Pub Date : 2022-06-16DOI: 10.1080/2040350x.2022.2085363
Lucie Česálková
{"title":"Fragments of the Body: Woman in Socialist Screen Advertising","authors":"Lucie Česálková","doi":"10.1080/2040350x.2022.2085363","DOIUrl":"https://doi.org/10.1080/2040350x.2022.2085363","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90156879","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 : 2022-06-15DOI: 10.1080/2040350x.2022.2087342
Mirela David
{"title":"The Representation of the Socialist Abortion Ban as Women’s Reproductive Burden in Postsocialist Romanian Cinema","authors":"Mirela David","doi":"10.1080/2040350x.2022.2087342","DOIUrl":"https://doi.org/10.1080/2040350x.2022.2087342","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80633595","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 : 2022-06-14DOI: 10.1080/2040350x.2022.2086094
Irena Řehořová
{"title":"HBO’s the Sleepers: How Spy Genre and Transnational Co-Production Challenged the Memory of Communism in the Czech Republic","authors":"Irena Řehořová","doi":"10.1080/2040350x.2022.2086094","DOIUrl":"https://doi.org/10.1080/2040350x.2022.2086094","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73355921","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 : 2022-05-19DOI: 10.1080/2040350X.2022.2077533
Ewa Mazierska
During Easter 2022 Poland lost one of its most famous composers of film music: Andrzej Korzyński (b. 1940). Korzyński scored six Andrzej Wajda films, including two of his most successful films internationally: Czlowiek z marmuru/Man of Marble (1976) and Człowiek z żelaza/Man of Iron (1981). Others included Polowanie na muchy/Hunting Flies (1969) and Brzezina/Birch Wood (1970). Korzyński also composed music for almost all films by Andrzej Żuławski. His other achievements include scoring an adaptation of the Henryk Sienkiewicz young adult novel W pustyni i w puszczy/In Desert and Wilderness (1973), directed by Władysław Ślesicki and three movies about the adventures of Mr. Kleks/Mr Blob, based on a popular book by Jan Brzechwa and directed by Krzysztof Gradowski, made in 1983, 1985 and 1988. Gradowski’s films broke records of popularity in the 1980s thanks to attracting families to Polish cinemas. Korzyński also composed for films produced in Italy, France and East and West Germany. He was a prolific composer, able to work on as many as three films at any given time and finish them within a month. Korzyński was a classically trained musician with a university degree in composition. However, rather than pursuing a career in classical music, he decided to turn to popular and electronic music. In his own words, his fascination with electronic instruments came early, when as a child his parents gave him an East German ‘Szmaragd’ tape recorder which allowed its user to play recordings at two speeds, as well as backwards. This encouraged Korzyński to experiment on this instrument with his then school friend, Andrzej Żuławski. During his studies Korzyński became involved in music journalism, which put him in contact with a radio journalist and a fellow pioneer of electronic music, Mateusz Święcicki. Thanks to Święcicki he also helped to organise the first festivals of Polish songs in Opole in the early 1960s. In the same decade he started writing popular music for multiple purposes, including songs and film music. As a songwriter, his first achievement was discovering the talent of the then student and amateur singer from Lublin, Piotr Szczepanik, for whom he wrote such hits as ‘Żółte kalendarze’ (Yellow Calendars) and ‘Kochać’ (To Love). A record with these songs, released in 1967, was most likely the best-selling Polish record during the entire period of state socialism. Many years later,
在2022年复活节期间，波兰失去了一位最著名的电影音乐作曲家:安德烈Korzyński(生于1940年)。Korzyński为安德烈·瓦伊达的六部电影评分，其中包括他在国际上最成功的两部电影:Czlowiek z marmuru/大理石人(1976)和Człowiek z żelaza/钢铁人(1981)。其他包括Polowanie na muchy/Hunting Flies(1969)和Brzezina/Birch Wood(1970)。Korzyński也为安杰伊的几乎所有电影作曲Żuławski。他的其他成就还包括改编自亨利克·希恩凯维奇的青年小说《在沙漠和荒野》(1973年)，由Władysław Ślesicki导演，以及三部关于克莱克斯先生/布洛布先生冒险的电影，改编自简·布热奇瓦的畅销书，由克日什托夫·格拉多夫斯基导演，分别于1983年、1985年和1988年拍摄。格拉多夫斯基的电影在20世纪80年代打破了受欢迎程度的记录，这要归功于吸引家庭前往波兰电影院。Korzyński也为意大利、法国、东德和西德的电影创作。他是一位多产的作曲家，能够在任何给定的时间内创作多达三部电影，并在一个月内完成。Korzyński是一位受过古典音乐训练的音乐家，拥有大学作曲学位。然而，他决定转向流行音乐和电子音乐，而不是追求古典音乐的职业生涯。用他自己的话说，他对电子乐器的迷恋很早就开始了，当他还是个孩子的时候，他的父母给了他一台东德的“Szmaragd”录音机，允许用户以两种速度播放录音，也可以倒着播放。这鼓励Korzyński和他当时的同学安德杰Żuławski一起用这个仪器做实验。在他学习期间Korzyński开始从事音乐新闻工作，这使他接触到一位电台记者和电子音乐的先驱Mateusz Święcicki。多亏了Święcicki，他还在20世纪60年代早期在波兰帮助组织了第一次波兰歌曲节。在同一十年里，他开始为多种目的创作流行音乐，包括歌曲和电影音乐。作为一名词曲作者，他的第一个成就是发现了当时来自卢布林的学生和业余歌手彼得·什切帕尼克的才华，他为他写了“Żółte kalendarze”(黄色日历)和“kochaki”(爱)等热门歌曲。1967年发行的一张包含这些歌曲的唱片，很可能是整个国家社会主义时期波兰最畅销的唱片。许多年后，
{"title":"Andrzej Korzyński (1940–2022)","authors":"Ewa Mazierska","doi":"10.1080/2040350X.2022.2077533","DOIUrl":"https://doi.org/10.1080/2040350X.2022.2077533","url":null,"abstract":"During Easter 2022 Poland lost one of its most famous composers of film music: Andrzej Korzyński (b. 1940). Korzyński scored six Andrzej Wajda films, including two of his most successful films internationally: Czlowiek z marmuru/Man of Marble (1976) and Człowiek z żelaza/Man of Iron (1981). Others included Polowanie na muchy/Hunting Flies (1969) and Brzezina/Birch Wood (1970). Korzyński also composed music for almost all films by Andrzej Żuławski. His other achievements include scoring an adaptation of the Henryk Sienkiewicz young adult novel W pustyni i w puszczy/In Desert and Wilderness (1973), directed by Władysław Ślesicki and three movies about the adventures of Mr. Kleks/Mr Blob, based on a popular book by Jan Brzechwa and directed by Krzysztof Gradowski, made in 1983, 1985 and 1988. Gradowski’s films broke records of popularity in the 1980s thanks to attracting families to Polish cinemas. Korzyński also composed for films produced in Italy, France and East and West Germany. He was a prolific composer, able to work on as many as three films at any given time and finish them within a month. Korzyński was a classically trained musician with a university degree in composition. However, rather than pursuing a career in classical music, he decided to turn to popular and electronic music. In his own words, his fascination with electronic instruments came early, when as a child his parents gave him an East German ‘Szmaragd’ tape recorder which allowed its user to play recordings at two speeds, as well as backwards. This encouraged Korzyński to experiment on this instrument with his then school friend, Andrzej Żuławski. During his studies Korzyński became involved in music journalism, which put him in contact with a radio journalist and a fellow pioneer of electronic music, Mateusz Święcicki. Thanks to Święcicki he also helped to organise the first festivals of Polish songs in Opole in the early 1960s. In the same decade he started writing popular music for multiple purposes, including songs and film music. As a songwriter, his first achievement was discovering the talent of the then student and amateur singer from Lublin, Piotr Szczepanik, for whom he wrote such hits as ‘Żółte kalendarze’ (Yellow Calendars) and ‘Kochać’ (To Love). A record with these songs, released in 1967, was most likely the best-selling Polish record during the entire period of state socialism. Many years later,","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"122 1","pages":"314 - 316"},"PeriodicalIF":0.0,"publicationDate":"2022-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73647263","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 : 2022-05-13DOI: 10.1080/2040350X.2022.2071520
Tereza Fousek Krobová, Justyna Janik, Jaroslav Švelch
Abstract This paper aims to analyse the tension between the universal themes of the horror genre that are appealing for the global public and the local character of the digital games developed by smaller companies/studios from the semi-peripheral countries of Central and Eastern Europe. To examine in-game representation of game spaces as well as the authorial intention and production processes behind their inclusion, we combine close readings of the two titles with interviews with their designers of two digital games: Someday You’ll Return and The Medium. Both games target an international audience but heavily feature real-life domestic locations and landmarks. The digitally represented physical space is also a vehicle for the narration, which is centred around memories of personal trauma of the in-game characters. While using the concepts of hauntology, postmemory, and folk horror, we try to understand the process of creating stories that appeal to an international audience but is heavily rooted in very specific local folklore (Someday You’ll Return) or painful national history (The Medium). This phenomenon can lead to both popularisation of new aesthetics in global market, as well as to perpetuating stereotypical narratives about national cultures and histories.
{"title":"Summoning Ghosts of Post-Soviet Spaces: A Comparative Study of the Horror Games Someday You’ll Return and the Medium","authors":"Tereza Fousek Krobová, Justyna Janik, Jaroslav Švelch","doi":"10.1080/2040350X.2022.2071520","DOIUrl":"https://doi.org/10.1080/2040350X.2022.2071520","url":null,"abstract":"Abstract This paper aims to analyse the tension between the universal themes of the horror genre that are appealing for the global public and the local character of the digital games developed by smaller companies/studios from the semi-peripheral countries of Central and Eastern Europe. To examine in-game representation of game spaces as well as the authorial intention and production processes behind their inclusion, we combine close readings of the two titles with interviews with their designers of two digital games: Someday You’ll Return and The Medium. Both games target an international audience but heavily feature real-life domestic locations and landmarks. The digitally represented physical space is also a vehicle for the narration, which is centred around memories of personal trauma of the in-game characters. While using the concepts of hauntology, postmemory, and folk horror, we try to understand the process of creating stories that appeal to an international audience but is heavily rooted in very specific local folklore (Someday You’ll Return) or painful national history (The Medium). This phenomenon can lead to both popularisation of new aesthetics in global market, as well as to perpetuating stereotypical narratives about national cultures and histories.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"69 1","pages":"39 - 52"},"PeriodicalIF":0.0,"publicationDate":"2022-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87580265","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 : 2022-05-09DOI: 10.1080/2040350X.2022.2071522
Vít Šisler, Jan Švelch, Shawn Clybor, Ondřej Trhoň
Abstract The video game Attentat 1942 (2017) and its follow-up Svoboda 1945: Liberation (2021) received worldwide recognition and numerous awards for their representation of Czechoslovak history. Drawing upon the personal experiences of several members of the development team at Charles Games, including translators and historians, the article addresses the challenges involved in adapting Central and Eastern European historical narratives for players unfamiliar with the regional context, but also for countries (i.e. Germany) with stringent rules on video game depictions of Nazi symbolism. By doing so, we critically examine how the development team strove to maintain historical accuracy and authenticity not only in the games’ development but, more specifically, in their localization. The article builds on existing research on video game localization, which sees localization as a complex set of processes involving not only translation of in-game texts, but also more fundamental adjustments related to globalization and internationalization. The article complements a self-reflexive design case analysis with a reception study, based on a thematic analysis of foreign language reviews in the specialized press, to explore how regional historical themes are perceived by reviewers, and whether, or to what extent, localization affects these perceptions.
{"title":"Adapting contested national history for global audiences in Attentat 1942 and Svoboda 1945: Liberation","authors":"Vít Šisler, Jan Švelch, Shawn Clybor, Ondřej Trhoň","doi":"10.1080/2040350X.2022.2071522","DOIUrl":"https://doi.org/10.1080/2040350X.2022.2071522","url":null,"abstract":"Abstract The video game Attentat 1942 (2017) and its follow-up Svoboda 1945: Liberation (2021) received worldwide recognition and numerous awards for their representation of Czechoslovak history. Drawing upon the personal experiences of several members of the development team at Charles Games, including translators and historians, the article addresses the challenges involved in adapting Central and Eastern European historical narratives for players unfamiliar with the regional context, but also for countries (i.e. Germany) with stringent rules on video game depictions of Nazi symbolism. By doing so, we critically examine how the development team strove to maintain historical accuracy and authenticity not only in the games’ development but, more specifically, in their localization. The article builds on existing research on video game localization, which sees localization as a complex set of processes involving not only translation of in-game texts, but also more fundamental adjustments related to globalization and internationalization. The article complements a self-reflexive design case analysis with a reception study, based on a thematic analysis of foreign language reviews in the specialized press, to explore how regional historical themes are perceived by reviewers, and whether, or to what extent, localization affects these perceptions.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"26 1","pages":"69 - 84"},"PeriodicalIF":0.0,"publicationDate":"2022-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83689794","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 : 2022-05-09DOI: 10.1080/2040350X.2022.2071523
Zsófia O. Réti
Abstract Sand Sailor Studio, a small Romanian indie game developer company launched a Kickstarter project to fund the development of their game Black: The Fall in 2014. After having more than 1,600 people backing their pitch, they could finish their 2.5D puzzle-platformer set in a bleak dystopic past/future and published it in 2017, receiving mostly positive reviews. The paper argues that Black: The Fall inscribes a more general Orwellian dystopia into a dystopified version of Romania’s socialist past in order to present it as a commodity for Western audiences, leveraging on the perceived uniqueness of Romanian history and hence reinforcing the image of Eastern Europe as an ‘other at hand?’. While the visuals support what we can call a mediatised experience of the late Ceausescu-era, the game mechanic and affective qualities of playing may be capable of offering a more nuanced impression of the 1980s in Romania as a lived experience.
2014年，罗马尼亚小型独立游戏开发公司Sand Sailor Studio在Kickstarter上发起了一个项目，为他们的游戏《Black: the Fall》的开发提供资金。在获得超过1600人的支持后，他们完成了这款以过去/未来为背景的2.5D解谜平台游戏，并于2017年发行，获得了大多数积极的评价。文章认为，《黑色:堕落》将奥威尔式的反乌托邦融入了罗马尼亚社会主义过去的反乌托邦版本，目的是将其作为一种商品呈现给西方观众，利用罗马尼亚历史的独特性，从而强化东欧作为“手边的他者”的形象。虽然视觉效果支持我们所谓的齐奥塞斯库时代晚期的媒介体验，但游戏机制和游戏的情感品质可能能够提供一种更微妙的印象，即1980年代的罗马尼亚生活体验。
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Pub Date : 2022-05-06DOI: 10.1080/2040350X.2022.2071521
Regina Seiwald, Alex Wade
Abstract This paper examines how the Cold War was depicted in videogames from outside the West. Using Jean Baudrillard’s double spiral of symbolic exchange and simulation as its theoretical framework, it describes the generation of the hyperreal in Western countries. The hyperreal is directly tied to machines in the welfare and warfare state that made the Cold War a battle that could never be fought. While these machines and the knowledge factories of which they were a part offered ludic alternatives to war in the West, in Eastern Europe and beyond, sitting outside of the Western hyperreal, they offer an opportunity to recollect and model human experiences of the inhumanities of their oppressors, through a certain point in history where digital technology and the downfall of the Eastern bloc coalesced. In this space, videogames from across Eastern Europe and Asia are interrogated in their form, function, content, distribution, and delivery to position non-Western videogames as offering a viable alternative to the technosphere that eventually swallows the world in its integral reality, indirect products of a war that could not take place.
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Pub Date : 2022-05-06DOI: 10.1080/2040350X.2022.2071519
M. Felczak, Maria B. Garda
Abstract This article investigates the development of discourses related to a specific era of independent games and offers a close historical and cultural analysis of the freeware Polish game Żulionerzy (Ortalion Entertainment 2001). The game is positioned as a compelling cultural artefact from the often overlooked and underresearched period of the early 2000s, combining inspirations from the globally recognized TV franchise Who Wants to be a Millionaire and the emerging indie games scenes. The authors argue that Żulionerzy is a project that manages to capture young adults’ perspective on the economic and cultural zeitgeist of the era. Its potential as a counter-cultural and transgressive gaming intervention is further reinforced by intertextual references and a parodistic core gameplay loop. The assessment of Żulionerzy is concluded with a call to investigate similar productions which, while produced in a national language, shared their key features with the rising wave of grassroot browser-based games.
本文调查了与独立游戏相关的特定时代的话语发展，并提供了免费波兰游戏Żulionerzy (Ortalion Entertainment 2001)的历史和文化分析。这款游戏被定位为一个引人注目的文化产物，它来自于21世纪初这个经常被忽视和研究不足的时期，结合了来自全球公认的电视特许经营《Who Wants to be a Millionaire》和新兴独立游戏场景的灵感。作者认为，Żulionerzy是一个项目，它成功地捕捉到了年轻人对这个时代的经济和文化精神的看法。它作为一种反文化和越界游戏干预手段的潜力被互文引用和模仿的核心游戏循环进一步强化。在对Żulionerzy的评估结束时，我们呼吁调查类似的产品，这些产品虽然使用本国语言制作，但与正在兴起的草根网页游戏具有相同的主要功能。
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