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Gaming Eastern Europe: Production, Distribution and Consumption 东欧游戏:生产、分销和消费
Q2 Arts and Humanities Pub Date : 2023-01-02 DOI: 10.1080/2040350X.2023.2149122
Lars Kristensen
This is the first special issue of Studies in Eastern European Cinema that addresses computer game culture within the region of Eastern Europe. The reasons for doing so are twofold. The first has to do with the idea of convergence between industries. The film and game industries are increasingly overlapping, meaning that separating the two on the levels of production and consumption is unproductive. This does not mean that films become computer games, or games become films – in the form of one media product being translated into another as transmedia adaptations. Instead, the relationship between the two industries is much more dynamic; for example, film production is borrowing tools from game production. In virtual production, large studios use computer game engines to render sets while shooting live action scenes, which make shooting faster and more effective to meet the demands of major streaming services. Another example of industry convergence is the fact that computer games are moving closer to immersive forms, where head-mounteddisplays are essential for the ultimate experience of a work, which is often less ludic and more geared toward experience design and performance arts, something that lies at the foundation of cinema. This cross-over illustrates how technological environments are converging to facilitate storytelling on a different level. The second issue that grounds this turn towards games is the fact that computer games are played by large audiences. As more and more film students emerge with gameplay experience in their toolkits, the way we study screen media, including social media and television, needs to address the media ‘next door’, of which the computer game is an important one. The current generation of university students has grown up playing games on a daily basis and are likely to continue this activity in some form. In short, it is unproductive to remain ignorant of developments in computer games while our students are playing games as well as watching films. However, this puts the spotlight on a problematic issue; namely, how we should study games and how is studying games different from studying cinema? Highlighting this here might get some game scholars out of their seats, arguing that game studies has already had this debate in the early 2000s, with Janet Murray and Esben Aarseth as the leading scholars. Some readers would argue that the field of game studies is already past this discussion, having formed its own discipline game studies. However, game studies are still a divided field dependent on which perspective we are looking at the game and indeed dependent on what kind of game is being analysed. It is still the case that many academic divisions ‘claim’ games as a core division – computer science, sociology, linguistics, education, and the arts and humanities. Regional studies, too, have to be attuned to this development, which is something that we hope to reflect through this special issue.
这是《东欧电影研究》的第一期特刊,专门研究东欧地区的电脑游戏文化。这样做的原因是双重的。第一个与产业间的融合有关。电影和游戏产业的重叠越来越多,这意味着在生产和消费层面上将两者分开是无益的。这并不意味着电影变成了电脑游戏,或者游戏变成了电影——以一种媒体产品被转换成另一种跨媒体改编的形式。相反,这两个行业之间的关系更加动态;例如,电影制作借用了游戏制作的工具。在虚拟制作中,大型工作室在拍摄实景场景时使用电脑游戏引擎来渲染布景,这使得拍摄速度更快,更有效,以满足主要流媒体服务的需求。产业融合的另一个例子是,电脑游戏正在向沉浸式形式靠拢,头戴式显示器对于作品的最终体验至关重要,这通常不那么有趣,更倾向于体验设计和表演艺术,这是电影的基础。这种交叉说明了技术环境是如何在不同层面上促进故事叙述的。导致这种转向游戏的第二个原因是,电脑游戏的玩家群体庞大。随着越来越多的电影专业学生拥有游戏体验,我们学习屏幕媒体(包括社交媒体和电视)的方式需要解决“隔壁”媒体的问题,其中电脑游戏是一个重要的媒体。当前这一代大学生是在每天玩游戏中长大的,而且很可能会以某种形式继续这种活动。简而言之,当我们的学生在玩游戏和看电影的时候,对电脑游戏的发展一无所知是无益的。然而,这把焦点放在了一个有问题的问题上;也就是说,我们应该如何研究游戏,研究游戏和研究电影有什么不同?在这里强调这一点可能会让一些游戏学者感到震惊,他们认为游戏研究在21世纪初就已经有了这样的争论,Janet Murray和Esben Aarseth是主要的学者。有些读者可能会认为,游戏研究领域已经超越了这种讨论,形成了自己的学科——游戏研究。然而,游戏研究仍然是一个分裂的领域,这取决于我们看待游戏的角度,也取决于我们分析的是哪种游戏。现在仍然有许多学术部门“宣称”游戏是一个核心部门——计算机科学、社会学、语言学、教育、艺术和人文学科。区域研究也必须适应这一发展,我们希望通过本期特刊反映这一点。
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引用次数: 0
Interview with Ágnes Karolina Bakk (ÁKB) and Alexey Izvalov (AI)
Q2 Arts and Humanities Pub Date : 2022-12-28 DOI: 10.1080/2040350x.2022.2159161
Lars Kristensen, Marcus Toftedahl
. PhD
。博士学位
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引用次数: 0
An Officer and a Spy: Roman Polanski in the Benjaminian Interior 军官与间谍:罗曼·波兰斯基在本杰明内陆
Q2 Arts and Humanities Pub Date : 2022-12-09 DOI: 10.1080/2040350X.2022.2152542
Żaneta Jamrozik
Abstract Roman Polanski’s An Officer and a Spy (2019) represents France of La Belle Époque not through cafés, cabarets, and literary salons but as a military state of dilapidated army offices filled with half-asleep soldiers, dust, stink, and clouds of suspicion. The Third Republic seems suspended between its revolutionary past and the bleak present: the lost war with Germany and constant governmental scandals. The country recedes into the interior to try less grandeur methods like plotting, spying and surveillance. Polanski recounts the era through the Dreyfus Affair (1894-1906), treated not as a designed plot but as a logical outcome of the bureaucratic system of the state. I analyse An Officer and a Spy historically alongside Walter Benjamin’s writing on the interior. Benjamin’s interior is a complex space that can function as a protective space, a space of death or inertia, a space of history and action as well as a colonising space that brings together the far and the near through colonial objects and customs.
罗曼·波兰斯基的《军官与间谍》(2019)不是通过咖啡馆、歌舞表演和文学沙龙来描绘法国的美好Époque,而是作为一个军事国家,破旧的军队办公室里充斥着半睡半醒的士兵、灰尘、恶臭和怀疑的阴云。第三共和国似乎徘徊在革命的过去和暗淡的现在之间:对德战争的失败和不断的政府丑闻。这个国家退回到内陆,尝试不那么宏伟的方法,如阴谋、间谍和监视。波兰斯基通过德雷福斯事件(1894-1906)讲述了那个时代,并没有将其视为一个精心设计的情节,而是作为国家官僚体系的逻辑结果。我将《军官与间谍》与沃尔特·本雅明关于内部的写作结合起来进行历史分析。本雅明的室内是一个复杂的空间,它可以作为一个保护空间,一个死亡或惯性的空间,一个历史和行动的空间,以及一个通过殖民物品和习俗将远与近聚集在一起的殖民空间。
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引用次数: 1
An Educational Corpus Based Exploration of Contemporary Hungarian Cinema: Lessons of the 2021 Hungarian University Film Awards 基于教育语料库的当代匈牙利电影探索:2021年匈牙利大学电影奖的经验教训
Q2 Arts and Humanities Pub Date : 2022-11-28 DOI: 10.1080/2040350x.2022.2149043
Zsolt Győri
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引用次数: 0
‘I don’t care if it’s the Third World War’: Czech cinemagoers during the COVID-19 pandemic “我不在乎是不是第三次世界大战”:新冠肺炎大流行期间的捷克电影观众
Q2 Arts and Humanities Pub Date : 2022-11-11 DOI: 10.1080/2040350x.2022.2144461
Jan Hanzlík, Petr Szczepanik, K. Čada, Zuzana Chytková
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引用次数: 0
Approaches to Crime and Punishment in a Historical Context: Roman Polanski’s Death and the Maiden 历史语境下的罪与罚探析:罗曼·波兰斯基的《死亡与少女》
Q2 Arts and Humanities Pub Date : 2022-11-02 DOI: 10.1080/2040350X.2022.2141967
András Lénárt
Abstract Roman Polanski’s Death and the Maiden (1994), the adaptation of a play written by Ariel Dorfman, can be interpreted on various levels. Although not stated explicitly, it is unambiguous that the background of the story is the Chilean dictatorship of Augusto Pinochet, though it could equally have been any East-Central European or Latin American country with a dictatorial past. This motion picture raises questions concerning human consciousness, guilt, pain and torture (both emotional and physical), revenge and moral uncertainty. Three episodes of Polanski’s life may add a special significance to this adaptation. Being a Holocaust survivor, the Polish director experienced the repression of a dictatorship and the effects of human cruelty. Furthermore, his pregnant wife was brutally murdered by the Manson Family. Also, taking into consideration that he was found guilty of unlawful sex with a minor, he knows how society and individuals punish someone for his or her crimes. The aim of my article is to examine the possible interpretations of the movie, paying special attention to Polanski’s approach towards tragedies, dictatorships (in both East-Central Europe and Latin America), and personal guilt, and also to highlight what message the film may transmit to future generations.
罗曼·波兰斯基的《死亡与少女》(1994)改编自阿里尔·多尔夫曼的一部戏剧,可以从多个层面进行解读。虽然没有明确说明,但这个故事的背景是奥古斯托·皮诺切特(Augusto Pinochet)的智利独裁统治,这一点是明确的,尽管它也可能是任何一个有独裁历史的东欧或拉丁美洲国家。这部电影提出了关于人类意识、内疚、痛苦和折磨(包括情感和身体上的)、复仇和道德不确定性的问题。波兰斯基生活中的三个片段可能会为这部改编影片增添特殊的意义。作为大屠杀的幸存者,这位波兰导演经历了独裁统治的镇压和人类残忍的影响。此外,他怀孕的妻子被曼森家族残忍地杀害了。而且,考虑到因与未成年人发生非法性行为而被判有罪,他知道社会和个人如何惩罚一个人的罪行。我这篇文章的目的是研究对这部电影的可能解释,特别关注波兰斯基对悲剧、独裁统治(在东欧和拉丁美洲)和个人内疚的态度,同时也强调这部电影可能传递给后代的信息。
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引用次数: 0
From Agent to Subject: Panoptic and Post-Panoptic Surveillance in Contemporary Eastern European Television Series 从代理人到主体:当代东欧电视剧中的全景与后全景监视
Q2 Arts and Humanities Pub Date : 2022-10-25 DOI: 10.1080/2040350x.2022.2137006
Veronika Hermann
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引用次数: 0
Interview with Želimir Žilnik – August, 2022
Q2 Arts and Humanities Pub Date : 2022-10-14 DOI: 10.1080/2040350x.2022.2133354
Vlastimir Sudar
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引用次数: 0
A Journey through the Balkans’ Early Cinema History 巴尔干半岛早期电影史之旅
Q2 Arts and Humanities Pub Date : 2022-09-29 DOI: 10.1080/2040350X.2022.2127228
Mélisande Leventopoulos
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引用次数: 0
Secret Agents, Informers, and Traitors: Agnieszka Holland’s Fever (Gorączka, 1980) 特工、告密者和叛徒:阿格涅斯卡·霍兰德的热病(Gorączka, 1980)
Q2 Arts and Humanities Pub Date : 2022-09-29 DOI: 10.1080/2040350x.2022.2125221
E. Ostrowska
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引用次数: 0
期刊
Studies in Eastern European Cinema
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