Studies in Eastern European Cinema最新文献

Revelatory Inebriation and Westward Projections: Bolek Polívka’s Father Figures in Mid-2000s Czech Cinema 启示性的沉醉和向西的投射：Bolek Polívka在2000年代中期捷克电影中的父亲形象

Studies in Eastern European Cinema Pub Date : 2024-01-02 DOI: 10.1080/2040350x.2023.2298537

Tanya Silverman

引用次数: 0

Cosmopolitanism, Immigration, State Collapse and the Oppression of Women A Report from the Karlovy Vary International Film Festival, June 30 th - July 8 th , 2023 世界主义、移民、国家崩溃和对妇女的压迫 2023 年 6 月 30 日至 7 月 8 日卡罗维发利国际电影节报告

Studies in Eastern European Cinema Pub Date : 2023-11-27 DOI: 10.1080/2040350x.2023.2283295

Jan Culik

引用次数: 0

Mladomir Puriša Đorđević (1924–2022) 姆拉多米尔-普里沙-乔尔杰维奇（1924-2022）

Studies in Eastern European Cinema Pub Date : 2023-11-24 DOI: 10.1080/2040350x.2023.2283292

M. Radović*

引用次数: 0

Reading the Mermaid Sisters of Smoczyńska’s (2015) “The Lure” as More Than Shoreline Strangers: Toward a Feminist Solidarity with Nonhuman Others 将斯莫钦斯卡（2015）的《诱惑》中的人鱼姐妹视为不仅仅是海岸线上的陌生人：女性主义与非人类 "他者 "的团结

Studies in Eastern European Cinema Pub Date : 2023-11-15 DOI: 10.1080/2040350x.2023.2282242

Mariliis Elizabeth Holzmann

引用次数: 0

A non-philosophy of non-cinema Romanian cinema: thinking outside the screen , by Doru Pop. New York and London: Bloomsburry, 2022, 280 pp., Hardback £81, ISBN 978-15-01366-23-9 非电影的非哲学罗马尼亚电影:银幕之外的思考，多鲁·波普。纽约和伦敦:布鲁姆斯伯里出版社，2022,280页，精装本81英镑，ISBN 978-15-01366-23-9

Studies in Eastern European Cinema Pub Date : 2023-11-10 DOI: 10.1080/2040350x.2023.2279463

Christian Ferencz-Flatz

引用次数: 0

Between the Borders of Life and Art: Roman Polanski’s Transgressive Negotiations 在生活与艺术的边界之间:罗曼·波兰斯基的越界谈判

Studies in Eastern European Cinema Pub Date : 2023-09-02 DOI: 10.1080/2040350x.2023.2255456

Sony Jalarajan Raj, Adith K. Suresh

{"title":"Between the Borders of Life and Art: Roman Polanski’s Transgressive Negotiations","authors":"Sony Jalarajan Raj, Adith K. Suresh","doi":"10.1080/2040350x.2023.2255456","DOIUrl":"https://doi.org/10.1080/2040350x.2023.2255456","url":null,"abstract":"Roman Polanski’s films are noted for their subversive psychological style that explores themes of sexuality, desire, alienation, and violence. His narratives often reflect a dark sense of humour through which the director perceives the absurdity of the human condition in relation to his own cultural dislocations and artistic eccentricity. This article investigates how different connotations of transgression play a major role in defining Roman Polanski as a filmmaker. It specifically explores how the polysemy of transgression structures Polanski as an artist whose real and cinematic negotiations are often intertwined. Through the constant subversion of moral, cultural, and social discourses, his visual style and narrative ideology maintain a notorious affinity that disturbs the notion of reality and manipulates it with new narrative texts. It is the idea of transgression that changes the way Polanski’s auteur status is perceived, appreciated, and rejected for his actions and creations in the past and their repercussions in the present. Polanski’s works use historical, social, and personal realities to renegotiate his transgressive image in real life by incorporating his contested victim status and persecuted selfhood in narratives that manipulate both the past and present.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134968357","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

The Women in Waiting: Olivier Assayas’ Personal Shopper and Roman Polanski’s Based on a True Story 等候中的女人:奥利维尔·阿萨亚斯的《私人购物者》和罗曼·波兰斯基的《真实故事》

Studies in Eastern European Cinema Pub Date : 2023-09-02 DOI: 10.1080/2040350X.2023.2250155

Żaneta Jamrozik

{"title":"The Women in Waiting: Olivier Assayas’ Personal Shopper and Roman Polanski’s Based on a True Story","authors":"Żaneta Jamrozik","doi":"10.1080/2040350X.2023.2250155","DOIUrl":"https://doi.org/10.1080/2040350X.2023.2250155","url":null,"abstract":"Abstract The article analyses Olivier Assayas’ Personal Shopper (2016) and Roman Polanski’s Based on a True Story (2017) as post-horrors. Post-horror, sometimes called slow, quiet, or ambient horror, focuses on creating atmospheres rather than chains of events. Its themes of family and loss are often focalised through a single, female character. Sound design becomes key in creating auras of suspension as the films tend to omit dramatic events and focus on their aftermaths, showing the characters struggling to re-establish their daily routines. Assayas’ Personal Shopper begins after Maureen (Kristen Stewart) has lost her twin brother and Polanski’s Based on a True Story – after the suicidal death of Delphine’s (Emmanuelle Seigner) mother. In both films the loss is not followed by mourning but by what both characters verbalise as waiting. The films foreground the scenes of waiting: from the most mundane of waiting at the train station to the most sophisticated of waiting for the spectre. Spectres are waited on and appear, manifesting the fluidity between life and death rather than the linearity and the acceptance of loss typical for mourning. Waiting for the spectre is the main trope in Derrida’s ‘Specters of Marx’, where he imagines it as an ethics of responsibility towards that which does not exist according to traditional western ontology. He argues for a relational ethics that takes seriously the agency of such absent others, suggesting that ethics should reach beyond the immediate and the present. The figure of the spectre, through its hauntings, is both present and absent and, according to Derrida, tele-technologies like cinema were invented to explore such disturbances in time and space. The two films emphasise sound as a way to communicate with spectres, playing with Gothic and Victorian motifs of female mediumism, as they present the women’s waiting as transcending the personal (and interpersonal) and reaching towards a cosmic awe or terror that can be analysed through a combination of what Bauman called the ‘cosmic fear’ of negative globalisation and Lovecraft – cosmic indifference.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"4 1","pages":"335 - 355"},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79232141","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

A Concise History of Slovak Cinema 斯洛伐克电影简史

Studies in Eastern European Cinema Pub Date : 2023-07-07 DOI: 10.1080/2040350x.2023.2233306

E. Mazierska

引用次数: 0

From Ruptures to Continuities: Czechoslovak Cultural Heritage in Non-Fiction Cinema 1948-1956 从断裂到延续:1948-1956年非虚构电影中的捷克斯洛伐克文化遗产

Studies in Eastern European Cinema Pub Date : 2023-06-07 DOI: 10.1080/2040350x.2023.2220251

Andrea Průchová Hrůzová

引用次数: 0

Performative Cinematic Acts of Form in the Baltic New Wave Documentary: The Old Man and the Land, Ruhnu, and Bridges of Time 波罗的海新浪潮纪录片中的表演电影形式行为:老人与土地，鲁赫努和时间之桥

Studies in Eastern European Cinema Pub Date : 2023-05-26 DOI: 10.1080/2040350x.2023.2217031

Teisi Ligi, Teet Teinemaa

引用次数: 0