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Wyszukujesz frazę "film reception" wg kryterium: Temat

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    Tytuł:
    Jak w Czechosłowacji pojmowano filmy Munka i Wajdy, czyli film w kontekście zawikłanej historii
    How in Czechoslovakia films by Munk and Wajda were conceived – or films in the context of tangled history
    Autorzy:
    Hučková, Jadwiga
    Hučko, Tomáš
    Powiązania:
    https://bibliotekanauki.pl/articles/921217.pdf
    Data publikacji:
    2017-08-17
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Polish Film School
    Andrzej Munk
    Andrzej Wajda
    film reception
    Czechoslovakia
    Polish myths
    heroism
    Opis:
    Films of Polish Film School, the most significant formation in post-war history of Polish cinema, appeared in Czechoslovakia with several years of delay. Power feared that their message will be dangerous for spectators. Meanwhile – for viewers they remain unknown or difficult to understand and only a few critics and fi lm historians could read them in accordance with the intentions of the directors Andrzej Munk and Andrzej Wajda, being the main representatives of the stream.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 20, 29; 215-230
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Rynek wideo w Polsce
    Video market in Poland
    Autorzy:
    Fortuna, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/920215.pdf
    Data publikacji:
    2013-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Video market
    film distribution
    film reception
    cinema in Poland during post-socialist transformation phase
    Opis:
    The development of VHS market in Poland can be roughly divided into two main periods: first (1980-1988) is the one when that area of pop culture first came into existence and shaped, second (1988-1992) is the "video boom" era. In the years 1980-1988 the video market developed thanks to the cunningness and resourfulness of a large number of people who succumbed to the magic of that new medium. They worked almost entirely illegally because the market was not being regulated by any legal norms and the cassettes that were being produced were of a very low quality. In the years 1988-1992 the VHS market was on a very high demand. Significant piracy-limiting legal norms were introduced and professional production and distribution companies began to play a larger role than before. Renting VHSs and watching movies on one's own TV set became a massive phenomenon. The article is an attempt to tell the unknown story of video-cassettes in Poland – methods of their dissemination, mechanisms of VHS market and influence on Polish audience.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 13, 22; 27-43
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Scenariusz filmowy jako inspiracja
    The film script as an inspiration
    Autorzy:
    Hendrykowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/917830.pdf
    Data publikacji:
    2014-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    theory of practice
    novel
    treatment
    scenario
    screenwriter
    script
    inspiration
    project
    literary version
    narrative
    narration
    poetics
    standard
    rhetoric of film
    art of film
    author
    authorship
    collectif work
    rewriting
    storyboard
    shooting script
    producer
    cereative producer
    director
    remodeling
    re-vision
    preproduction
    transition
    metamorphosis
    synergy
    shooting
    film production
    crash-test
    due diligence
    virtual viewer
    audience
    spectatorship
    film reception
    Opis:
    Screenplay is a multifunctional project written by screenwriter or screenwriters for preparing next phases of film production. Changing and many times transformed forms of screenplay belong to the nature of screenwriting. Literary vision of film changes several times being result of synergy and typical work in progress: from general idea and high concept, through story, treatment, scalette, first draft and certain number of drafts, to final draft, director’s draft and shooting script. Marek Hendrykowski’s study describes and explains these terms as forms of literary film creation in three complementary aspects: creative re-vision, rewriting and remodeling. 
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 14, 23; 211-218
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Fantastyka naukowa w polskim piśmiennictwie krytycznofilmowym przełomu lat pięćdziesiątych i sześćdziesiątych XX wieku
    Science fiction in Polish film journalism at the turn of the 1950s and 1960s
    Autorzy:
    Dudziński, Robert
    Powiązania:
    https://bibliotekanauki.pl/articles/1047440.pdf
    Data publikacji:
    2021-03-31
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    science fiction
    Polish People’s Republic
    film criticism
    reception
    Opis:
    The article is devoted to the Polish reception of science-fiction cinema; the statements of film critics from 1956–1965 were analysed. During this period, science fiction, previously absent from the screens of Polish cinemas for ideological and censorship reasons, returned to the repertoire and became the subject of press discussions and reviews. The analysis of articles devoted to this genre and published at the time allows reconstruction of the cultural context in which science-fiction productions operated. The article consists of three main parts. In the first of these, the author describes which science fiction films were present in Polish cinemas at the turn of the 1950s and 1960s. In the second part, he analyses press statements devoted to the history and aesthetics of the genre. The subject under consideration in the third part is the reception of two productions, which at the time enjoyed the greatest interest from contemporary critics: Godzilla (Gojira, 1954, dir. Ishirō Honda) and The Silent Star (Der schweigende Stern 1960, dir. Kurt Maetzig).
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 28, 37; 99-125
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Non-accidental presence. The reception of Krzysztof Kieślowski in Russia
    Autorzy:
    Viren, Denis
    Powiązania:
    https://bibliotekanauki.pl/articles/923210.pdf
    Data publikacji:
    2019-03-25
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    intercultural relations
    Polish-Russian relations
    film distribution
    auteur film
    foreign reception
    Polish cinema abroad
    Opis:
    Krzysztof Kieślowski is a cult figure among Russian moviegoers, but “proving” this is not as easy as in the case of the popularity of other Polish classic names in Russia, such as Andrzej Wajda and Krzysztof Zanussi. Placing Kieślowski on the list of Polish filmmakers who have influenced Russian culture in this or some other way is a not obvious move. The article is an attempt at exposing the reader to the presence of the director’s films in Russia through the history of the distribution of his films, an analysis of reviews by Russian authors and texts in which Kieślowski’s name appears. It also discusses references to his films in works by other filmmakers. It is complemented by the statements of two Russian directors who talk about the importance of Kieślowski in their work and academic practice.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 109-115
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Reading Plutarch of Chaeronea: A Cinematic Portrait of the Youth of Alexander the Great as Envisaged by Robert Rossen and Oliver Stone
    Autorzy:
    Antczak, Krzysztof
    Ionescu, Dan Tudor
    Powiązania:
    https://bibliotekanauki.pl/articles/920894.pdf
    Data publikacji:
    2015-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Oliver Stone
    Robert Rossen
    Alexander
    Alexander the Great
    Plutarch of Cheronea
    reception
    ancient culture
    blockbuster
    epic film
    historical film
    biopic
    Opis:
    This article is a study of the dynamics of interaction between historiography and “historiophoty” i.e. between a historical source – Plutarch’s Life of Alexander – and two epic films: R. Rossen’s Alexander Th e Great (1956) and O. Stone’s Alexander (2004). The authors of this study were interested in the cinematographic treatment of the legends, and so-called “historical truths” surrounding the birth, childhood, and early youth (boyhood or teenage years) of Alexander.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2015, 17, 26; 161-175
    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:
    Dobry, zły i brzydki. Fuck For Forest Michała Marczaka w obiegu społecznym i medialnym
    The good, the bad and the ugly. Fuck For Forest by Michał Marczak in the social and media circulation
    Autorzy:
    Piepiórka, Michał
    Powiązania:
    https://bibliotekanauki.pl/articles/923091.pdf
    Data publikacji:
    2018-04-26
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Fuck For Forest
    Michał Marczak
    documentary
    analysis of reception
    distribution
    film marketing
    media discourse
    voice the documentary
    Opis:
    Michał Marczak’s documentary Fuck For Forest was met with interest by both audiences and the media. This was due to the movie’s theme: the documentary tells the story of a group of activists living in Berlin who raise funds for environmental protection through a porn website. The film‘s premiere in Poland was accompanied by an aura of scandal, and Marczak’s movie was criticized by many for supposedly promoting pornography. The article analyzes the strategy used to promote the film in Poland and discusses various forms of commentary and media discourse on the film.
    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:
    Zmiany percepcji w wyniku oddziaływania nowych mediów i nowych modeli odbioru dzieła filmowego
    The changes of perception as an effect of the influence of new media and new modes of reception of film
    Autorzy:
    Mróz, Karolina
    Powiązania:
    https://bibliotekanauki.pl/articles/920209.pdf
    Data publikacji:
    2013-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Viewer
    film production
    media
    digitalisation
    interactivity
    ilusion
    screen
    perceiving
    reception
    perception
    film
    television
    interlocutor
    audience
    cinema
    widz
    percepcja
    telewizja
    rozmówca
    audytoria
    kino
    produkcja filmowa
    cyfryzacja
    interaktywność
    iluzja
    ekran
    recepcja
    Opis:
    Zmediatyzowany sposób postrzegania i sukcesywne wypełnianie naszej rzeczywistości ruchomymi obrazami mają znaczący wpływ na percepcję odbiorcy, a co za tym idzie na interpretację dzieła filmowego. Nie możemy być twórcami współczesnego kina nie rozumiejąc zmian, jakie zachodzą obecnie w widowni filmowej i audiowizualnej. Współczesna widownia stała się bardziej niż kiedykolwiek nomadyczna, a widz uczestniczy w wielkim spektaklu formującym jego tożsamość.
    Medialized way of perceiving and continual stuffing of reality with moving images have substantial impact on viewer’s perception, and thus on the interpretation of cinematic work. We cannot create contemporary cinema without understanding changes that the film and audiovisual audiences currently undergo. Contemporary audience has become nomadic more now than ever, and the spectator takes part in a grand spectacle that shapes their identity.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 13, 22; 242-251
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Miasto jako perpetuum mobile. Berlin. Symfonia wielkiego miasta (1927) Waltra Ruttmanna
    The City in Perpetual Motion. Berlin: Symphony of a Metropolis (1927) by Walter Ruttman
    Autorzy:
    Hendrykowska, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/920103.pdf
    Data publikacji:
    2013-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Walter Ruttmann
    Berlin
    Symphony of a Metropolis
    documentary film
    avant-garde
    urban organism
    editing
    rhythm
    Dynamics
    creation of movement
    point of view of the camera
    uniformity
    unification
    reception
    Opis:
    The atmosphere of a big city, as well as registering the motion of the city as a symbol of modern industrial civilization, fascinated the first directors of photography at the turn of the 20th century. Some years later, the subject of the metropolis was developed by avant-garde artists. Among early cinematic images of the city, the foremost place is held by Walter Ruttmann’s 1927 film Berlin: Symphony of a Metropolis. It was the first multifaceted and comprehensive documentary picture of the city. The city is shown without any anecdote or story, without an individual hero, distinct from theatre or literature. Ruttmann shows the diversity, complexity and co-dependence of the urban organism, which becomes something of a machine in perpetual motion. Ruttmann’s film unveils the uniformity of big-city life, the unification of the imagination, expectations, needs and dreams. The world of “Berlin” is created mainly by editing. Motion – the result of artistic endeavours, together with the rhythmic order of the images, determine the artistic vision of the film as a whole. Ruttmann’s rhythmic interpretation aims at breaking the boundaries between art and non-artistic reality.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 65-76
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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