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Tytuł:
Wężowe źródło Nikołaja Lebiediewa a konwencja gatunkowa slashera
Snake Spring y ikolai eeev an enre onventions of slasher films
Autorzy:
Cybulski, Marcin
Powiązania:
https://bibliotekanauki.pl/articles/481393.pdf
Data publikacji:
2019-09-30
Wydawca:
Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:
slasher
horror
Russian film
Nikolai Lebedev
Snake Spring
Opis:
This article is an attempt to determine whether the successful film Snake Spring, directed by Nikolai Lebedev, can be considered the first slasher of Russian production. Slasher, as a subgenre of horror films, is not a typical phenomenon in Russian cinematography (or even more so Soviet), and its roots should be sought primarily in American culture and filmography.In this text, the author, first of all, focuses on the slasher as such, presents his distinguishing features and lists the most important pictures of the world’s cinematography representing this par-ticular subgenre.
Źródło:
Acta Polono-Ruthenica; 2019, 3, XXIV; 85-100
1427-549X
Pojawia się w:
Acta Polono-Ruthenica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Czy w ZSRR kręcono thrillery?
Were thrillers made in the USSR?
Autorzy:
Cybulski, Marcin
Powiązania:
https://bibliotekanauki.pl/articles/481411.pdf
Data publikacji:
2018-03-30
Wydawca:
Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:
thriller
cinematography
soviet movies
Russian film
Soviet thriller
Opis:
This article is an attempt to answer the question whether, in the specific conditions in which thecinematography of the Soviet Union was created and developed, we can talk about the productionof thrillers. The notion of the thriller is considered and attention is paid to the problem of the definitionof the term itself and the fact that some researchers do not treat the thriller as a genre at all.The thriller, associated by the Soviet decision-makers with Western culture (and thus also American),was perceived as a bourgeois creation, which made it an undesirable genre in the Soviet Union.Nevertheless, for many years immediately after the end of World War II and at the very end of theexistence of the historical empire, a series of films were created and they could be called thrillers inthe general modern sense of the word. Titles of Soviet films created in the years 1947–1991 havebeen chosen from the rich resources of cinematography of our eastern neighbours. At the cinemahistorian’s workshop, there were both images of well-known and popular Soviet directors(Boris Barnet, Stanisław Goworouchin, Eldar Riazanow), as well as slightly less known personalities,(Gieorgij Nikulin, Boris Durow).
Źródło:
Acta Polono-Ruthenica; 2018, 1, XXIII; 51-64
1427-549X
Pojawia się w:
Acta Polono-Ruthenica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Polsko-rosyjskie kontakty filmowe
POLISH-RUSSIAN FILM RELATIONS
Autorzy:
Mocarz-Kleindienst, Maria
Powiązania:
https://bibliotekanauki.pl/articles/444845.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:
film relations
Sputnik Russian Film Festival
Wisła Polish Film Festival
Opis:
Polish-Russian film relations have a long history. However, they have strongly intensified for the last decade, largely due to political changes. This paper provides an overview of the most representative projects promoting the film industries of the two countries organised both in Poland and in Russia, such as the Sputnik Russian Film Festival in Poland and the Wisła Polish Film Festival in Russia. It also presents the most important joint cinema projects, including Polish-Russian co-productions, Polish films with Russian actors and Russian films with Polish actors.
Źródło:
Acta Neophilologica; 2016, XVIII/2; 223-233
1509-1619
Pojawia się w:
Acta Neophilologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Reformator i statysta albo hulaka na metafizyczną skalę. O dwóch portretach cara Iwana Groźnego w kinie rosyjskim
Reformer and Outstanding Politician or Rake on a Metaphysical Scale. Two Portraits of Tsar Ivan the Terrible in Russian Cinema
Autorzy:
Szpulak, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/920142.pdf
Data publikacji:
2013-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Sergei Eisenstein
Pavel Lungin
Ivan the Terrible
the Russian film
historical film
the history of the film
Opis:
The text is an attempt to define the specificity of portraits of the first Russian Tsar, Ivan the Terrible, in the field of historiography and culture, including popular culture. This characteristic is referred then to the analysis of two films – S. Eisenstein's Ivan the Terrible (1944-1946) and P. Lungin’s Tsar (2009). These films depict two different interpretations of the historical figure presented above all in Russian discourse. On the one hand (Eisenstein), Ivan is seen as a prominent politician engaged in a state-building strategy; on the other (Lungin), he is above all a crazy criminal.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 334-341
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
From Social Justice to Metaphor: The Whitening of Othello in the Russian Imagination
Autorzy:
Khomenko, Natalia
Powiązania:
https://bibliotekanauki.pl/articles/1812145.pdf
Data publikacji:
2021-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Othello
blackface
Russian theatre
Russian film
Soviet theatre
Soviet film
adaptation
translation
Sergei Iutkevich
Eldar Riazanov
Aleksei Zernov
Nikolai Koliada
Petr Gladilin
Vahram Papazian
Opis:
Othello was the most often-staged Shakespeare play on early Soviet stages, to a large extent because of its ideological utility. Interpreted with close attention to racial conflict, this play came to symbolize, for Soviet theatres and audiences, the destructive racism of the West in contrast with Soviet egalitarianism. In the first decades of the twenty-first century, however, it is not unusual for Russian theatres to stage Othello as a white character, thus eliminating the theme of race from the productions. To make sense of the change in the Russian tradition of staging Othello, this article traces the interpretations and metatheatrical uses of this character from the early Soviet period to the present day. I argue that the Soviet tradition of staging Othello in blackface effectively prevented the use of the play for exploring the racial tensions within the Soviet Union itself, and gradually transformed the protagonist’s blackness into a generalized metaphor of oppression. As post-collapse Russia embraced whiteness as a category, Othello’s blackness became a prop that was entirely decoupled from race and made available for appropriation by ethnically Slavic actors and characters. The case of Russia demonstrates that staging Othello in blackface, even when the initial stated goals are those of racial equality, can serve a cultural fantasy of blackness as a versatile and disposable mask placed over a white face.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 75-89
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Filmowy Mińsk (1915–1918) – polskie doświadczenie podczas Wielkiej Wojny
Cinematic Minsk (1915–1918) – Polish experience during the Great War
Autorzy:
Guzek, Mariusz
Powiązania:
https://bibliotekanauki.pl/articles/923310.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Polish film
Great War
film in the Russian Empire
silent cinema
Opis:
Polish film life in the Eastern Borderlands of the former Republic of Poland is replete with numerous white spots. During World War One, however, activity was quite intense, as evidenced by book-length studies on Vilnius, Lviv and even Kiev. Minsk, the future capital of Belarus, also had its own film-related Polish culture. The article focuses on the functioning of Minsk cinemas and their repertoire, as well as the Polish accents associated with them, which repeatedly had a mobilizing and identitarian character around which the national community of this provincial city was organized. Minsk’s border status means its cinematographic ancestry can be claimed by various national cinematographies, including Russian and Belarusian, but the source query and resulting findings clearly indicate that in the years of the Great War, this center was most strongly associated with Polish culture
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2019, 26, 35; 147-158
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Filmowe Tbilisi, Moskwa i Warszawa we wspomnieniach Heleny Amiradżibi-Stawińskiej
Tbilisi, Moscow and Warsaw in films as preserved in Helena Ami-radżibi-Stawińska’s memories
Autorzy:
Kalita, Liliana
Powiązania:
https://bibliotekanauki.pl/articles/481451.pdf
Data publikacji:
2019-12-30
Wydawca:
Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:
Amiradżibi
Polish-Russian cultural relations Polish documentary film
genre of memories
Opis:
Amiradżibi-Stawińska (1932–2017), a director born in Tbilisi, was educated in Moscow Film Institute. She came to Poland with her first husband, Jerzy Ziarnik, where she made a dozen or so documentaries and feature films. However, she reached the peak of her career when she was married to her second husband – a screenwriter and director, Jerzy Stefan Stawiński. In Poland, Amiradżi-bi-Stawińska published three memoirs: Słodkie życie księżniczki (1996), Książka antykucharska(2007) and Moja filmowa Moskwa. Białym pociągiem dookoła wódki... i nie tylko (2011), where we can find many interesting comments on life in Georgia, Russia and Poland in the 30s–70s in the 20thcentury. The text concentrates on the subject of film that is present in all her books, which shows cultural relationships and habits of the artistic circles in those years and in each of the three coun-tries. In the memoirs we can see the director’s artistic path against the background of the turbulent events of the 20th century; they are also a source of information about important figures in the film industry in Georgia, Russia and Poland.
Źródło:
Acta Polono-Ruthenica; 2019, 4, XXIV; 129-140
1427-549X
Pojawia się w:
Acta Polono-Ruthenica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
PRZEDREWOLUCYJNE FILMY ROSYJSKIE I ICH PROPAGANDOWE ODNIESIENIE
PRE-REVOLUTIONARY RUSSIAN FILMS AND THEIR PROPAGANDA REFERENCES
Autorzy:
Marcinkowski, Dominik
Powiązania:
https://bibliotekanauki.pl/articles/418539.pdf
Data publikacji:
2019
Wydawca:
Akademia Marynarki Wojennej. Wydział Nauk Humanistycznych i Społecznych
Tematy:
kino rosyjskie
propaganda
film
carska Rosja
Russian Cinema
Russian Empire
Opis:
Klasyczne kino rosyjskie często utożsamiane jest z komunistycznymi filmami pro-pagandowymi z lat dwudziestych i trzydziestych XX wieku. Jednak początki tamtejszego przemysłu filmowego sięgają czasów z przed rewolucji październikowej. W następnych latach bolszewicy często sięgali do doświadczeń i osiągnięć swoich poprzedników, tworząc dzieła programowo polityczne. Poniższy tekst stanowi prezentację wyników analizy czterech filmów, powstałych w latach 1911-1917: Obrona Sewastopola (1911), Rok 1812 (1912), Trzechsetlecie dynastii Romanowów (1913) i Ojciec Sergiusz (1917). Głównym celem prezentowanych badań jest odpowiedź na pytanie czy radzieckie kino propagandowe mogło mieć swojego odpowied-nika w kinie z czasów carskiej Rosji? Autor rozważań podjął próbę wskazania wzorców, do których od-woływali się twórcy kina oraz inspiracji, z których korzystali przy swojej pracy. W tym przy-padku istotne było także pytanie o motywacje, które mogły towarzyszyć im przy tworzeniu omawianych filmów.
The classical Russian cinema is very often identify with communist propaganda films from 1920s and 1930s. But, beginning of this film industry was in the time before Octo-ber Revolution. In the next years Bolsheviks often drew on the experiences and achieve-ments of pre-revolutionary filmmakers during creating programme political movies. This article is presentation results of analyse four films of the years 1911-1917: Defence of Se-vastopol (1911), 1812 Year (1912), Tercentenary of the Accession of the House of Romanov (1913) and Father Sergius (1917). The main goal of research is answer on the question: did soviet propaganda cinema had its equivalent in movies from the time of tsar Russia? Author of this consideration took attempt of indicate patterns and inspirations to which filmmakers had referred in their work. In this case also important was a question about motivation, that would affect them during creation discussed movies.
Źródło:
Colloquium; 2019, 11, 3; 89-100
2081-3813
2658-0365
Pojawia się w:
Colloquium
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Przyjaciel Moskali”. Daniel Olbrychski wobec Rosji i Rosjan
A friend of the Muscsovietes. Daniel Olbrychski, Russia and the Russians
Autorzy:
Kalita, Liliana
Powiązania:
https://bibliotekanauki.pl/articles/481467.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:
Daniel Olbrychski
film actor
Polish-Russian cultural relations
Opis:
The text presents the relationship between Daniel Olbrychski (one of the most famous Polish actors in the world) and Russia, as well as his attitude towards the Russians. The author discusses, among others, Olbrychski’s roles in Russian films, and the characters of Russians he created in cinema worldwide. There are also reflections on the actor’s friendship, among others, with Vladimir Vysotzky and Nikita Michalkov, as well as Olbrychski’s attitude towards Vladimir Putin and contemporary Russian policy.
Źródło:
Acta Polono-Ruthenica; 2017, 4, XXII; 21-31
1427-549X
Pojawia się w:
Acta Polono-Ruthenica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tęsknota za ideałem. Rola dzieci w filmach i filozofii twórczej Andrieja Tarkowskiego
Longing for the Ideal. The Role of Children in the Films and Creative Philosophy of Andrei Tarkovsky
Autorzy:
Sławnikowski, Wojciech
Powiązania:
https://bibliotekanauki.pl/articles/1038797.pdf
Data publikacji:
2020-06-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Andrei Tarkovsky
Russian cinema
Soviet cinema
children in film
religion in film
Opis:
The topic of the article is the role of child characters in Andrei Tarkovsky’s oeuvre. The first part concerns the early films in which children appear as main characters and represent a spiritual ideal. In the second part, later films are analysed in terms of the presence of adult characters striving for this ideal.
Źródło:
Przestrzenie Teorii; 2020, 33; 353-383
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
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