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Wyszukujesz frazę "Cinema" wg kryterium: Wszystkie pola


Tytuł:
Želimir Žilnik and Eastern European independent cinema
Autorzy:
Mazierska, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/920219.pdf
Data publikacji:
2013-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Independent cinema
transnational cinema
Eastern Eurpean cinema
critical media
cultural industries
Marxism
Opis:
In my paper I will discuss the career of, a director born in 1942 in Nis in Yugoslavia, whose career, spanning over forty years and Yugoslavia, West Germany and Serbia, excellently illustrates the concepts of independent and transnational cinema and their interface. Žilnik’s career well illustrates the advantages and pitfalls of “independent filmmaking”, especially in the context of Eastern Europe. Hence, in my paper, I will use his case to examine this concept, drawing on Marx and Marxist thought, such as the critique of the “culture industry” by Horkheimer and Adorno and the concept of “critical media” by Christian Fuchs, and the history of Eastern Europe and its cinema, with its figure of “artist-dissident” and the specific case of Yugoslavia. My main point is that there is no “independent cinema” in absolute terms; cinema can only be independent from something, hence ‘independent cinema’ means different things in different cultural contexts.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 13, 22; 133-149
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Polish cinema towards independence 1918–2018
Autorzy:
Zwierzchowski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/703512.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
Polish cinema
independence
historical cinema
national identity
Opis:
The article presents two dimensions of the relationship between cinema and Polish independence. The first part was devoted to the situation of Polish cinema after 1918. I describe the film market, the political situation, relationship between the state and cinematography, films that were then created and their impact on national identity. Then I focus on films in which independence has become a movie theme. I divide them into three periods: until 1939, the People's Republic of Poland and after 1989. I draw attention to their political and historical contexts, functions and film form, and I discuss the meaning and interpretation of each films.
Źródło:
Nauka; 2018, 4
1231-8515
Pojawia się w:
Nauka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The national and the popular in Israeli cinema
Autorzy:
Avisar, Ilan
Powiązania:
https://bibliotekanauki.pl/articles/923281.pdf
Data publikacji:
2019-06-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Nationalism
Zionism
Israeli cinema
national cinema
popular culture
Opis:
The article examines Israeli cinema as a critical participant in the local drama of national ideology and national identity. Israeli filmmakers have engaged in enunciating the national culture, in the context of the medium’s history, political ideologies, and the tension between high art and popular culture. The historical review of Israeli films shows dramatic changes over the years from nationalistic propaganda to radical critique and post-Zionism. Israeli cinema appears now to seek a constructive and fruitful dialogue with the viewers. In the recent wave of popular films, the national ideology is more conscious of its past mistakes and inherent deficiencies; its presentation of national identity is less narrow and more open to alternative types, thereby suggesting new vistas of national culture.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2019, 25, 34
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Determinants of the spatial difusion of Bollywood cinema
Autorzy:
Parda, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/2137046.pdf
Data publikacji:
2019-02-10
Wydawca:
Uniwersytet Warszawski. Wydział Geografii i Studiów Regionalnych
Tematy:
popular hindi cinema
spatial difusion
spatial difusion determinants
Bollywood
Bollywood cinema
Opis:
The aim of the paper is to indicate which determinants had the major impact on the spatial difusion of the Bollywood cinema in two aspects: the first appearance of this cinema in diferent countries and the number of films distributed there. The distance between the country and Mumbai and the size of the diaspora were taken as key determinants. The concept of Hägerstrand was adopted as the spatial difusion model. The procedure involved gathering data for 5,832 Hindi movies produced in Mumbai distributed in cinemas in 76 countries from 1970 to 2010. The hypotheses were verified and it was proved that the spatial difusion of the popular hindi cinema was influenced by a number of social, cultural and political determinants, of which the size of the Indian diaspora was the most important. The paper can be a reference to the discussion about diaspora identity and the intersection of cultures.
Źródło:
Miscellanea Geographica. Regional Studies on Development; 2019, 23, 1; 33-38
0867-6046
2084-6118
Pojawia się w:
Miscellanea Geographica. Regional Studies on Development
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Modernist Women and Cinema
Autorzy:
Humm, Maggie
Powiązania:
https://bibliotekanauki.pl/articles/636780.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
modernism, women, cinema, viewer, feminist aesthetic
Opis:
Matching the ever-increasing numbers of female participants in the commercial venues of department stores and cinemas in the 1920s, modernist women writers enjoyed a new visibility in the intellectual world of cinema journalism. Yet cinema modernism, like literary modernism, was veined by masculinity in the 1920s. The paper argues that modernist women writers, including Colette, H.D., Dorothy Richardson, and Virginia Woolf, created a feminist standpoint. By replacing the prescriptive male gaze with a feminist aesthetics: identifying with stars and women viewers and by describing audiences as socially constituted and gendered.
Źródło:
Przegląd Kulturoznawczy; 2014, 3(21)
1895-975X
2084-3860
Pojawia się w:
Przegląd Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare in Chinese Cinema
Autorzy:
Wu, Hui
Powiązania:
https://bibliotekanauki.pl/articles/648128.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
adaptation
film
Hamlet
Chinese cinema
Opis:
Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006-Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 71-81
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Transnational Dimensions of Iranian Cinema: “accented films” by Mohsen Makhmalbaf
Autorzy:
Wiącek, Elżbieta
Powiązania:
https://bibliotekanauki.pl/articles/580397.pdf
Data publikacji:
2020
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
IRANIAN CINEMA
ISLAM
CENSORSHIP
MIGRATION
COSMOPOLITAN
TRANSNATIONAL
ACCENTED CINEMA
Opis:
Iranian film director Mohsen Makhmalbaf left Iran in 2005 shortly after the election of Mahmoud Ahmadinejad. The artist underwent a multiphase evolution away from the supporter of Islamic regime in the early 1980s to cosmopolitan internationally acclaimed auteur. Finally, he became not only a dissident filmmaker but also a political dissident in the aftermath of 2009 presidential election. As exile wears on, Makhmalbaf became postnational filmmaker, making a variety of “accented films”. Not all the consequences of internationalization are positive – to be successful in transnational environment he has to face much larger competition and the capitalist market. Having in mind the categories of displaced Iranian directors distinguished by Hamid Naficy – exilic, diasporic, émigré, ethnic, cosmopolitan – I would like to find out which one of them applies to Mohsen Makhmalbaf’s life and work. I also will focus on the following questions: To what extent the censorship of Makhmalbaf’s artistic activity was a reason for his migration? how are migratory experiences expressed in his movies? What features of “the accented cinema” his movies are manifesting? I would argue that the experience of migration and the transnationality was the characteristic feature of Makhmalbaf’s his work long before leaving the home country. It can be said that regardless this stylistic diversity, all of Makhmalbaf’s movies made abroad can be described as the example of “accented cinema” which comprises different types of cinema made by exilic and diasporic filmmakers who live and work in countries other than their country of origin.
Źródło:
Studia Migracyjne - Przegląd Polonijny; 2020, 46, 3 (177); 61-84
2081-4488
2544-4972
Pojawia się w:
Studia Migracyjne - Przegląd Polonijny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Soviet Cinema of 1920s: Problems, Tendency And Tasks
Autorzy:
Motrunych, Mariana
Powiązania:
https://bibliotekanauki.pl/articles/519830.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Mikołaja Kopernika w Toruniu. Wydawnictwo UMK
Tematy:
the Bolsheviks
propaganda tool
the Soviet cinema
a cinema press
a “national” film
the Jewish cinema
shtetl
traditional images
new images
Opis:
The article shows how the Bolsheviks organized the cinematographic process in 1920s and what problems they faced. It interprets the meaning of the “national cinema” with a view to understand how it impacted feature films. It examined, as an example, the Jewish cinema experience. The canon of plot schemes and schemes of heroes is analyzed based on the cinema press and feature films.
Źródło:
Historia i Polityka; 2015, 14(21); 134-144
1899-5160
2391-7652
Pojawia się w:
Historia i Polityka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
History and Symbols: Lithuanian and Central European Cinema of the 1960s
Autorzy:
Mikonis-Railienė, Anna
Powiązania:
https://bibliotekanauki.pl/articles/920414.pdf
Data publikacji:
2015-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Lithuanian cinema
history
Aesopian language
Central European cinema
Opis:
The text discusses the most creative period in Lithuanian cinema, the 1960s. This analysis is an attempt to frame the artistic and thematic changes in Lithuanian cinema within the context of the changes that occurred in Central Europe cinema during the 1960s. Showing that the cinematic influence of the neighbouring countries of Central Europe was sufficiently strong allows us to show the exceptional nature of Lithuanian cinema in the context of the policies towards the arts in the Soviet Union.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2015, 16, 25; 234-248
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Empire Strikes Back. Russian National Cinema After 2005
Autorzy:
Rawski, Tomasz
Roman-Rawska, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/508818.pdf
Data publikacji:
2017
Wydawca:
Polska Akademia Nauk. Instytut Slawistyki PAN
Tematy:
national cinema
Russian cinema
imperial nationalism
politics of memory
Opis:
The Empire Strikes Back. Russian National Cinema After 2005The paper provides critical analysis of the latest wave of Russian national cinema (2005-2013), considered one of key instruments of Vladimir Putin’s nation-building cultural policy. The analysis, focused mostly on historical film and war film, reveals the concept of an ‘imperial nation’ as the main concept underlying this policy. The new Russian nation-concept is calculated to binding elements from two former Russian imperial traditions: tradition of the Russian Empire and the Soviet tradition, thus trying to overcome the identity crisis in contemporary Russia. Imperium kontratakuje. Rosyjskie kino narodowe po 2005 rokuArtykuł zajmuje się krytyczną analizą filmów najnowszej fali rosyjskiego kina narodowego (2005-2013), uważanej tu za jedno z kluczowych narzędzi polityki kulturalnej Władimira Putina obliczonej na budowanie narodu. Autorzy artykułu skupiają się przede wszystkim na filmie historycznym i wojennym, odsłaniając pojęcie „imperialnego narodu” jako konceptu stojącego u podstaw oficjalnej polityki. Nowe rosyjskie pojęcie narodu łączy w sobie dwie tradycje rosyjskie: tradycję Imperium Rosyjskiego oraz tradycję Związku Radzieckiego, próbując w ten sposób przezwyciężyć kryzys tożsamościowy współczesnej Rosji.
Źródło:
Colloquia Humanistica; 2017, 6
2081-6774
2392-2419
Pojawia się w:
Colloquia Humanistica
Dostawca treści:
Biblioteka Nauki
Artykuł

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