the protagonist. In particular, the author examines the frame of the movie and its compositional and semantic functions and compares selected scenes with René Magritte’s paintings, to show how the director depicts the experience of the main character and the blurring of boundaries between the perpetrator and the victim. Also, colours, props, and landscape motifs associated with each character are analyzed to explain their symbolic and dramatic function in the film.
{"title":"Image of the Perpetrator, the Victim, and the Bystander in Roman Polanski’s Death and the Maiden (1994)","authors":"Aleksandra Piętka","doi":"10.1080/2040350X.2023.2196784","DOIUrl":"https://doi.org/10.1080/2040350X.2023.2196784","url":null,"abstract":"Abstract This article analyzes the cinematographic means used by Roman Polanski in Death and the Maiden to portray the characters of the movie and the relationship between them. It discusses how Polanski toys with the thriller convention to create a cognitive dissonance in the viewer and uses artistic devices to reflect the process of restoring the identity by the protagonist. In particular, the author examines the frame of the movie and its compositional and semantic functions and compares selected scenes with René Magritte’s paintings, to show how the director depicts the experience of the main character and the blurring of boundaries between the perpetrator and the victim. Also, colours, props, and landscape motifs associated with each character are analyzed to explain their symbolic and dramatic function in the film.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"11 1","pages":"280 - 298"},"PeriodicalIF":0.0,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72791194","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 : 2023-03-27DOI: 10.1080/2040350X.2023.2194048
A. Leal
Abstract As the imaginary deadline or vanishing point of the turn of millennium was drawing ever closer, its associated anxieties and apocalyptic woes offered a fertile breeding ground for suspense, horror, and the fantastic to experience a resurgence in Western cinemas. Roman Polanski’s fifteenth feature film The Ninth Gate, released in 1999, can be read among the various auteur-helmed evidences of such a trend, but also as a self-conscious exercise in the kind of trans-European filmmaking being promoted at the time within the continent, one in which Polanski himself had, willingly or not, already been cutting his teeth for almost two decades after his spiteful return from the US and Hollywood in the late 1970s. On the back of a border-crossing journey in search for three demonic books, this essay will argue, The Ninth Gate manages to discursively interlace both facets. The result, by way of an intermedial concern with the world of literature, a generic involvement with the supernatural, and a meticulous mobilization of cinematic space, location shooting and architecture, is a cynical, self-deprecating reflection on the precarious state of Europe at the time, caught between the memories of glorious but long-fading splendor and a crippling uncertainty about its future and place in an increasingly globalized world.
{"title":"The Sense of an Ending: Culture, Capital, and the Fate of (Late) Modern Europe in Roman Polanski’s The Ninth Gate (1999)","authors":"A. Leal","doi":"10.1080/2040350X.2023.2194048","DOIUrl":"https://doi.org/10.1080/2040350X.2023.2194048","url":null,"abstract":"Abstract As the imaginary deadline or vanishing point of the turn of millennium was drawing ever closer, its associated anxieties and apocalyptic woes offered a fertile breeding ground for suspense, horror, and the fantastic to experience a resurgence in Western cinemas. Roman Polanski’s fifteenth feature film The Ninth Gate, released in 1999, can be read among the various auteur-helmed evidences of such a trend, but also as a self-conscious exercise in the kind of trans-European filmmaking being promoted at the time within the continent, one in which Polanski himself had, willingly or not, already been cutting his teeth for almost two decades after his spiteful return from the US and Hollywood in the late 1970s. On the back of a border-crossing journey in search for three demonic books, this essay will argue, The Ninth Gate manages to discursively interlace both facets. The result, by way of an intermedial concern with the world of literature, a generic involvement with the supernatural, and a meticulous mobilization of cinematic space, location shooting and architecture, is a cynical, self-deprecating reflection on the precarious state of Europe at the time, caught between the memories of glorious but long-fading splendor and a crippling uncertainty about its future and place in an increasingly globalized world.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"30 1","pages":"249 - 266"},"PeriodicalIF":0.0,"publicationDate":"2023-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90069279","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 : 2023-03-09DOI: 10.1080/2040350x.2023.2187526
György Kalmár
{"title":"Eden and Eastern European Ecocinema","authors":"György Kalmár","doi":"10.1080/2040350x.2023.2187526","DOIUrl":"https://doi.org/10.1080/2040350x.2023.2187526","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"144 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77594435","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 : 2023-02-13DOI: 10.1080/2040350X.2023.2176031
Lucia Szemetová
{"title":"Raising the Curtain over Cold War Transnational Media Practices","authors":"Lucia Szemetová","doi":"10.1080/2040350X.2023.2176031","DOIUrl":"https://doi.org/10.1080/2040350X.2023.2176031","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"38 1","pages":"190 - 192"},"PeriodicalIF":0.0,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90393129","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 : 2023-02-08DOI: 10.1080/2040350X.2023.2176019
Anna Keszeg
{"title":"Cinematic Mobility Regimes in Eastern Europe","authors":"Anna Keszeg","doi":"10.1080/2040350X.2023.2176019","DOIUrl":"https://doi.org/10.1080/2040350X.2023.2176019","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"97 1","pages":"193 - 195"},"PeriodicalIF":0.0,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76573001","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 : 2023-02-06DOI: 10.1080/2040350X.2023.2174701
L. Strausz
The 2022 edition of ‘The Greatest 100 Films of All Time’ poll by the British journal Sight & Sound brought to surface important debates linked to the topics of cultural canon, decolonization, and perceived visibility of so-called1 minority artists in the mainstream. One of the main question has been: how do we interpret the fact that for the first time in the poll’s history, a woman filmmaker, Chantal Akerman’s film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) came out as number one? In the previous polls, no woman has even reached the top ten. As Laura Mulvey put it, ‘things will never be the same’ (2022). But what caused this landslide? And how do we interpret this paradigm shift? Due to the fact that the poll, conducted every ten years, showed the diminishing critical relevance of feature films produced in the Eastern European region, the waves of these debates have reached the shores of Studies in Eastern European Cinema as well. In her opinion article ‘The Sight and Sound Poll and Eastern European Cinema’, Ewa Mazierska related this trend, among other factors, to the appearance of the quota system that ensures the visibility of the currently trendiest minorities and their cultural products. In the quota system, according to Mazierska, ‘[t]he question is what minority groups are regarded as important enough to be included in the system’ (2023). Eastern Europeans, once the repressed Others to the dominant Western Self, have fallen out of this position, and gave place to new Others more central for the collective social imaginary. She suggests that the high volume of films canonized by the poll that were produced by women, non-(Western)-European-or American filmmakers is a political reaction to several contemporary political movements such as MeToo and Black Lives Matter. In turn, this argument also suggests that there exists some kind of invisible political correctness authority, which sanctions all those who do not adhere to these progressive voices. It follows that out of fear of becoming pariahs, critics simply fall in line with the inclusivity dogma, and vote for so-called minority artists and films. In this brief response I will argue that the quota argument (whether applied in the context of the diminishing visibility of Eastern European cultural goods, or elsewhere) is, in my opinion, the rearguard action of a now declining Eurocentric worldview that has dominated much of political, social and cultural thinking for the past several hundred years. Since the late 1970s, a large number of arguments came to light that effectively described how dominant discourses have worked to maintain political oppression over the subaltern once military control over a conquered land, a nation, a class or an ethnicity gave way to more subtle channels of cultural coercion. The postcolonial condition has also been examined in the Eastern European context, and there are convincing arguments for and against comparing the relationship of Easterna
{"title":"Return of the Repressed. A Response to Ewa Mazierska’s ‘The Sight and Sound Poll and Eastern European Cinema’","authors":"L. Strausz","doi":"10.1080/2040350X.2023.2174701","DOIUrl":"https://doi.org/10.1080/2040350X.2023.2174701","url":null,"abstract":"The 2022 edition of ‘The Greatest 100 Films of All Time’ poll by the British journal Sight & Sound brought to surface important debates linked to the topics of cultural canon, decolonization, and perceived visibility of so-called1 minority artists in the mainstream. One of the main question has been: how do we interpret the fact that for the first time in the poll’s history, a woman filmmaker, Chantal Akerman’s film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) came out as number one? In the previous polls, no woman has even reached the top ten. As Laura Mulvey put it, ‘things will never be the same’ (2022). But what caused this landslide? And how do we interpret this paradigm shift? Due to the fact that the poll, conducted every ten years, showed the diminishing critical relevance of feature films produced in the Eastern European region, the waves of these debates have reached the shores of Studies in Eastern European Cinema as well. In her opinion article ‘The Sight and Sound Poll and Eastern European Cinema’, Ewa Mazierska related this trend, among other factors, to the appearance of the quota system that ensures the visibility of the currently trendiest minorities and their cultural products. In the quota system, according to Mazierska, ‘[t]he question is what minority groups are regarded as important enough to be included in the system’ (2023). Eastern Europeans, once the repressed Others to the dominant Western Self, have fallen out of this position, and gave place to new Others more central for the collective social imaginary. She suggests that the high volume of films canonized by the poll that were produced by women, non-(Western)-European-or American filmmakers is a political reaction to several contemporary political movements such as MeToo and Black Lives Matter. In turn, this argument also suggests that there exists some kind of invisible political correctness authority, which sanctions all those who do not adhere to these progressive voices. It follows that out of fear of becoming pariahs, critics simply fall in line with the inclusivity dogma, and vote for so-called minority artists and films. In this brief response I will argue that the quota argument (whether applied in the context of the diminishing visibility of Eastern European cultural goods, or elsewhere) is, in my opinion, the rearguard action of a now declining Eurocentric worldview that has dominated much of political, social and cultural thinking for the past several hundred years. Since the late 1970s, a large number of arguments came to light that effectively described how dominant discourses have worked to maintain political oppression over the subaltern once military control over a conquered land, a nation, a class or an ethnicity gave way to more subtle channels of cultural coercion. The postcolonial condition has also been examined in the Eastern European context, and there are convincing arguments for and against comparing the relationship of Easterna","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"5 1","pages":"206 - 209"},"PeriodicalIF":0.0,"publicationDate":"2023-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87097953","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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