Wszystkie pola: movie - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Kicz z importu? Wprowadzenie do odbioru i oceny japońskiej animacji
Autorzy:: Jadwiszczok-Molencka, Helena
Molencki, Jacek
Powiązania:: https://bibliotekanauki.pl/articles/1187267.pdf
Data publikacji:: 2016
Wydawca:: Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:: kitsch
camp
Japan
anime
manga
animated movie
Opis:: This paper delves into the meaning of kitsch in Japanese popular culture through the analysis of their esthetical and ethical values, as well as historical-religious context. It proves also the difficulties of studying the aforementioned culture because of the geographical remoteness of this country and different mentality of its people. The text shows the beginnings of Japanese animation, called ‘anime’ for short, its essential parts and the overall canon. The most important aspect of this work is finding the answer whether anime and all its related products are associated with kitsch, camp or should they be interpreted as something completely different.
Źródło:: Załącznik Kulturoznawczy; 2016, 3; 154-175
2392-2338
Pojawia się w:: Załącznik Kulturoznawczy
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Superbohater PRL-u na przykładzie filmu Andrzeja Kondratiuka „Hydrozagadka”
Polish People’s Republic’s Superhero – on the Example of the Andrzej Kondratiuk’s Movie Hydrozagadka
Autorzy:: Kuźmicz, Tomasz
Powiązania:: https://bibliotekanauki.pl/articles/1187258.pdf
Data publikacji:: 2016
Wydawca:: Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:: Hydrozagadka
superhero
propaganda
Polish People’s Republic
grotesque
Opis:: In my essay I try to depict – on the basis of Andrzej Kondratiuk’s movie Hydrozagadka – how superheroes from Polish People’s Republic were embodying the ideal vision of the proper civilian which was advocated by the communistic system, and what were the differences between them and their Western analogues, like Superman or Batman. First of all, the order they guarded and tried to maintain was presented by propagandist agendas as a total antithesis of the Western world – full of consumption, deprivation, and a source of all imaginable evil. Though, Hydrozagadka was not only a grotesque parody of American superheroes’ productions but also a mocking critique of communistic reality.
Źródło:: Załącznik Kulturoznawczy; 2016, 3; 98-113
2392-2338
Pojawia się w:: Załącznik Kulturoznawczy
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: O roli kamery w filmach Wojciecha Smarzowskiego
The Role of the Camera in the Films by Wojciech Smarzowski
Autorzy:: Taras, Katarzyna
Powiązania:: https://bibliotekanauki.pl/articles/1187270.pdf
Data publikacji:: 2016
Wydawca:: Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:: Wojciech Smarzowski
digital camera
operator’s art
final shot
Poland after ’89
film image
light in movie
Opis:: In this paper, I reflect on the role and function of the camera ‘acting’ (that is, the camera placed in the hands of the heroes of films by Wojciech Smarzowski) that appears on the screen as often as an ax – item strongly associated with this director’s cinema. I also refute the ‘digital’ legend of his debut, i.e. Wesele (Wedding), which has not been realized with the use of a digital camera, but a film one. A camera ‘casted’ in the films by Smarzowski can be considered as an extra, but a full-fledged hero, a witness seeing (and therefore recording) more than the character whose hands it is located in. This perfectly corresponds with the last shot – perhaps the most characteristic one for the author of the films discussed – the shot in which the One who reigns over the world, but does not interfere into it (since we have free will) gazes at the universe created by Wojciech Smarzowski.
Źródło:: Załącznik Kulturoznawczy; 2016, 3; 254-267
2392-2338
Pojawia się w:: Załącznik Kulturoznawczy
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Symfonia wielkiego miasta. O wizerunku Nowego Jorku w Manhattanie Woody’ego Allena
Symphony of a Big City. The Image of New York in Woody Allen’s Manhattan
Autorzy:: Karkiewicz, Magdalena
Powiązania:: https://bibliotekanauki.pl/articles/555577.pdf
Data publikacji:: 2014
Wydawca:: Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:: Woody Allen,
the city symphony genre
films of 20’s
city in the movie
American cinematography
Opis:: One of the major objective of this essay is to show that Woody Allen’s Manhattan (1979) is a renewal of an old film genre called the city symphony. In this movie, the director outlined a suggestive portrait of his beloved New York City. After Annie Hall (1977), Manhattan is the second most com- plete expression of the specificity of Allen’s style, which consists of comic and tragic elements. Another object of this essay is to demonstrate that while creating the image of the metropolis the director particularly exploits the tools of film expression. Audiovisual layer of Allen’s work allows to juxta- pose Manhattan with the city symphony (genre which came into being in the twenties as an innovative combination of documentary and avant-garde forms). The similarity between Manhattan and the original city symphonies is visible at the very beginning of the film, because of black and white, kaleidoscopic shots of metropolis as well as the backing sound (Rhapsody in Blue by George Gershwin). Allen’s picture is not only a sophisticated portrait of New York, but also the critical study of the society.
Źródło:: Załącznik Kulturoznawczy; 2014, 1; 215-241
2392-2338
Pojawia się w:: Załącznik Kulturoznawczy
Dostawca treści:: Biblioteka Nauki

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