Wyniki wyszukiwania - Biblioteka Nauki

1

FILM IN OPERA. THE EXAMPLE OF BOHUSLAV MARTINU´S OPERA THREE WISHES (Film v opere. Na priklade opery Bohuslava Martinu Tri priania)

100%

Blahynka M.

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nr 4

565-570

EN

The paper describes the effect of a new media (film) on the dramaturgy of Martinu's opera Three Wishes and thinks on the potential of film, which puts to use in the staging of Martinu's opera piece. The opera Three Wishes is not only a reaction to the artistic and dramaturgic potential of film, but also a reaction to the new artistic movements. The opera librettist, Georges Ribemont-Dessaignes, was a follower of dadaism and the libretto to this opera has also dadaistic dimension. Martinu and his librettist oppose conventional dramatics. This feature can be found also in his music. In his opera Three Wishes, Martinu refuses the romantic concept of emotionalism and the gradation of dynamism of the latter half of the 19th century. Each of the staging of Three Wishes captures the issue of opera film in a different way. Evald Schorm, director of the world premiere of this opera piece in Brno, in 1971 (forty-two years after the opera was composed), produced a film dimension of the opera along the lines of Chaplin's grotesque. The last staging of Three Wishes by the Czech director Jiri Nekvasil in Volkstheater Rostock, in 2007, was produced as a colourful theatre collage. The opera Three Wishes is a multilayer entertaining musical theatre. Its content is close to classical musical.

2

PERCEPTION OF MACHINE AND TECHNO - IMAGINATION

100%

Paluch M.

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nr 2

133-138

EN

AThe study deals with a technical perception of a device (a camera) in whose center is as an end product a technical picture and its analogical codes. We indicate them analogical in that sense, since they can develop an ancient experience of humanity with a mirror. A photography and film substitute properties of the mirror and establish a new relationship between 'mirror' as a supercode and its reporter. They create codes, which record the reporter in the status where 'here and now' (reality) the reporter 'was' (photographic and film picturing). We distinguish two-dimensional flat codes in case of photograph, and three-dimensional flat codes in case of film. We speak first of all about the flat configurations. The influence of techno - perception on our natural perception can be shown on the various manipulation forms, and on the arranging of pre-aparatus reality (for a camera or film camera) for the purpose of its shooting, since only in the status of a technical picture, the reality reaches an intentional meaning, or on the contrary, the omnipresence of technical pictures retroactively determines our behaviour in the natural reality.

3

COGNITIVE APPROACH TO CHILDREN’S ADAPTATIONS: ACCEPTING PINOCCHIO

100%

Getlík P.

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nr 3

258 - 273

EN

Following the contemporary trend of live-action remakes of classic children’s films, the study offers a cognitive approach to children’s adaptations at the intersection of adaptation studies and the cognitive branch of non-radical constructivism. After a brief theoretical-methodological introduction an interpretation of two film versions of Pinocchio from 2022 is presented. The article will demonstrate how the latest adaptations Pinocchio by Robert Zemeckis and Guillermo del Toro’s Pinocchio by Guillermo del Toro and Mark Gustafson, offer children the opposite direction of experience in the theme of accepting their own identity. This will be evident despite their very similar departure from the traditional paradigm of Pinocchio stories.

4

THE BAD TASTE PSYCHOLOGY (ON SCREEN)

100%

Sulkowski B.

|

2005

|

tom 49

|

nr 1(388)

67-80

EN

The paper deals with screen fictional violence (TV and cinema). The analysis focuses on the genres of gangster, war, horror and action films. The interesting point in the paper is the evolution of means of violence visualization, until the postmodernist version without context or interpretation. The psychology of reception and the paradox of receptive pleasures drawn from watching brutal scenes are analyzed in the paper. The author underlines the variety of explanations and sources of this kind of pleasures. However, one must admit that there is more than one universal theory in this field.

5

Application of edible coatings with antimicrobial activity for food preservation

100%

Gniewosz M. , Synowiec A. , Dyrda M.

|

2009

|

nr 4

40-53

EN

The manuscript elaborates on types, properties and functions of films and edible coatings as well as on benefits that result from the possibility of incorporating into their structures antimicrobial agents in the form of organic acids, natural substances, i.e. bacteriocins, antimicrobial enzymes and also plant oils. In addition, it describes methods for inserting those antimicrobial compounds into edible packages and for their release from the matrix.

6

MICKEY MOUSE, PSYCHOPATH AND OTHER WORLDS: A REMARK ON ONE SIMILE OF BENJAMIN

100%

Fulka J.

Slovak Review. A Review of World Literature Research

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2007

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tom 16

|

nr 1

65-72

EN

One of the moments that connect S. Freud with W. Benjamin is, apart from the interest in mental and material archeology, the directivity to a volatile moment constituting the 'lyrical' basis of both Freud's scientific rhetoric, and Benjamin's literary fragments and the philosophy of time. An analogy to the temporality in psychoanalysis we can find also in 'The Work of Art in the Age of Technical Reproduction', where, however, elusiveness is connected to another element of psychoanalysis: to the interest in a neglected detail. The apperception of the unperceivable details is, however, better than a theory or techniques of therapy enabled by means of a new kind of art: film, operating on psychotization of consciousness. The archeology of this theme can be realized on the example of Mickey Mouse as a cinematic representative of the modern philosophy of detail; it appears ultimately also in Benjamin's considerations on film, where it is, moreover, caught in a certain historical-utopian perspective. His logic of detail as a logic of the operation of the universe is, at the same time, put into an analogy to Fourier and Blanqui. It can be shown that the phantasmagoric parallel worlds occurring both in the notions of Freud's patients, and in the visions of the utopists in the 19th century, were conceptualized by means of the media by Benjamin.

7

OD ŽÁNROVÉ TERMINOLOGIE K SOCIOKULTURNÍMU FENOMÉNU. OBRAZ NOVÝCH POPULÁRNÍCH ŽÁNRŮ V ITALSKÉ KINEMATOGRAFII 60. A 70. LET – 2. ČÁST

88%

Švábenický J.

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tom 60

|

nr 2

205 – 218

EN

The study examines popular genres in Italian cinema of 60's – 70's as a sociocultural phenomenon in the context of cultural background and film industry. The text structured as inter-disciplinal interpretation explores the theme in the level of textual and inter-textual analysis and includes wide framework of various aspects related to questions of elected subject of study. The essay examines also Italian genre terminology and titles of some films that belongs into popular cycles and series of concrete genres. The study demonstrates on some examples that interests and intentions of filmmakers, producers, distributors and audience with regard to film genres are absolutely different. The text is based on methodological approach of inter-disciplinal conception of history of Italian cinema that applies Italian film historian and theorist Gian Piero Brunetta in his long series of books and several times revised and completed work.

8

OD ŽÁNROVÉ TERMINOLOGIE K SOCIOKULTURNÍMU FENOMÉNU. MULTIDISKURZIVNÍ OBRAZ POPULÁRNÍCH ŽÁNRŮ V ITALSKÉ KINEMATOGRAFII 60. A 70. LET – 1. ČÁST

88%

Švábenický J.

|

tom 60

|

nr 1

49 – 68

EN

The study examines popular genres in Italian cinema of 1960s and 1970s as a sociocultural phenomenon in the context of cultural background and film industry. The text is structured as interdisciplinary interpretation and explores the theme in the level of textual and inter-textual analysis. It includes wide framework of various aspects related to questions of the subject of study. It examines also Italian genre terminology and titles of some films that belong to popular cycles and series of concrete genres. It demonstrates that interests and intentions of filmmakers, producers, distributors and the audience with regard to film genres are absolutely different. The text is based on methodological approach of interdisciplinary conception of history of Italian cinema that was elaborated by film historian and theorist Gian Piero. The first part of the study is focused on two Italian genres: peplo or storico-mitologico (in the foreign context, the genre is known as peplum or sword and sandals) and western all‘italiana (in popular and academic writing about cinema known also as spaghetti-western).

9

Odpowiedni dać rzeczy obraz. Rozważania o filmach Ichikawy Kona

88%

Kowalczyk B.

Przegląd Orientalistyczny

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2011

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nr 1-2 (236-237)

64-76

EN

Ichikawa Kon (1915-2008), one of the most important and prolific Japanese directors, made almost eighty films during the seventy years of his career. His accomplishment is considered to be particularly difficult to judge due to its astounding variety of genres, themes, styles and tone - simultaneously sardonic, pathetic, cruel, sentimental, tragic and comic. However, regardless of the story that Ichikawa was depicting through all the images he created - starting from animations, through literary adaptations, postwar humanist movies and sentimental comedies, experimental films to documentaries – he never stopped thinking in terms of contemporary society and the problems it faces. Tracing the vicissitudes of Japanese postwar social history on the screen becomes an unforgettable adventure. This essay tries to investigate Ichikawa's oeuvre in the overall perspective by presenting some of his most widely acknowledged and recognised films as well as by introducing to the broad range of problems they invite.

10

DOMINIK TATARKA – SCENÁRISTA

88%

Michalovič M.

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nr 2

158 – 171

EN

The study interprets the results of research focused on the specific area of the work of the famous Slovak writer Dominik Tatarka (1913 – 1989). During the years 1948 – 1972, Tatarka devoted himself to a film work. This is evidenced by the preserved film stories, treatments or literary scenarios, as well as documentation on the literary-dramaturgical preparation of individual works (contracts, correspondence and review). The author of the study utilised materials available from the National Archive of the Slovak Film Institute in Bratislava, in conjunction with materials found at Tatarka’s estate in the Literary Archive of the Museum of Czech Literature in Prague. On the basis of the research, it can be stated that only one feature-length film based on Tatark’s scenario was created in the reviewed period: Miraculous Virgin directed by Štefan Uher (1966).

11

THE APOSTLES OF INTERGALACTIC RELIGIOCITY. MOTIF OF SPACE CONTACT IN NEW HOLLYWOOD CINEMA (Apostolowie miedzygwiezdnej religijnosci. Motyw kosmicznego konfliktu w kinie nowej przygody)

88%

Konefal S. J.

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2010

|

tom 9

85-96

EN

American science fiction cinema of the 1970s began To employ eclectically presented references to eclectic views on religious topics. Films directed by artists such as Steven Spielberg and George Lucas offered viewers the stories influenced by the Christian and Buddhist symbolism as well as selected theses of the New Age Movements. The authors wanted to create in their productions new religiousness patterns, derived from the writings of some leading figures of the counterculture, such as Herbert Marcuse, Charles Reich, and Theodore Roszak. For this purpose they processed some storylines from science fiction novels and mass culture. This strategy was continued in the 1980s and first half of the 1990s, however the productions from this period showed a radicalization of the educational-ideological context which was associated with the conservative policy of the USA during this period. The end of the 1990s and the first decade of the twenty-first century is a period of erosion the New Age optimism of science fiction cinema. The growing popularity of plots with catastrophic and dystopian visions of the future indicates that religious topic in contemporary cinema fulfills different functions.

12

AUTENTICITA A DOKUMENTARIZMUS V SLOVENSKOM VIZUÁLNOM UMENÍ PO ROKU 1990

88%

Filová E.

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nr 4

396 – 411

EN

The revival of documentary film at the turn of the millennia, caused by the influence of available digital technology and the advent of the young generation, has also been reflected in visual arts - in their need to provide testimonies about private, personal, family, and partner situations or stereotypes (Gabika Binderová, Pavlína Fichta Čierna, Anton Čierny), which sometimes overreach into public, socio-political affairs and phenomena (Ľubomír Ďurček, Peter Rónai, Elena Pätoprstá, Pavlína Fichta Čierna, Ilona Németh, Anna Daučíková, Kristián Németh, Mária Štefančíková, Katarína Karafová). Several authorial strategies, for example, journal entries, reality staging, observational, participation, performative, and reflexive approaches to processing reality, inspired by world trends and by theory, touch upon topical and universal themes – personal and collective memory (recording and erasing), memory places, the political and social body, gender stereotypes, etc. Despite common points of departure, motivations, used means or anti-audience “artsiness”, visual arts and documentary film preserve their own rules of game and specific manners of re/presentation.

13

PHOTOGRAPHY AND 'CADEM' VERSUS FILM AND 'EDEM'

75%

Paluch M.

|

nr 4

576-581

EN

A filmologist Jan Bernard is distinguishing a camera shot (cadem), a shot edited by a cutting/clipping (edem) and a shot specified by its semantic function and a building boundary (semem). A method of handling the gadget (camera, film camera) decides upon a character of the resulting technical - iconic code. Camera shots (cadems) closely follow creative procedures related to photographic technique. Into this group belong films which consider photographic properties of camera shots determining for the method of creation of non-fiction films based on authenticity of the moment. Into this category are included films marked as found footage. There are singular cases of one- shot films in a staged production which prove this rule, for example the film by Alexander Sokurov 'Russian Ark'. The principle of photographicity of a camera shot is not possible to generalize and apply on the whole area of non- fiction creation. A specific film value is reached by shots only after having overcome a higher instance of organization. Shots are cut into the resulting shape of cut shots (edem) which are a specific material of a film 'language' on a higher level of organization. Edem changes traditional traits of cadem and leaves identity of a photography, because it is forcefully cut off from the machine and its direct functionary. The institute of an editor or clipper was originated alongside with film and a decisive revolution occured in the era of silent film. All three stages of shot (cadem, edem , semem) diffuse similarly like three kinds of iconic signs (icons, indexes, symbols) declared by Ch. S. Pierce. In digital worlds the problematization of the third type of shot is happening. The loss of 'ontological' reporter takes place, camera, editor as well as a horizon are disappearing. Shape similarities lose traditionally by senses recognizable form, and consciousness is confronted with a virtual world functioning by a real impression based on a numerical calculation of a computer.

14

LOOKING BACK AT THE THEATRE PRODUCTION OF A SCENOGRAPHER, MUSICIAN AND FILM ARCHITECT TOMÁŠ BERKA

75%

Podmaková D.

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2022

|

tom 70

|

nr 3

229 – 255

EN

Tomáš Berka connected the auditorium with the stage on several occasions. He made a distinctive mark in graphic design; his theatre posters are typical for their characteristic outlines and colouring (regardless of the linocut or offset technique). Based on selected productions from a total of over a hundred works, the study presents Berka’s contribution to Slovak scenography from the 1970s to 2005, when his last theatre work was recorded. Tomáš Berka is the only one among the stage designers who have also penetrated the world of music and, in recent decades, the international film industry. The study of his scenography completes the portrait of the stage designer’s work in Bratislava companies as it was unjustly marginalised also by foreign critics. While at the same time, several productions that he was engaged in which made an impact by their use of action scenography were produced in confined spaces of the petit stage of the former Divadlo na korze (Theatre on the Promenade), as well as in alternative non-theatre spaces. Tomáš Berka’s production of posters reflects the artist’s vision of society from the beginning of Normalisation, i.e. from the 1970s to the search for a path towards democracy in the first half of the 1990s.

15

STEREOTYP AKO OBRAZ

75%

Dudková J.

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tom 60

|

nr 1

13 – 33

EN

The concept of stereotype is closely linked with the concept of image. First, the authoress elucidates the concept of stereotype with respect to its anchoring in collective imaginary, where, according to Homi K. Bhabha, it functions as a fetish pendant. Later, she focuses on the use of stereotypes in audio visual media. She draws the reader’s attention to deconstructing the stereotype as a component part of representation strategies, the role of which is maintaining the power structures. The emphasis is especially laid on stereotypes of the race as a specific kind of social stereotypes. These, due to an obvious visibility of the difference in skin colour (and the impossibility of cover-up) count on a specific set-up of the visual field. An individual with a different skin colour functions as the object of the gaze. His/her image (for instance, in various audio visual and visual media) oftentimes behaves as a synecdoche, metonymy or metaphor. The paper contains examples of Slovak documentary films and TV series, which illustrate some other forms of stereotype functioning – as recognised caricature, or, as distorted, „incorrect“ reality image.

16

Wielość wartości dostrzeganych w filmach przyrodniczych przez studentów

75%

Wiatrowska L.

|

tom 36

|

nr 1

173-184

EN

Mass media, as a generally available means of transfer, have the possibility to influence human personality, because of their diverse program themes. Natural scientific films are nowadays really popular to watch. Animal lifestyles are shown in them in a natural way. It is interesting, surprising, intriguing, and shocking. They generate a whole spectrum of values, attitudes or behavior types, which not always have a positive effect on the human psyche. They also evoke emotions which are dysfunctional, like fear, sadness, hatred, or anger. In present days also another type of influence caused by these films has emerged, and that is therapy.

17

NITRIANSKE KINÁ V OBDOBÍ DRUHEJ SVETOVEJ VOJNY

75%

Mikulášová A. , Palárik M.

Historický časopis (Historical Journal)

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2015

|

tom 63

|

nr 2

291 – 312

EN

During the war years 1939 – 1945, films were popular way of spending free time and escaping from everyday reality. They were not only a means of entertainment, thanks to them it was possible to present a specific message to the general public, and they were misused for political, ideological and propaganda purposes. In this period, cinemas showed anti-Semitic films, full of xenophobic ideas, films celebrating the German army and “Aryan ideals”, but also films offering simple entertainment. The financial and creative potential of the Slovak Republic was limited, so the demand for films was supplemented by pictures distributed from abroad. As a result of the political and military situation, German films predominated in Slovakia. Using the example of the town of Nitra, the study presents information about films shown in a middle sized Slovak town, analysing their origin, genre, message and price. It gives information about visits to the cinema as one of the possibilities for spending free time, as well as about efforts to politically exploit them.

18

UMELECKÉ A ESTETICKÉ VÝCHODISKÁ FILMU JÁNOŠÍK (1921)

75%

Oniščenko J.

|

nr 2

117 - 127

EN

This study focuses on the first Slovak feature-length film Jánošík (1921) by the Siakeľ brothers. It conducts a historical analysis of the birth of the film and its anchorage in the socio-cultural context. At the turn of the nineteenth and the twentieth centuries and in the first quarter of the twentieth century, there were two crucial works that influenced the Jánošík film. Firstly, it was the novel Jánošík, kapitán horských chlapcov, jeho búrlivý život a desná smrť (Jánošík, the Captain of Mountain Lads, His Tumultuous Life, and Horrible Death, 1894) written by Gustáv Maršall-Petrovský. Although the film makers openly declared that the screenplay, written by Jozef Žák-Marušiak, was based on this novel, it is obvious that the plot of the film does not agree with that of the novel and that its other influential source was Jiří Mahen’s play Jánošík (1910), whose plot was adopted by the film a lot more prominently. Nevertheless, the author traces several common elements in the film and the novel, which he finds in the specific modernistic element in these two adaptations of the legend of Jánošík.

19

Video and Theatre or a Hybrid Scene: The Case Of Theatrical Mise En Scène Fanny and Alexander

75%

MISTRÍK M.

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nr 2

134-145

EN

Today’s theatrical art sometimes utilizes modern electronic technologies of visualisation that may be, especially if we use a certain amount of simplification, generally defined as “video”. This kind of technology consists of a complex set of devices: shooting cameras, recording devices, trick equipment, broadcasting devices, screens. Theatrical mise en scènes once used to involve film; however, mostly before the emergence and refinement of digital video technologies. It is beyond any doubts that compared to film, video has many advantages – one of the most significant of these advantages is the fact that video technology allows to provide simultaneous online streaming of both image and sound. In case creators and producers of a theatrical mise en scène decide to use such a technology, they tend to favour it over the theatrical elements, which may lead to a shift from mimesis towards virtualisation of the performed spectacle. On the other hand, classic theatre, along with its long-term tradition and solid forms, is a strong, persistent sphere of art; even the video is rarely able to prevail and change the scenic reality into a virtual, abstract electronic world. We have decided to discuss these theoretical notions in relation to the theatrical mise en scène Fanny and Alexander by Ingmar Bergman, which was directed by Marián Amsler and performed at the Slovak National Theatre in 2016. Our analysis reflects on the forms of hybrid convergence merging theatrical art and video art in this particular case. However, as the conclusion suggests, video art and its technological possibilities may have influenced the mise en scène’s overall setting, but the given theatrical work was able to preserve its own integrity without sacrificing any part of the true nature of theatre as such.

20

SKUTOČNÉ VO FILME A JEHO PÔSOBENIE

75%

Oniščenko J.

|

tom 66

|

nr 7

655 – 666

EN

The paper examines the relationship between film and reality, which on the author’s view cannot be grasped without taking into account the viewer. For Bela Balazs the viewer is a part of the film world. Jean Epstein goes even further in his substituting an actor for a viewer. Balazs develops the concept of identification while Epstein’s idea is to subvert the viewer’s world of peace and certainties. Benjamin shows that watching a film is a two-way effect. Barthes’ aim is to show the place, from which this effect comes. Lyotard describes another particularity of the film. The stasis represents a situation when the film shows the limits of perception.