Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "images" wg kryterium: Wszystkie pola

  Lista filtrów
Wyrównaj
Wyświetlanie 1-15 z 17
Tytuł:
Images
Autorzy:
Nes, Adi
Powiązania:
https://bibliotekanauki.pl/articles/923254.pdf
Data publikacji:
2019-06-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2019, 25, 34; 125-136
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Functions of film images of Warsaw in the Polish cinema of the 1960s
Autorzy:
Zwierzchowski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/923183.pdf
Data publikacji:
2019-01-08
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Polish cinema
1960s.
Warsaw
film images
comedy
Opis:
Polish cinema of the 1960s presented a specific vision of Warsaw, different from earlier and later ones, although it contained some solid motifs for the entire PRL era. These include emphasizing the uniqueness of Warsaw, the war past as an inseparable part of the city’s identity (though in the 1960s with a slightly different meaning) or the problem of getting a flat. The separateness and specificity of the then created images of the capital was related to the political specificity of the decade, the cultural and social moment of Warsaw development, the domination of realism that made the message authentic and genological issues – the main role in creating the image of the city was played by comedy. These images, however, were sometimes surprisingly subversive, breaking the dominant image.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 22, 31; 65-78
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Broken images. "Auschwitz", nostalgia and modernity. The reception of the Holocaust in popular culture
Autorzy:
Kaźmierczak, Marek
Powiązania:
https://bibliotekanauki.pl/articles/919798.pdf
Data publikacji:
2011-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Holocaust
Reception
Popular Culture
Text
Mass Media
Film
Images
Modernity
Historical and Social Facts
Nostalgia
Metonymy
Opis:
Broken images. "Auschwitz", nostalgia and modernity. The reception of the Holocaust in popular culture The reception of the Holocaust in popular culture is like a set of the broken images of the past. There are fluent differences between fiction and reality, beetween texts and facts, between knowledge and ignorance. This article concerns the forms of the influence of poplar culture on the representations of the Holocaust. Broken image can reveal a part of same event, the same fact. There are intellectual and axiological challenges between revealing and abusing the “Auschwitz” in the contemporary texts of culture. There are three main parts of the article: The contexts of the terms, Opened arguments and How instrumentally where are described the mechanisms of reduction, instrumentalization and mediatization of the reception of the Holocaust.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 8, 15-16; 101-120
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Images performed by words in Howard Jacobson’n novel Kalooki Nights. Remarks about intersemiotic relations among words and pictures
Autorzy:
Kaźmierczak, Marek
Powiązania:
https://bibliotekanauki.pl/articles/920244.pdf
Data publikacji:
2009-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Shoah
Holocaust
transframing
performing
literature
text
novel
representation
images
words
interpretation
Kalooki Nights
intersemiotic tension
Opis:
Images performed by words in Howard Jacobson’s novel “Kalooki Nights”. Remarks about intersemiotic relations among words and picturesThe article titled Images performed by words in Howard Jacobson’n novel Kalooki Nights. Remarks about intersemiotic relations among words and pictures concerns the intersemiotic tensions among words and pictures. The theoretical model is supported by the interpretation of Howard Jacobson’s novel titled Kalooki Nights. This novel redefines the limits of representation and reception of the Holocaust in the context of identity and contemporary world. Exploring the forms of “reading” (“looking at”) of the linguistic codes as the visual codes, such terms like “transframing” and “performing” refer to the patterns of creation the fictional worlds (constructed by the words which are treated as the images). The being of words still means looking through them, through their semantic flaws. This intersemiotic translations are rooted in the will of creation (Eros) and the will of destruction (Thanatos). The history of interpretations of these two sources of semiosphere touches the limits of questions: what can be shown in written wor(l).
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 325-336
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Memory images: Holocaust memory in Balkan cinema(s)
Autorzy:
Daković, Nevena
Powiązania:
https://bibliotekanauki.pl/articles/923162.pdf
Data publikacji:
2018-12-22
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Balkan cinema(s)
Holocaust
memory
trauma
history
Opis:
The aim of this paper is to analyse the shift of the representational and narrative paradigms of Holocaust memory in the Balkan films that belong to two genres – of melodrama and historicalfiction. The hybrid format positons the Holocaust (hi)stories – already caught between forgetting and remembrance – on the unstable ground between trauma and nostalgia; between history and memory; or facts and fiction. The “regained visibility of the Holocaust grant us access” to Balkan past and present and oblige us to investigate the convergence of the history and the memory into Holocaust master narrative of the Holocaust.“Bringing the dark past to light” in cinema has manifold effect. First, the Balkan wave of Holocaustfilms, with its mixed generic performances, offers new answers to the traditional issues of, both, the ethics of memory and the ethics of representation. Second, the analysis of five films reveals that the trauma from the past – resisting the closure – has the potential to powerfully resonate in the present day political crises. Re-dressing the trauma of the past, the films present the future violence while fulfilling “the Holocaust dictum ‘never forget’”. Eventually, new representational paradigm gives consistency to the Balkan (hi)stories of the past and coherence to the identity in the present.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 23, 32
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Party in Krzysztof Kieślowski’s Films
Autorzy:
Zwierzchowski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/923207.pdf
Data publikacji:
2019-03-25
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Krzysztof Kieślowski
Polish cinema
film and politics
images of Polish United Workers’ Party
Opis:
Probably no other Polish filmmaker has devoted as much attention to the Polish United Workers’ Party (PZPR) as Krzysztof Kieślowski did in his films. Early on, he perceived the party as an organization where one could meet people with different desires, motivations and modus operandi. Kieślowski’s perspective could be defined as such: do not judge the whole, focus on individuals. His subsequent films present a change in this perspective. Workers and devoted members of the communist party were in the center of the director’s interest in some of his early films. Later, he focused more and more on individuals, especially those who had to face the party as a structure and hierarchy. Kieślowski’s films made in the early 1980s show party leaders and people in charge who eventually turn out to be losers. Kieślowski perceived various aspects and forms of being a party member, not only as a stepping stone for one’s career. He saw and presented the everyday life of PZPR, relations between the authorities and society, and its members and representatives of the party apparatus. He was quite critical about the party and people in charge, but also tried to see and present the reasons motivating their conduct. Social and political changes in Poland in the early 1980s made this kind of approach increasingly difficult for Kieślowski.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 137-153
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Parallax Memory. Notes on the Solidarity, Solidarity… Collection
Autorzy:
Klejsa, Konrad
Powiązania:
https://bibliotekanauki.pl/articles/919930.pdf
Data publikacji:
2012-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
film and memory
cinematic images of political movements
Deleuze and cinema
Solidarność
Opis:
The paper focuses on Solidarity, Solidarity…, a collective project made in 2005 to celebrate the 25th anniversary of the worker’s movement. Thirteen novelettas demonstrate various approaches towards the so-called “Polish August” of 1980, ranging from “comemorational”, praising the leaders of the movement, to critical, stimulating new interpretations of Polish history. The theoretical foundation of the analysis is built upon Deleuze’s theory of “time-image”. Although it may be argued that Deleuze’s work deals primarily with film style and the historically shifting aesthetics of the cinema, it is also justifiable to state that (if treated metaphorically) the Deleuzean “Time-Image” is based on the concept of a journey into the realms of the Forgotten, whereas its spectator is forced to rework his position in the field of history. In the paper, special attention is given to episodes which deal with the nature of history in a specific way. In Jacek Bromski’s short story, a former dissident asks his oppressor for a loan, leading to a replay of his interrogation. In Robert Glinski’s short story, Japanese tourists take pictures of the deserted Gdynia shipyard where Solidarity began. In Juliusz Machulski’s novelette, Solidarity never happened, so the director ponders making a movie about the heroic Battle of Lenino. These short films trace the inability to cope with the heritage of Solidarity, which became a deserted space in public debate during the course of its demolition and reconstruction.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 11, 20; 23-35
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The temple of the new faith. Film images of the construction of the Palace of Culture 1952–1955
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/923189.pdf
Data publikacji:
2019-01-08
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Polish cinema
ideology
architecture
socialist realism
stalinism
symbolic dominance
Opis:
The first study of its kind, Marek Hendrykowski’s paper examines frame by frame the symbolic role of the construction of the Palace of Culture in the ideological context of the Stalinist period and its emergence into the realm of public discourse in the early 1950s.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 22, 31; 39-54
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pętla obrazów. Wideo według Mariny Abramović
The Loop of Images. Video According to Marina Abramowić
Autorzy:
Krawczak, Michał
Powiązania:
https://bibliotekanauki.pl/articles/920272.pdf
Data publikacji:
2009-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
performance art
video art
iconography
video loop
installation art
photography
Marina Abramović
Opis:
The connection between video art and performance art has been inseparable since 1967, when the first commercial camera Sony Portapak appeared on the American market. The development of video art and performance art has been parallel. On the one hand, autonomous languages which used different discourses were created, on the other hand, the interaction was inextricable, long-lasting and very stimulating. Marina Abramović, recording her activities as a performer on video and then placing them in the space of her installations, gained a high level of energy in the picture, which became transcendent, a sign of body and life, a meditation. Abramović consciously sacralizes her art and highlights its meditational character. In that way the art became a loop of a video sequence, a multifaceted icon.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 235-241
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Prawda, prowokacja, propaganda. Obrazy Holocaustu w internetowych serwisach plików wideo
Truth, provocation, propaganda. Images of the Holocaust in the Web services
Autorzy:
Otto, Wojciech
Powiązania:
https://bibliotekanauki.pl/articles/919821.pdf
Data publikacji:
2011-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Holocaust
Internet
Newsreel
Music video
Provocation
Propaganda
Opis:
The word “Holocaust” functions as a keyword in reading of the contemporary history in the Web services (which contain video files). Very often this word is used in the context of some historical truth which concerns the second world war. There are mainly some newsreels or audiovisual documents which confirm the atrocities of the war. The forms of the provocation are rather rarely. In this perspective the authors want to notice some peculiar problems or phenomenona. Sometimes the word “Holocaust” is used by somecommunities to support their ideologies (for example in the political background) – and in this context the interpretation of this word exceeds the ethical taboo.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 8, 15-16; 67-80
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Obrazy Holocaustu w etiudach filmowych PWSFTviT w Łodzi
In Serach of the Form. Images of the Holocaust in student films of the Polish National Film School
Autorzy:
Mąka-Malatyńska, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/919778.pdf
Data publikacji:
2011-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
School Film
Short Film
Holocaust
Opis:
In Serach of the Form. Images of the Holocaust in student films of the Polish National Film School The article In Search of the Form is a contribution to the research on school films about Holocaust. The author analyzed over 20 short films produced in the National Film School in Lodz in 1948–2010. In great part these films reflect the general trend from the professional cinema of the same period. However young filmmakers appear to be more daring as far form of the films is concerned. Their films are aesthetically original, ofthe refer to genre cinema and combine different genres.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 8, 15-16; 157-180
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Metaphorizing the Holocaust: The Ethics of Comparison
Autorzy:
Webber, Mark
Powiązania:
https://bibliotekanauki.pl/articles/919822.pdf
Data publikacji:
2011-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Holocaust
Jewish (1939–1945)
Shoah
Genocide
Metaphor
Rhetoric
Metonymy
Synechdoche
Comparison
Comparability
Unique
Singular
Ethics
Ethical
Empathy
Antisemitism
Anty-semitism
Bundesverfassungsgericht
Oberster Gerichtshof
PETA
Auschwitz
Animals
Images
Photographic
Opis:
Metaphorizing the Holocaust: The Ethics of Comparison  This paper focuses on the ethics of metaphor and other forms of comparison that invoke National Socialism and the Holocaust. It seeks to answer the question: Are there criteria on the basis of which we can judge whether metaphors and associated tropes “use” the Holocaust appropriately? In analyzing the thrust and workings of such comparisons, the paper also seeks to identify and clarify the terminology and concepts that allow productive discussion. In line with its conception of metaphor that is also rhetorical praxis, the paper focuses on specific controversies involving the metaphorization of the Holocaust, primarily in Germany and Austria. The paper develops its argument through the following process. First, it examines the rhetorical/political contexts in which claims of the Holocaust’s comparability (or incomparability) have been raised. Second, it presents a review (and view) of the nature of metaphor, metonymy, and synecdoche. It applies this framework to (a) comparisons of Saddam Hussein with Hitler in Germany in 1991; (b) the controversies surrounding the 2004 poster exhibition “The Holocaust on Your Plate” in Germany and Austria, with particular emphasis on the arguments and decisions in cases before the courts in those countries; and (c) the invocation of “Auschwitz” as metonym and synecdoche. These examples provide the basis for a discussion of the ethics of comparison. In its third and final section the paper argues that metaphor is by nature duplicitous, but that ethical practice involving Holocaust comparisons is possible if one is self-aware and sensitive to the necessity of seeing the “other” as oneself. The ethical framework proposed by the paper provides the basis for evaluationg the specific cases adduced.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 8, 15-16; 1-30
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Marginalia kultury: o obrazach ciąży i ich znaczeniach w kulturze doświadczenia potocznego
On the Margins of Culture: Images of Pregnancy and their Meanings in the Culture of Daily Experience
Autorzy:
Kloch, Zbigniew
Powiązania:
https://bibliotekanauki.pl/articles/920251.pdf
Data publikacji:
2009-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
pregnancy
image
public discourse
common cultural experience
Opis:
This essay describes meanings attributed to images of pregnancy in contemporary culture, to their idiomatic expressions and to fashions associated with pregnancy. It considers also semiotic and sociological contexts that are being modeled through these meanings. Pregnancy appears then as a symbol of prevailing values, a sign of social standing and ideological convictions. This essay contributes to the understanding and explanation of how meanings are formed in the culture of daily experience.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 313-321
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Fakes of reality. Do we really need the paradigm of the documentary? From the ontology to the epistemology of movie images, i.e. there and back again
Autorzy:
Jakubowska, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/923109.pdf
Data publikacji:
2018-04-26
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
mock-dokumentary
docufiction
contemporary cinema
ontology of cinema
epistemology of cinema
Opis:
The starting point for this paper is the statement that we are witnessing a “mock-documentary boom” in contemporary cinema. Viewers today can be surprised and confused by the variety of “intercrossings” that are used in documentary and fictional strategies. The fact that there has been a growing number of films that do not respect the traditional division between fictional and non-functional cinema deserves deeper consideration. The introduction of the paper is focused on historical sources and classifications of this complex phenomenon (for example: the brothers Lumière tradition contrasts with that of Méliès). The main body of the paper is concentrated on the question of what cinema can offer in lieu of a documentary paradigm. It also tries to explore ontological and epistemological perspectives which can clarify some of the reasons for the popularity of mock-documentary and docufiction productions. It ends with a suggestion that the cinema is a domain of fakes of reality regardless of whether fictional or non-fictional narration is used to tell their stories. 
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 21, 30
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dwaj ludzie z szafą w perspektywie genologicznej
Two People With a Wardrobe in a Genological Perspective
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/918057.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
short film
art of film
genre
film of fiction
reality
construction
composition
condensation
language of moving images
narrator
narrative
story
plot
continuity
discontinuity
heroes
conflict
coincidentia oppositorum
Opis:
Parabola is the essence of the short film Two Men and a Wardrobe (and likewise Mammals and The Fat and the Lean). Parabola is dominant of the genre, not merely an occasional and distinguishing attribute. In its interior, we find traces of other genres. These include noir comedy, slapstick burlesque, existential drama, the thriller, and drama of the absurd, grotesque and macabre. The poetic dimension of Polanski’s short film, in which reality confronts and permeates the skilfully constructed and captivating fantasy presented by the artist, allowing all the elements of the genre to be combined into a common whole.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 171-180
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 17

Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies