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    Wyświetlanie 1-3 z 3
    Tytuł:
    Nostalgia and Archival Footage in Contemporary Hungarian Documentary (Gábor Zsigmond Papp: "The Life of an Agent")
    Autorzy:
    Vincze, Terez
    Powiązania:
    https://bibliotekanauki.pl/articles/919731.pdf
    Data publikacji:
    2014-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Hungarian contemporary documentary
    archival footage
    found footage
    Gábor Zsigmond Papp
    historical documentaries
    Opis:
    Archival and found footage have been playing an important role in Hungarian cinema since the 1960s. Th is type of material has been present not only in documentaries but also in Hungarian feature and experimental films. After a very short summary of the history of the usage of archival footage in Hungarian cinema, I will discuss two contemporary trends in documentaries: the artistic/experimental use and the entertainment-related/nostalgic use of found footage. At the end of the article, I use Gábor Zsigmond Papp’s documentary fi lm The Life of an Agent as an example of the nostalgic use of archival material in the representation of a still-unresolved Hungarian historical problem: socialist secret agents.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 19-26
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Deviating memories: Armando Lulaj’s seriously playful excursions into Albania’s history
    Autorzy:
    Grgic, Ana
    Powiązania:
    https://bibliotekanauki.pl/articles/923159.pdf
    Data publikacji:
    2018-12-22
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    collective memory
    post-socialism
    archival footage
    national narratives
    Albanian studies
    Opis:
    This paper examines how certain contemporary audio-visual works from post-socialist countries in the Balkan region, employ archival footage from the communist period, to address and problematize the notion of remembering and suppressing national history through collective memory. I specifically focus on the work of the Albanian artist, Armando Lulaj and his videos Albanian Trilogy: A Series of Devious Stratagems (2011, 2012 and 2015) exhibited at the 56th Venice Biennale. By re-using images and narratives produced during Enver Hoxha’s regime, and still ingrained in Albanian visual memory, these films provide alternative readings of Albanian history from the Cold War to the present day. What is more, some of this archival material is made public for the first time, while the rest has been dormant and purposely forgotten in archival vaults. Lulaj’s playful excursions, create connections between a problematic and suppressed past and the difficult and selective present, by juxtaposing evocative and politically charged visual records and contemporary footage of artist’s commissioned performances.
    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:
    Świat przed Zagładą. Tajemnica istnienia archiwalnego obrazu filmowego we współczesnej strukturze filmowej na przykładzie filmu Po-lin. Okruchy pamięci Jolanty Dylewskiej
    The World Before the Shoah: The Mystery of Archival Film Footage As Part of Contemporary Cinematic Structure Based on the Example of Jolanta Dylewska’s Po-Lin. Remains of Memory
    Autorzy:
    Kozłowski, Maciej
    Powiązania:
    https://bibliotekanauki.pl/articles/920854.pdf
    Data publikacji:
    2015-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    memory
    witness
    portrait
    close up
    time
    archival footage
    synecdoche Jolanta Dylewska
    Emmanuel Levinas
    Roland Barthes
    Shoah
    Kurów
    Kałuszyn
    Opis:
    The text is an analysis of the composition of archival footage in contemporary documentary film. It presents artistic strategies concerning visual narration used in the film. From this perspective, it also describes the cinematic image of the provincial world of Jewish culture in Poland before II World War as captured by Jewish amateur cinematographers in their home movies, and how the same place is filmed nowadays. The mutual relationship between two visual layers is also interesting: archival footage and contemporary film and the meanings that arise as a result. Among the elements of visual film language are representations showing the metamorphosis of the place of action that occurred as a result of the passage of time and historical dramatic events. Also analyzed is the function of film close up in describing a wider context and portraits of witnesses who remember the world before the destruction of the Shoah.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2015, 17, 26; 225-235
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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