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    Tytuł:
    Krzysztof Kieślowski’s “Decalogue” as a Quality TV Series
    Autorzy:
    Talarczyk, Monika
    Powiązania:
    https://bibliotekanauki.pl/articles/923219.pdf
    Data publikacji:
    2019-03-25
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Polish television
    tv series
    quality television
    Opis:
    The text is dedicated to The Decalogue (Dekalog,1988) by Krzysztof Kieslowski and analyses the television series through the prism of genre and contemporary television studies, including the concept of quality television. Kieslowski’s series fulfills all the criteria assigned to the contemporary new generation television series, and can act as a reference point for interpreting Poland’s first new generation series by HBO, In treatment (Bez tajemnic, 2011–2013). The two titles are also linked by the same Polish film tradition, i.e. the cinema of moral concern, even though In treatment is based on foreign format.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 38-46
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Guerilla Tv i wideo art jako narzędzia w walce z telewizyjnym establishmentem Stanów Zjednoczonych
    Guerilla Tv and video art as a tool in the fight against the television establishment in USA
    Autorzy:
    GIEC, MARTA
    Powiązania:
    https://bibliotekanauki.pl/articles/921149.pdf
    Data publikacji:
    2016-10-09
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    communication
    mass media
    television network tv
    video art
    Guerilla Tv
    medium
    USA
    Opis:
    An article is based on the issue of the main mediated model of one-way communication connected with the mass media and looks at the problem of television networks in USA in the 1960s and 70s, which was highly influential. This political and cultural situation had been developing out of technical innovations and become a point of departure for considering alternative video communication, which stood up against the institutionalized television regime. At this time, video art and especially Guerilla Tv were the bearers of the new communication order, at the same time breaking the imposed socio-political discourse.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 18, 27; 185-198
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Narracyjna złożoność współczesnego serialu telewizyjnego na przykładzie Breaking Bad Vince’a Gilligana
    The Narrative Complexity of Contemporary TV Series Based on Vince Gilligan’s Breaking Bad
    Autorzy:
    Lewandowska, Zuzanna
    Powiązania:
    https://bibliotekanauki.pl/articles/920486.pdf
    Data publikacji:
    2015-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Breaking Bad
    Vince Gilligan
    TV series
    contemporary television
    quality television
    post-network era
    quality drama
    narrative complexity
    Opis:
    The formula of the contemporary TV series, as a product of quality television, differs significantly from the traditional series in terms of its narrative structure and ways of building a plot line. Th is article presents an analysis of  the Breaking Bad series’ “narrative complexity”, which is the most distinguishing feature of the modern TV series. “Narrative complexity” can be understood not only as a series of innovative narrative devices, such as cold opens, flashbacks and flashforwards, but is also based on the multiplicity of plot lines present in each episode, constituting a whole story over the course of the seasons. Looking at the ways used to construct a plot and the narrative techniques adopted in Vince Gilligan’s Breaking Bad, that is, his use of parallels and symmetries, and the plot’s focus on the development of the series’ (anti)hero, the show can be interpreted as a “result drama"and “mirroring drama”. Th rough its use of the above-listed features of “narrative complexity”, the show meets the standards for a contemporary, quality television series.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2015, 16, 25; 43-52
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Telewizja interaktywna w Polsce (na przykładzie kanału aMazing Multimedia Polska)
    Interactive Television in Poland (based on the example of aMazing TV, Multimedia Poland
    Autorzy:
    Robert Kuciński, Robert Kuciński
    Powiązania:
    https://bibliotekanauki.pl/articles/923295.pdf
    Data publikacji:
    2019-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    interactivity
    interactive television
    aMazingTV
    Opis:
    The article is an attempt to describe the essence of interactive television based on the example of aMazingTV – the first interactive channel in Poland, established by Multimedia Polska in September 2009. The author presents the development of interactivity in life, art and media and reflects on the future of one of the most important features of the so-called new media.  
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2019, 26, 35; 230-238
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Tele-kiss. Nam-June Paik’s expanded media in the light of Zen Buddhism
    Autorzy:
    Lipiński, Kamil
    Powiązania:
    https://bibliotekanauki.pl/articles/1047431.pdf
    Data publikacji:
    2021-03-31
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Zen Buddhism
    participatory culture
    TV culture
    postindustrial society
    meditation
    emptiness
    Opis:
    The article offers a broad overview of Nam-June Paik’s ideas of the expansion of video arts interpreted in the light of Zen Buddhism. His works recognized as the most significant examples of his marriage between the art theory and practice are marked by a thought-provoking vision of participatory culture, communicated in-between the networks in the post-industrial society. Our purpose is to reexamine his attitude to TV culture in the oscillation between Western and Eastern gaze considered in connection to the problems of emptiness and meditation drawn from Zen religious beliefs. In discussing his installations there is special stress to reconstruct his inner-insight into the subject of seeing and watching inscribed in a closed-circuit of the communication network.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 28, 37; 308-316
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zagadnienia realizacji filmów z ukrytej kamery stanowiących część telewizyjnych programów rozrywkowych
    Issues of the implementation of hidden camera films that are part of the television entertainment programs
    Autorzy:
    Bareja, Stanisław
    Powiązania:
    https://bibliotekanauki.pl/articles/917844.pdf
    Data publikacji:
    2014-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    candid camera
    directing
    production
    television
    audience
    commentary
    laughing
    Jacek Fedorowicz
    Opis:
    Stanisław Bareja’s master’s thesis Zagadnienia realizacji filmów z  ukrytej kamery stanowiących część telewizyjnych programów rozrywkowych (Candid camera filmmaking for entertainment TV programs); defended in 1974; hasn’t been published yet in any part. As its title precisely indicates, Bareja’s paper revolves around a multi-stage process of making candid camera film clips. Bareja writes about his own experiences from the time of making TV show Tu Telewizja Warszawa w Programie 5 (Here is Warsaw TV on Channel 5, 1972; candid camera clips were a part of it). Thus, the theoretical deliberations are frequently illustrated with the examples from director’s practice. 
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 14, 23; 195-110
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Autor telewizyjny? Przypadek Matthew Weinera
    A television auteur? The case of Matthew Weiner
    Autorzy:
    Flagmańska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/921345.pdf
    Data publikacji:
    2018-04-26
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    series
    auteur
    Matthew Weiner
    Mad Men
    showrunner
    golden age of television
    Opis:
    American critics often refer to showrunners as television auteurs. Do showrunners deserve this title? Applying the assumptions of François Truffaut’s la politique des auteurs, as well as Andrew Sarris’s auteur theory, this article discusses the case of Matthew Weiner, the showrunner of Mad Men, a television series set in the 1960s America. Examining each stage of the show’s production process allows to prove that Weiner had decisive influence on scripts, direction, casting, cinematography, costume and production design, music and the editing of his project. Perhaps it is time to stop considering series as a collective work – due to the differences between director’s role in film and in television – and instead focus on its auteur features, since it can be argued that we owe the latest golden age of television to the increase in the showrunners’ creative autonomy. 
    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:
    Who Will Watch the Watchmen? Czech Documentary After 1989 (a Brief Resume)
    Autorzy:
    Bednařík, Pavel
    Powiązania:
    https://bibliotekanauki.pl/articles/919721.pdf
    Data publikacji:
    2014-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Czech contemporary documentary
    Karel Vachek
    Vit Klusak
    Filip Remunda
    FAMU
    Czech Television
    Opis:
    Pavel Bednařík’s paper emphasizes the new era of Czech documentary, focusing on several issues and topics from contemporary Czech docs. Introducing the new era of Czech documentaries since the 1990s, Bednarik’s text depicts the development of its social and political background, including a new upheaval in the auteur documentary approach at FAMU, and leading to inspiration by professor and fi lmmaker Karel Vachek. A case study follows on the successful fi lm alliance between Vít Klusák and Filip Remunda producing the engaged “Czech Journal” for Czech Television within the new production scheme adopted aft er 2013.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 51-60
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Filmowe rejestracje teatru - opis i problematyzacje zjawiska
    Film Recordings of Theater – Description and Problematisations
    Autorzy:
    DOMALEWSKI, ADAM
    Powiązania:
    https://bibliotekanauki.pl/articles/921095.pdf
    Data publikacji:
    2016-10-09
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    film recordings of theatre
    TV theatre
    performance
    theatre in Poland
    film production
    Opis:
    The paper attempts to distinguish film recordings of theater from the TV theater genre. The decisive criterion for this distinction proposed by the author is the chronology of the production process - film recordings of theater performances provide a record of pre-existing theater performances, whereas TV theatre includes all theatre-like productions created for the small screen and which do not have their own stage ‘odginali In each of these cases there are different tasks and difficulties facing producers and executors. The next part of the article focuses on film recordings of theater: the reasons for which they are made (documentation, dissemination, promotion) and the differences between their types. Referring to the work of Jacek Wachowski, the author also presents a brief discussion about the possibilities and consequences of technical mediation of any performances, not only theatrical shows. The article concludes with an attempt to define the status of the film recording of a performance in relation to its original theatrical nature (the “residuum of the theater”).
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 18, 27; 332-338
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ukryte kamery Stanisława Barei
    Hidden cameras of Stanisław Bareja
    Autorzy:
    Pławuszewski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/917878.pdf
    Data publikacji:
    2014-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    candid camera
    Stanisław Bareja
    Allen Funt
    TV show
    ethics
    psychology
    laughing
    sense of humor
    Opis:
    The article is the introduction to Stanisław Bareja’s master’s thesis Zagadnienia realizacji filmów z ukrytej kamery stanowiących część telewizyjnych programów rozrywkowych [Candid camera filmmaking for entertainment TV programs, 1974]. It points out the American background of the candid camera genre, like Allen Funt’s production, which started in 1948 [ABC], and specifies the main focus of Bareja’ thesis, e.g. multi-stage process of making candid camera clips for Polish TV and the mechanics of making audience laugh.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 14, 23; 179-188
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Filmmakers to Themselves? Czech Documentary Cinema After 2000
    Autorzy:
    Česálková, Lucie
    Powiązania:
    https://bibliotekanauki.pl/articles/919723.pdf
    Data publikacji:
    2014-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Czech contemporary documentary
    Czech Television
    Institute of Documentary Cinema
    Jihlava International Documentary Film Festiva
    Opis:
    The development of Czech post-socialist documentary cinema was significantly influenced by the process of privatization of Short Film (the former resource base for documentary filmmaking). In the early 1990s, the documentary, as a rather unprofitable area of filmmaking, was not a priority for the rapidly developing field of domestic production. As such, documentary was fully dependent on collaboration with the television industry. This study, however, focuses mainly on the period after the year 2000, and analyses its main trends. Special attention is paid to the establishment of new institutions to support the development and production of film, as well as new marketing and exhibition platforms. Documentary filmmaking in a small post-socialist country is here treated as being embedded in and influenced by a web of inter-relations between filmmakers, Czech Television, the Institute of Documentary Cinema and the Jihlava International Documentary Film Festival.l
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 41-50
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    ”Wielka Brytania, wielkie nadzieje”: reprezentacja polskiej migracji w Londyńczykach
    ‘Great Britain, Great Expectations’: The Representation of Polish Migration to Great Britain in Londyńczycy/Londoners
    Autorzy:
    Rydzewska, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/919948.pdf
    Data publikacji:
    2012-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Polish migration to the UK
    national identity
    European identity
    transnational discourse
    Polish television drama
    Londoners
    Opis:
    ‘Great Britain, Great Expectations’: The Representation of Polish Migration to Great Britain in Londyńczycy/LondonersFollowing the 2004 expansion of the European Union (EU), Polish migrant workers began arriving in the United Kingdom on an unprecedented scale. Londoners (Londyńczycy, 2008-9) was a response to this. Exploring the lives of Polish migrants in London, the series became an instant success on Polish television, regularly attracting around four million viewers. This article explores how Londoners represents Britishness and Polishness to its target Polish audience. It will argue that the series negotiates questions of Polish national identity, which over the past 20 years has been undergoing fundamental redefinition as a result of the ending of the Cold War and Poland’s accession to the EU.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 11, 20; 200-211
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dwugłos o poznańskim Studiu Filmów Animowanych
    Two Voices about Poznań Studio of Animation Films
    Autorzy:
    Sobolewska, Ewa
    Zamojski, Jan
    Powiązania:
    https://bibliotekanauki.pl/articles/920216.pdf
    Data publikacji:
    2013-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Production culture
    qualitative research
    narrative interview
    Poznań Studio of Animation Films
    screenplay of a film adaptation
    public funds in radio and television broadcasting
    law on radio and television broadcasting
    kultura produkcji
    badania jakościowe
    wywiad narracyjny
    Studio Filmów Animowanych w Poznaniu
    scenariusz adaptacji filmowej
    finansowanie publiczne w radiu i telewizji
    ustawa o radiofonii i telewizji
    Opis:
    Artykuł dotyczy tego studia zarówno jako instytucji, która w ciągu trzydziestu kilku lat funkcjonowała w różnych systemach ekonomicznych i w różnych formach organizacyjno-prawnych, jak i jako zespołu twórczego, dzięki któremu powstawały i powstają filmy. Jego autorami są: Ewa Sobolewska, producent filmowy, związana ze studiem od początków jego istnienia, a od kilkunastu lat jego prezes, i Jan Zamojski, pracownik naukowy i scenarzysta, związany ze studiem jako pomysłodawca adaptacji i autor scenariuszy filmów z cyklu 14 bajek z królestwa Lailonii Leszka Kołakowskiego. Artykuł napisany jest z pozycji badań kultury produkcji, wyznaczonej przez J.T. Caldwella, przy przyjęciu tzw. perspektywy emic i wykorzystaniu narzędzia wywiadu narracyjnego. Zawiera część metodologiczną oraz wypowiedzi autorów, które powstały jako komentarze do zagadnień, jakie przedstawili sobie nawzajem. Narracje te są świadectwami wrażeń zarówno z okresu koncepcyjnego pracy nad filmem jak i z planu filmowego i zawierają także ogólniejsze autorefleksje dotyczące roli scenarzysty i roli producenta w powstawaniu filmu oraz roli poznańskiego Studia Filmów Animowanych w kulturze filmowej, w tym także w jej lokalnym wymiarze.
    The article relates to the studio both as an institution which has operated for three decades in different economic systems and various legal and organisations forms and as a creative team that has made films. The authors are: Ewa Sobolewska, a film producer associated with the Studio since the very beginning, its president for over ten years to date, and Jan Zamojski, an academic and script writer cooperating with the Studio as the author of adaptations and scripts for the films of the series Fourteen Tales from the Kingdom of Lailonia by Leszek Kołakowski. The article adopts a perspective of Production Culture studies initiated by J.T. Caldwell, with the use of the so-called emic perspective and a narrative interview. It is composed of a methodological part and authors’ comments to the questions they posed to each other. The narratives provide impressions from the period of developing the concept of the film and from the film set itself. They also contain more general self-reflections on the role of the script writer and the role of the producer in the creation of a film and reflections on the role of the Poznań Studio of Animation Films for the culture of film, including its local aspect.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 13, 22; 115-132
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Etiudy Romana Polańskiego
    Roman Polanski’s Short Films
    Autorzy:
    Hendrykowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/919840.pdf
    Data publikacji:
    2011-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    short film
    student film
    student étude
    production
    experiment
    stylistic choices
    film direction
    story
    narrative
    poetics
    black humour
    film art
    Polish National Film
    Theater and Television School
    Opis:
     Director/writer/actor Roman Polanski is one of the central figures in the history of Film School in Łódź. This study provides a detailed and comprehensive introduction to examine cinematic and artistic values of his early short films made between 1955 and 1961 in Poland and in France before his professional feature length debut “Knife in the Water” (1962). In his essential work Marek Hendrykowski looks at these nine shorts with in-depth analysis and adopts both historical and theoretical approach, making use of poetics terms, close reading method and socio-cultural interpretation. In its treatment of Polanski’s études this unique study discusses why these films are important in so many aspects and attracitve from many points of view and they have come to symbolise and represent modern cinema in Poland of the 1950s and early 1960s.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 9, 17-18; 159-198
    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
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