Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Yugoslav film" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-7 z 7
    Tytuł:
    Violence and Sex and Violence Again: The Sexual Revolution in the Films of the Yugoslav Black Wave
    Przemoc i seks, i znów przemoc. Rewolucja seksualna w filmach jugosłowiańskiej czarnej fali
    Autorzy:
    Pająk, Patrycjusz
    Powiązania:
    https://bibliotekanauki.pl/articles/33304057.pdf
    Data publikacji:
    2022
    Wydawca:
    Polska Akademia Nauk. Instytut Slawistyki PAN
    Tematy:
    sexual revolution
    1968 revolution
    sex
    violence
    Yugoslav film
    Serbian film
    Yugoslav Black Wave
    rewolucja seksualna
    rewolucja ’68
    seks
    przemoc
    film jugosłowiański
    jugosłowiańska czarna fala
    film serbski
    Opis:
    The sexual revolution, regarded as one of the main hallmarks of the 1968 revolution, left a distinct mark in four Serbian films of the Yugoslav Black Wave: Early Works (Rani radovi, 1969) by Želimir Žilnik, Plastic Jesus (Plastični Isus, 1971) by Lazar Stojanović, W.R.: Mysteries of the Organism (WR – misterije organizma, 1971) by Dušan Makavejev and Young and Healthy As a Rose (Mlad i zdrav kao ruža, 1971) by Jovan Jovanović. These films tackle the issue of the relationship between violence and sexuality, which was crucial for the course of the revolution. Sexual freedom was recognised by the revolutionaries of 1968 as a fundamental manifestation of the individual freedom for which they fought, resisting the violence resulting from the current political and cultural tradition. The directors of these films ironically illustrate how the implementation of the revolutionary demand that sex replace violence as a force shaping social life leads to a paradoxical effect: the revelation of sexuality’s organic entanglement in violence, rooted in human nature.
    Rewolucja seksualna, traktowana jako jeden z głównych wyróżników rewolucji ’68, zostawiła wyraźny ślad w czterech serbskich filmach należących do jugosłowiańskiej czarnej fali. Młode lata (Rani radovi, 1969) Želimira Žilnika, Plastikowy Jezus (Plastični Isus, 1971) Lazara Stojanovcia, WR – tajemnice organizmu (WR – misterije organizma, 1971) Dušana Makavejeva oraz Młody i zdrowy jak róża (Mlad i zdrav kao ruža, 1971) Jovana Jovanovicia podejmują kluczowy dla przebiegu tej rewolucji problem relacji między przemocą a seksualnością. Wolność seksualną rewolucjoniści roku 1968 uznawali za podstawowy przejaw wolności indywidualnej, o którą walczyli, stawiając opór przemocy wypływającej z aktualnej polityki i tradycji kulturowej. Reżyserzy wymienionych filmów ironicznie obrazują, jak realizacja rewolucyjnego postulatu, by seks zastąpił przemoc w roli siły kształtującej życie społeczne, prowadzi do efektu paradoksalnego – do ujawnienia się organicznego, zakorzenionego w ludzkiej naturze, uwikłania seksualności w przemoc.
    Źródło:
    Slavia Meridionalis; 2022, 22
    1233-6173
    2392-2400
    Pojawia się w:
    Slavia Meridionalis
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Of bees, birds, trees, and women: iconography, superstition and victimization of female characters in Yugoslav New Film
    Autorzy:
    Vuković, Vesi
    Powiązania:
    https://bibliotekanauki.pl/articles/1047427.pdf
    Data publikacji:
    2021-03-31
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    iconography
    Yugoslav New Film
    female characters
    Bechdel test
    ‘reversed masquerade’
    ‘crypto- matriarchy’
    Opis:
    This study investigates how the directors of two selected case study films criticise the real-life remnants of patriarchy in the family sphere, in nominally gender-equal Yugoslavia. I argue that they do this by transposing their stories from socialist Yugoslavia to the pre-socialist times: during Ottoman rule and monarchist Yugoslavia. The selected period films Breza/The Birch Tree (Ante Babaja, 1967, Yugoslavia) and Roj/The Beehive aka The Swarm (Miodrag ‘Mića’ Popović, 1966, Yugoslavia), both belonging to the Yugoslav novi film (New Film) movement (1961-1972), refract the workings of the vestiges of patriarchy in a family domain of Yugoslav socialist society. In these two costume dramas, patriarchy is portrayed to its fullest extent, due to their stories being set in the past, ostensibly unrelated to contemporary Yugoslav society and thus uninhibited by the drive to cater to the official discourse of female emancipation. Applying a critical film feminist perspective, by formal analysis via close readings of these two selected films, this article examines the iconography linked to fictional depictions of heroines and delves into the representation of victimisation of women. I investigate whether the depiction of the female sorceress(es) embody the primitiveness, ignorance, and/or poverty of economically disadvantaged and historically oppressed pre-socialist village. In order to peruse not only the individual portrayal of female protagonists but the dynamics of their interaction, the Bechdel test is applied and complemented with concepts such as the ‘reversed masquerade’ and ‘cryptomatriarchy’, which sheds light on the relationship between women and the presence or absence of female solidarity.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 28, 37; 285-307
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Linguistic Processes in the Kaleidoscope of Spoken Language namely, on the Most Recent Trends in the Development of Russian and Ukrainian Languages
    Procesy językowe w kalejdoskopie żywej mowy, czyli o najnowszych tendencjach w rozwoju języka rosyjskiego i ukraińskiego
    Autorzy:
    Horniatko-Szumiłowicz, Anna
    Monachowa, Tetiana
    Powiązania:
    https://bibliotekanauki.pl/articles/635958.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Croatian cinematography
    Yugoslav cinematography
    Croatian film canon
    film modernism
    cinematic language
    linguistic processes
    spoken language
    Russian language
    Ukrainian language
    word manipulation
    lexicography
    linguistic gender studies
    academic language
    language of teaching
    sociolinguistics
    Opis:
    The paper looks into the current trends in the development of Russian and Ukrainian languages as discussed in the latest book authored by prof. Tetyana Kosmeda. The focus is on five aspects (distinguished by the above named researcher) of linguistic processes taking place at the moment within the Russian and Ukrainian language systems themselves such as: word manipulation, lexicographic issues, linguistic gender studies, the issue of spoken academic language and the language of teaching, and sociolinguistics. The validity of the research and the conclusions reached by prof. Tetyana Kosmeda were affirmatively verified, with great appreciation on the part of the author for the amazing precision and research skills of the Ukrainian linguist.
    In his book, Patrycjusz Pająk composes a Croatian film canon. His top list of the best Croatian feature films contains 15 pictures: Concert (1954) by Branko Belan, H–8... (1958) by Nikola Tanhofer, Train Without a Timetable (1959) by Veljko Bulajić, Rondo (1966) by Zvonimir Berković, The Birch Tree (1967) and Gold, Frankincense and Myrrh (1971) by Ante Babaja, Kaya (1967) and An Event (1969) by Vatroslav Mimica, Handcuffs (1969) by Krsto Papić, Occupation in 26 Pictures (1978) by Lordan Zafranović, The Rhythm of Crime (1981) by Zoran Tadić, The Melody Haunts My Memory (1981) by Rajko Grlić, What Iva Recorded (2005) by Tomislav Radić, Buick Riviera (2008) by Goran Rušinović, The Blacks (2009) by Goran Dević and Zvonimir Jurić. As a main criterion for building his own canon, the author takes the innovative character of the cinematic language and the rich symbolic imagery of the story.
    Źródło:
    Poznańskie Studia Slawistyczne; 2018, 15
    2084-3011
    Pojawia się w:
    Poznańskie Studia Slawistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Mała wielka kinematografia. Patrycjusz Pająk, Arcydzieła chorwackiego filmu fabularnego, Wydział Polonistyki Uniwersytetu Warszawskiego, Warszawa 2018, 395 s..
    Little Big Cinematography
    Autorzy:
    Darasz, Zdzisław
    Powiązania:
    https://bibliotekanauki.pl/articles/635953.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Croatian cinematography
    Yugoslav cinematography
    Croatian film canon
    film modernism
    cinematic language
    Opis:
    In his book, Patrycjusz Pająk composes a Croatian film canon. His top list of the best Croatian feature films contains 15 pictures: Concert (1954) by Branko Belan, H–8... (1958) by Nikola Tanhofer, Train Without a Timetable (1959) by Veljko Bulajić, Rondo (1966) by Zvonimir Berković, The Birch Tree (1967) and Gold, Frankincense and Myrrh (1971) by Ante Babaja, Kaya (1967) and An Event (1969) by Vatroslav Mimica, Handcuffs (1969) by Krsto Papić, Occupation in 26 Pictures (1978) by Lordan Zafranović, The Rhythm of Crime (1981) by Zoran Tadić, The Melody Haunts My Memory (1981) by Rajko Grlić, What Iva Recorded (2005) by Tomislav Radić, Buick Riviera (2008) by Goran Rušinović, The Blacks (2009) by Goran Dević and Zvonimir Jurić. As a main criterion for building his own canon, the author takes the innovative character of the cinematic language and the rich symbolic imagery of the story.
    Źródło:
    Poznańskie Studia Slawistyczne; 2018, 15
    2084-3011
    Pojawia się w:
    Poznańskie Studia Slawistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Stylistic heritage and tendencies in contemporary Croatian cinema
    Autorzy:
    Lučić, Krunoslav
    Powiązania:
    https://bibliotekanauki.pl/articles/923158.pdf
    Data publikacji:
    2018-12-22
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Croatian cinema
    1990s–2000s
    Yugoslav period
    film stylistics
    classical film style
    modernist film style
    variants of film style
    Opis:
    This paper focuses on the diverse stylistic heritage and various tendencies in Croatian cinema of the 1990s and 2000s. Since many film scholars accentuate the discontinuity between contemporary Croatian cinema and that from the Yugoslav period, the paper points to continuities in the stylistic trends of both periods. The paper also analyzes two major stylistic configurations ‒ classical and modernist ‒ focusing on different variants of both aesthetic orientations. Variants of cinematic classicism (reduced and excessive classical style) are exemplified by the films of Krešo Golik and Fadil Hadžić, and by the films of Dalibor Matanić and Zrinko Ogresta from the contemporary period. On the other hand, variants of cinematic modernism (realist and psychological) are exemplified by thefilms of Vatroslav Mimica and Ante Peterlić from the 1960s, and in the contemporary period by thefilms of Zrinko Ogresta and Lukas Nola.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 23, 32
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The trouble of gender sin in post-Yugoslav film – in the name of the father
    Autorzy:
    Bogojević, Maja
    Powiązania:
    https://bibliotekanauki.pl/articles/923151.pdf
    Data publikacji:
    2018-12-22
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    gender
    film
    Yugoslav
    post-Yugoslav
    war
    auteur
    gaze
    patriarchy
    cinematic representation
    Opis:
    Post-Yugoslav film art is, similarly to Yugoslav cinema, exemplary of masculine cultural domination, approaching socio-national themes in a highly gendered mode and reflecting a return to patriarchy, more brutal than that during the existence of Yugoslavia. A new generation of cinéasts explores, with a backlash mixture of contempt and compassion, the themes of violence, displaying a new assault on female emancipation, which seemed to be in line with the socio-political context of rising nationalist movements that led to the bloody events of the Yugoslav war in 1991. The female character is re-located to a place traditionally assigned to women not as the subject of narrative or discourse, but as the object of love and/or hatred by a masculine subject. The films chosen to be analysed here are full-length auteur feature films – Virgina, Grbavica, Djeca, Bure baruta, with a specific focus on the work by Danis Tanović – are not representative of post-Yugoslav cinema, but as rare exceptions demonstrate that, contrary to the dominant post-Yugoslav public opinion, both the Yugoslav wars and post-war traumatic realities remain cinematically unexplored.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 23, 32
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Zmierzch bogów w Dubrowniku
    Twilight of the Gods in Dubrovnik
    Autorzy:
    Pająk, Patrycjusz
    Powiązania:
    https://bibliotekanauki.pl/articles/635746.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Zafranović
    Dubrovnik
    Croatian film
    Yugoslav film
    power
    fascism
    aristocracy
    communism
    Opis:
    The Croatian film Occupation in 26 pictures (1978), directed by Lordan Zafranović is considered as one of the most controversial vision of the Second World War in Yugoslav cinema. The director uses the ornamental style, modeled on Italian cinema, to portray the change of power in Dubrovnik in 1941 – at the beginning of the fascist occupation of the city. He juxtaposes the licentiousness of Italian, German and Croatian fascists and the fall of the Dubrovnik aristocracy and the rebellion of communists. The political changes in the city are presented against the background of its rich cultural tradition. Zafranović highlights the beauty of Dubrovnik’s architectural and natural landscape that fascists desecrate. Decadent poetics with its aesthetic excess allows him to refresh and deepen the communist interpretation of the fascist occupation.
    Źródło:
    Poznańskie Studia Slawistyczne; 2013, 5
    2084-3011
    Pojawia się w:
    Poznańskie Studia Slawistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-7 z 7

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies