Pub Date : 2022-09-29DOI: 10.1080/2040350X.2022.2127228
Mélisande Leventopoulos
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Pub Date : 2022-09-16DOI: 10.1080/2040350X.2022.2123130
Bori Máté
in the region, contributing to further ‘the institutionalization and affirmation of cinema activities’ and leading ‘a number of local film pioneers to invest in film equipment and effectively start producing their own films’ (193). In Chapter 4 like in Chapter 5 however, a filmography would have helped the reader to embrace the studied phenomena (even if, as the author has explained, a general panorama cannot be reached) and distinguish at the same time the cinematographic processes involving different territories. Nonetheless, Chapter 5 also connects cinema exhibition with film shooting very interestingly: Grgić highlights the filming activities of some travelling as well as sedentary exhibitors in the region and, conversely, she also provides information on the diffusion of moving images shot locally. To conclude, this ‘inclusive’ dimension of Grgić’s book, consisting in the combination of moving images’ formal analysis and films’ cultural circulations, significantly contributes to making Early Cinema, Modernity and Visual Culture a successful attempt in the field of cultural cinema history.
{"title":"Mapping experimental cinema in the ‘grey zone’","authors":"Bori Máté","doi":"10.1080/2040350X.2022.2123130","DOIUrl":"https://doi.org/10.1080/2040350X.2022.2123130","url":null,"abstract":"in the region, contributing to further ‘the institutionalization and affirmation of cinema activities’ and leading ‘a number of local film pioneers to invest in film equipment and effectively start producing their own films’ (193). In Chapter 4 like in Chapter 5 however, a filmography would have helped the reader to embrace the studied phenomena (even if, as the author has explained, a general panorama cannot be reached) and distinguish at the same time the cinematographic processes involving different territories. Nonetheless, Chapter 5 also connects cinema exhibition with film shooting very interestingly: Grgić highlights the filming activities of some travelling as well as sedentary exhibitors in the region and, conversely, she also provides information on the diffusion of moving images shot locally. To conclude, this ‘inclusive’ dimension of Grgić’s book, consisting in the combination of moving images’ formal analysis and films’ cultural circulations, significantly contributes to making Early Cinema, Modernity and Visual Culture a successful attempt in the field of cultural cinema history.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"22 1","pages":"108 - 110"},"PeriodicalIF":0.0,"publicationDate":"2022-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81912580","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 : 2022-09-12DOI: 10.1080/2040350x.2022.2121456
Bruno Lovric, Miriam Hernández
{"title":"Bosnia and Herzegovina on Screen: Self-Orientalism in Jasmila Žbanić’s Film Quo Vadis, Aida?","authors":"Bruno Lovric, Miriam Hernández","doi":"10.1080/2040350x.2022.2121456","DOIUrl":"https://doi.org/10.1080/2040350x.2022.2121456","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86654168","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 : 2022-08-08DOI: 10.1080/2040350X.2022.2106895
Vlastimir Sudar
Abstract Želimir Žilnik’s Tito Among the Serbs for the Second Time was filmed and released in Serbia’s capital Belgrade, in 1994. The country was under severe international sanctions due to wars in the neighbouring republics, all of which until recently were parts of the Socialist Yugoslavia, once created and led by Josip Broz Tito. By taking an actor to wear Tito’s uniform through Belgrade, Žilnik documented the bemused comments of random passers-by, thus creating a ‘filmed happening’. In this essay it is argued that on a number of formal and narrative levels this is very much a typical Žilnik’s documentary, and as such it is contextualised within his work made both prior and after this film, with an emphasis on his most acclaimed feature Early Works (1969). However, by introducing the theory of the Spectacle by Guy Debord, as part of the Situationist International, it is also argued that this film marks a clear rupture within Žilnik’s oeuvre, after which he takes a new direction in his critical approach. This film thus further clarifies his political positions retrospectively, concluding that it could be read as an example of Situationist action too, re-appropriating time for its disenfranchised and marginalised subjects.
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Pub Date : 2022-08-08DOI: 10.1080/2040350x.2022.2107769
A. Piotrowska
{"title":"The Artist and the Work. A Response to Ewa Mazierska’s Article Roman Polanski (and Others) on Trial","authors":"A. Piotrowska","doi":"10.1080/2040350x.2022.2107769","DOIUrl":"https://doi.org/10.1080/2040350x.2022.2107769","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"38 1","pages":"360 - 365"},"PeriodicalIF":0.0,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84593302","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 : 2022-07-15DOI: 10.1080/2040350X.2022.2084836
D. Youngblood
The end of communist regimes across central and eastern Europe, including Russia and the other republics of the former USSR, led not only to the redrawing of the political map of Europe, but as importantly, to the reconfiguration of the intellectual and cultural worlds of this vast region. From the perspective of the past thirty years, we can better appreciate the extent of these cultural and intellectual revolutions, which have led to increased and improved communication and cooperation among artists and intellectuals across national boundaries even as political relations have faltered—in some cases catastrophically. Nowhere has this shift been more evident than in film and media studies. Founded in 2015, Apparatus is a peer-reviewed, online, Open Access (OA) scholarly journal based in Berlin, which received its initial funding from Deutsche Forschungsgemeinschaft (DFG). The journal is hosted by Freie Universität Berlin. Its core leadership team consists of its founder and editor-in-chief Natascha Drubek (Germany), publishing director Irina Schulzki (Belgium), IT director John-Thomas Eltringham (Germany), reviews editor Evgeniia Trufanova (US), English language editor John Leman Riley (UK), and editorsat-large Adelheid Heftberger (Germany), Mario Slugan (UK), and Denise J. Youngblood (US). The journal’s international, interdisciplinary character is also evident in the composition of its editorial advisory board of twenty scholars specializing in various aspects of visual and media cultures as well as in more traditional humanities disciplines like history and literature; the board represents many European countries as well as the UK and US.
共产主义政权在中欧和东欧的终结，包括俄罗斯和前苏联的其他共和国，不仅导致了欧洲政治地图的重新绘制，而且同样重要的是，导致了这一广阔地区的知识和文化世界的重新配置。从过去三十年的角度来看，我们可以更好地理解这些文化和知识革命的程度，这些革命导致了艺术家和知识分子之间跨越国界的交流与合作的增加和改善，尽管政治关系在某些情况下是灾难性的。这种转变在电影和媒体研究中表现得最为明显。Apparatus成立于2015年，是一份同行评议的在线开放获取(OA)学术期刊，总部位于柏林，最初获得了德国Forschungsgemeinschaft (DFG)的资助。该杂志由Freie Universität Berlin主办。其核心领导团队由创始人兼总编辑娜塔莎·德鲁贝克(德国)、出版总监伊琳娜·舒尔茨基(比利时)、IT总监约翰-托马斯·埃尔特林汉姆(德国)、评论编辑Evgeniia Trufanova(美国)、英语编辑John Leman Riley(英国)、总编辑Adelheid Heftberger(德国)、Mario Slugan(英国)和Denise J. Youngblood(美国)组成。该杂志的国际性、跨学科的特点也体现在其编辑顾问委员会的组成上，该委员会由20位学者组成，他们专门研究视觉和媒体文化的各个方面，以及历史和文学等更传统的人文学科;该委员会代表了许多欧洲国家以及英国和美国。
{"title":"Apparatus. Film, Media and Digital Cultures in Central and Eastern Europe","authors":"D. Youngblood","doi":"10.1080/2040350X.2022.2084836","DOIUrl":"https://doi.org/10.1080/2040350X.2022.2084836","url":null,"abstract":"The end of communist regimes across central and eastern Europe, including Russia and the other republics of the former USSR, led not only to the redrawing of the political map of Europe, but as importantly, to the reconfiguration of the intellectual and cultural worlds of this vast region. From the perspective of the past thirty years, we can better appreciate the extent of these cultural and intellectual revolutions, which have led to increased and improved communication and cooperation among artists and intellectuals across national boundaries even as political relations have faltered—in some cases catastrophically. Nowhere has this shift been more evident than in film and media studies. Founded in 2015, Apparatus is a peer-reviewed, online, Open Access (OA) scholarly journal based in Berlin, which received its initial funding from Deutsche Forschungsgemeinschaft (DFG). The journal is hosted by Freie Universität Berlin. Its core leadership team consists of its founder and editor-in-chief Natascha Drubek (Germany), publishing director Irina Schulzki (Belgium), IT director John-Thomas Eltringham (Germany), reviews editor Evgeniia Trufanova (US), English language editor John Leman Riley (UK), and editorsat-large Adelheid Heftberger (Germany), Mario Slugan (UK), and Denise J. Youngblood (US). The journal’s international, interdisciplinary character is also evident in the composition of its editorial advisory board of twenty scholars specializing in various aspects of visual and media cultures as well as in more traditional humanities disciplines like history and literature; the board represents many European countries as well as the UK and US.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"52 1","pages":"310 - 313"},"PeriodicalIF":0.0,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87064631","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 : 2022-06-20DOI: 10.1080/2040350X.2022.2088135
E. Mazierska
Abstract This article engages with arguments in recent discussions about Polanski’s personal conduct, and the effect of these discussions on the reception of his films. It also uses these debates to shed light on the changing attitudes toward cinema and art at large, pointing to the growing importance of the artists’ personal conduct, especially sexual conduct, in the assessment of their work, including making spotless behaviour a condition to reach the audience. It does so from a position which is critical of censorship. The article draws on Polanski’s biography, especially the part describing his encounter with Samantha Gailer (now Samantha Geimer) and recent journalistic discourse about his conduct and films, following the rise of the #MeToo movement. It is informed by debates about authorship in film and art and the relationship between moral and aesthetic values.
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