Images (Poland)最新文献_第3页

„Patrzcie, oto jest film produkcji polskiej”. Przedwojenna polska komedia muzyczna jako musical

Images (Poland) Pub Date : 2023-01-17 DOI: 10.14746/i.2022.40.13

Małgorzata Nowińska

引用次数: 1

O targu staroci, ekologii i stosunku do przedmiotów starych

Images (Poland) Pub Date : 2023-01-17 DOI: 10.14746/i.2022.40.07

Małgorzata Hendrykowska

{"title":"O targu staroci, ekologii i stosunku do przedmiotów starych","authors":"Małgorzata Hendrykowska","doi":"10.14746/i.2022.40.07","DOIUrl":"https://doi.org/10.14746/i.2022.40.07","url":null,"abstract":"\u0000 \u0000 \u0000The term ‘flea market’, which we have now replaced with the more neutral ‘antique market’, has been known in Europe since at least the end of the 17th century. Its meaning and function have evolved over the centuries. Initially, the things gathered there were intended for the poorest people, who were able to buy the basic items they needed for daily living there cheaply. From the mid-19th century, flea markets became the focus of interest for collectors. Today, they fulfil a slightly different role. This is linked to a change in attitude to ‘old’, worn-out, broken and unfunctional things, to ‘junk’. This is sometimes associated with an environmentally friendly attitude. It is becoming fashionable to give objects a second life by transforming them, giving them a different meaning and function, sometimes creating original works of art through them, but this is not the only expression of a change in attitude towards discarded objects. The public visiting antique fairs is looking for unique, but imperfect, often worn-out objects with traces of use among the “rubbish,” which most often comes from the flats being emptied. Once introduced into the everyday surroundings of their new owners, they will contradict the unified world of objects that constitute the iconosphere of modern life. It cannot be ruled out that the interest in what until recently was considered something of rubbish dump is connected to the changes in everyday life, the acceleration of everyday existence that we have all experienced in recent years. Times of exceptionally rapid globalisation, the expansion of electronic media, which have revolutionised communication between people, often stripping it of personal contact, may translate into an attitude towards these “junk” objects. Perhaps this is how the fear of losing traditional, “old” values is expressed, the desire to preserve a piece of history and to establish a special relationship, based on imagination and empathy, with the owner of the discarded object. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82202668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Atelier, czyli tam i z powrotem. Ewolucja filmu studyjnego od czasów kina niemego do ery cyfrowej

Images (Poland) Pub Date : 2023-01-17 DOI: 10.14746/i.2022.40.10

K. Kalbarczyk

引用次数: 0

‘You’re ignoring the truth’ – Fatih Akın’s Polluting Paradise (2012) and Eco-Trauma Cinema “你忽视了真相”——法提赫Akın的《污染天堂》(2012)和《生态创伤电影》

Images (Poland) Pub Date : 2023-01-17 DOI: 10.14746/i.2022.40.03

Adam Domalewski

引用次数: 0

Rendering slow ecological crisis in a popular medium: Hyperobjects and Sámi resistance in the Swedish-French TV series Midnight Sun 在流行媒介中呈现缓慢的生态危机:瑞典-法国电视连续剧《午夜太阳》中的超对象和Sámi抵抗

Images (Poland) Pub Date : 2023-01-17 DOI: 10.14746/i.2022.40.02

A. Mrozewicz

{"title":"Rendering slow ecological crisis in a popular medium: Hyperobjects and Sámi resistance in the Swedish-French TV series Midnight Sun","authors":"A. Mrozewicz","doi":"10.14746/i.2022.40.02","DOIUrl":"https://doi.org/10.14746/i.2022.40.02","url":null,"abstract":"\u0000 \u0000 \u0000The article examines the ways in which the slowly evolving and invisible processes of the ongoing ecological crisis can be represented in the format of a contemporary serial television drama. The author argues that despite heavy reliance on spectacular and captivating character-born plots, the long-form storytelling of new television narratives can be well suited to representing the complex and unspectacular temporalities of the ecological crisis. With the Swedish-French Arctic noir TV series Midnight Sun as a case study, the analysis shows how a highly spectacular criminal plot is developed to reveal the invisible temporal action and nonhuman agency of a special kind of waste paradigmatic of the era of the Anthropocene, defined by Timothy Morton as a hyperobject (2013). This idea is established in Midnight Sun not only by placing radioactive waste at the center of the narrative but also by gradually foregrounding its nonhuman agency behind the events. The aim of the analysis is to demonstrate that by both using and reimagining the conventions of the television crime drama (Arctic noir), Midnight Sun translates into quotidian terms the unspectacular and long-term aspects of human-induced ecological destruction, which surpass the individual human scale and evade our cognition. An important strategy adopted in Midnight Sun is bringing together two levels of criticism: ecocritical and postcolonial. The slow ecological violence (R. Nixon, 2011) and nuclear colonialism (G. Schwab, 2020) exerted by the powerful against regions and people who are globally less visible are depicted as a continuation of the history of colonization, and more specifically, the systemic and longstanding ill-treatment of the indigenous Sámi people in Sweden. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"203 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77879609","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Wasted lives and expulsions. A study of Beasts of the Southern Wild by Benh Zeitlin 浪费生命和驱逐。Benh Zeitlin对南方野生动物的研究

Images (Poland) Pub Date : 2023-01-17 DOI: 10.14746/i.2022.40.04

G. Gajewska

引用次数: 0

Kinematografia na śmietniku

Images (Poland) Pub Date : 2023-01-17 DOI: 10.14746/i.2022.40.05

Marek Hendrykowski

引用次数: 0

Postapokaliptyczne role ludzi i roślin w grze Cloud Gardens. Czym jest ogród?

Images (Poland) Pub Date : 2023-01-17 DOI: 10.14746/i.2022.40.08

Karol Zaborowski

引用次数: 1

Dynamika edukacyjna aktywistów i system produkcji filmowej Stowarzyszenia Otwarte Klatki

Images (Poland) Pub Date : 2023-01-17 DOI: 10.14746/i.2022.40.06

Patrycja Chuszcz

引用次数: 0

The Invisible World of Images. From “Nonhuman” to “Undigital” Photography in Joanna Zylinska’s Reflections 《看不见的影像世界》从“非人类”到“数码”摄影——乔安娜·齐林斯卡的反思

Images (Poland) Pub Date : 2023-01-17 DOI: 10.14746/i.2022.40.01

P. Zawojski

{"title":"The Invisible World of Images. From “Nonhuman” to “Undigital” Photography in Joanna Zylinska’s Reflections","authors":"P. Zawojski","doi":"10.14746/i.2022.40.01","DOIUrl":"https://doi.org/10.14746/i.2022.40.01","url":null,"abstract":"\u0000 \u0000 \u0000The article presents the theoretical views and, to a lesser extent, artistic practices of Joanna Zylinska, who in her artistic activity combines epistemological strategies of a researcher and theorist with her activities in the field of art. She develops in different manners an original project of philosophy as photography, or photography as a form of philosophizing. Posthumanist and post-anthropocentric inspirations and the inclusion of her reflections in a wider circle of a nonhuman turn constitute an epistemological framework of numerous statements devoted to the “photographic condition” in the age of dominance of digital technologies. The author argues that, in fact, photography has been a nonhuman practice since its beginnings, which is developed in her book Nonhuman Photography, preceded by the concepts of mediation and photomediation. In her latest proposals addressing the issues of the functioning of art in the era of algorithmic systems, the author develops the concept of undigital photography, which constitutes an extension of thinking about those manifestations of photography that are not of/by/for the human. The idea of “vision machines” (once proposed by Paul Virilio) takes the form of a holistic view of photography as a “medium of life,” which, unlike modernist descriptions of it as a “medium of death” (Roland Barthes), makes a significant contribution to both the theory and the history of photography. The synthetic presentation of Zylinska’s concepts is an attempt to describe and interpret the contemporary state of theoretical and methodological awareness in the field of contemporary image studies. It stems from the need to constantly reinterpret the canon of thinking about the medium of photography in the epoch of cooperation between human and non-human agencies in the area of pictorial production of images addressed to both people and machines. \u0000 \u0000 \u0000","PeriodicalId":37086,"journal":{"name":"Images (Poland)","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89558053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1