Studies in Eastern European Cinema最新文献

{"title":"Love and fashion: musical comedy and Yugoslav dolce vita","authors":"Anita Buhin","doi":"10.1080/2040350X.2018.1554306","DOIUrl":"https://doi.org/10.1080/2040350X.2018.1554306","url":null,"abstract":"Abstract As the first Yugoslav musical comedy, the film Ljubav i moda/Love and fashion avoiding the previously typical partisan and worker’s themes suddenly achieved huge cinematographic success. At the same time, it was also highly criticized, characterized as kitsch showing the ‘deformation of contemporary life’, ‘something alien to our reality’. Critics were partially correct, the film was unrealistic, but only because it was a projection of a desired future which was supposed to be modern and urban, based on Westernized popular culture. Thus, the weak storyline was only a setting for a hundred-minute entertaining music video promoting modern and urban lifestyles in which the youth is following popular music and Western fashion trends, all combined with performances of the most popular Yugoslav singers like Gabi Novak or Ivo Robić. This article, through the example of Love and fashion, explores the role of popular music and its stars in the creation of a Yugoslav socialist dolce vita on screen.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"92 1","pages":"110 - 96"},"PeriodicalIF":0.0,"publicationDate":"2019-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80485851","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}

{"title":"From Prague to Łódź and back again: the Czech scriptwriter Pavel Hajný and Czechoslovak–Polish cultural transfer in the 1970s and 1980s","authors":"E. Ciszewska, Pavel Skopal","doi":"10.1080/2040350X.2018.1527121","DOIUrl":"https://doi.org/10.1080/2040350X.2018.1527121","url":null,"abstract":"Abstract From the mid-1970s to the end of the state-socialist regimes in Central Europe in 1989, the Czech scriptwriter and dramaturg Pavel Hajný successfully fostered parallel careers in two national film industries: between 1975 and 1989, Hajný was personally involved in, or indirectly participated on 11 strictly Polish projects or Czechoslovak–Polish co-productions. The theoretical and terminological framework of the analysis is borrowed from William H. Sewell Jr.’s concept of agency as an effective control over cultural schemas. The article examines the way Hajný used his resources when facing the schemas established in the Polish production culture. The authors claim that the effectiveness of Pavel Hajný as an agent travelling successfully between the Czech and the Polish film industries resulted from two essential factors: the compatibility of his knowledge as a scriptwriter and dramaturg with the demands of the Polish units, and the flexible adaptation of his skills to the schemas he was confronted with in the Polish production culture. It was his attitude, which focused on the fluent transfer of compatible norms rather than on changing the schemas, that helped him to establish a position as a sought-after craftsman. His career, not being a model of transnational fluidity, is exemplary of a strategy intentionally designed for crossing between two production cultures that were structurally compatible, but that evinced discrepancies in ideological, aesthetical, and professional norms.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"185 1","pages":"223 - 239"},"PeriodicalIF":0.0,"publicationDate":"2019-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82649136","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}

{"title":"Transgressing boundaries between film and music videos: Smarzowski, Kolski, and music videos in Poland","authors":"Paulina Duda","doi":"10.1080/2040350X.2018.1516087","DOIUrl":"https://doi.org/10.1080/2040350X.2018.1516087","url":null,"abstract":"Abstract While the investigation of how directors utilise popular music in their films has enjoyed relative popularity among Polish scholars, the way in which contemporary filmmakers transgress boundaries between ‘film’ and ‘music video’ in order to manifest their authorial strategies in other screen genres has not entered academic debates yet. The aim of this article is twofold. First, I will provide an overview of the marginalised position that the music video genre occupies in Polish-language academic discourse and suggest a few reasons for this negligence. Secondly, I focus here in particular on a comparison of the visual approaches and strategies prevalent in music videos directed by two notable contemporary Polish filmmakers: Jan Jakub Kolski and Wojciech Smarzowski. I will position their music videos in the context of their film production, arguing that their work for the music industry is an extension of their distinctive cinematic worlds and that it affects both the film language and the aesthetics of the music video genre ingeneral.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"11 1","pages":"146 - 160"},"PeriodicalIF":0.0,"publicationDate":"2019-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84226526","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}

{"title":"The creation of meaning","authors":"P. Hames","doi":"10.1080/2040350X.2018.1449069","DOIUrl":"https://doi.org/10.1080/2040350X.2018.1449069","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"49 1","pages":"77 - 80"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78775159","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}

{"title":"National Identity in Hungarian Cinema between 1929 and 1947","authors":"Györgyi Vajdovich","doi":"10.1080/2040350X.2018.1556560","DOIUrl":"https://doi.org/10.1080/2040350X.2018.1556560","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"28 1","pages":"81 - 83"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78245315","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}

{"title":"Piotr Szulkin (1950 – 2018)","authors":"S. Konefał","doi":"10.1080/2040350X.2018.1543997","DOIUrl":"https://doi.org/10.1080/2040350X.2018.1543997","url":null,"abstract":"On the 3rd of August 2018, Piotr Szulkin died at the age of 68. He was a Polish director, mostly renowned from the dystopic tetralogy (Golem, 1979, The War of the Worlds – Next Century, 1981, Obi-Oba. The End of Civilization, 1984 and Ga-ga: Glory to the Heroes, 1985). Szulkin graduated from the School of Fine Arts in Warsaw in 1970 and in 1975 he completed his second degree at the directing department of the State Higher School of Film, Television and Theatre in Łódź. In his works, he linked artistic sensibility with literary, theatre and cinematic visions. Szulkin’s early short films, from the beginning of 1970s, already contained strong links with the poetics of absurd and grotesque. His next two films (The Virgin and the Devil, 1975) and (The Cursed Eyes, 1976) were praised by the Polish critiques for the intelligent play with folk tradition and deep knowledge of the history of art. The first film thematises the religious perspective during the middle ages and Renaissance and local beliefs attracting viewers’ attention with unique, dynamic camera work. The latter retells a peasant tale poetically suspended between the oneiric fantasy and expressive horror story. The uncanny narrative returned in Szulkin’s first full feature called Golem. The film’s script, co-written with a Polish film critic, Tadeusz Sobolewski, was inspired by Gustav Meyernik’s novel from 1914. The main protagonists of the film, Pernat (performed by Marek Walczewski), might be interpreted as an artificial human or a clone. The Polish golem tries to face reality in an distressing mixture of Kafka’s antiutopian world and post-apocalyptic vision. This grotesque place, full of signs of decay, contains some strong textual and visual references to the authoritarian system and propaganda. Apart from its obvious political meanings, the film can be nowadays re-read by the postor trans-human tropes, or analysed by some strategies leading to the Foucaultian heterotopies, Beckettian poetics of ambiguity and the Brechtian alienation effect. Dystopian tropes also appeared in the fictional story in The War of Worlds: Next Century, loosely based on the famous H. G. Wells novel. The movie was finished in 1981 but did not appear in the Polish cinemas until 1983. Its futuristic plot starts on 28th of December 1999, which is the twelfth day of a Martian invasion on Earth. Such a narrative was perceived in Szulkin’s homeland as a prophetic vision of the dark period of Martial Law, introduced on 13th of December by the communist government. But thirty-seven years after the its premiere at the Chicago International Film Festival The War of Worlds goes beyond such connotations and may be treated as well as a still up-to-date critique of the postmodern culture, full of digital media simulacrums and fake news. More symbolic figures might be found in Obi-oba. The End of Civilization, where postapocaliptic society lives under the gigantic dome, waiting for the Ark, which is the imaginary space ship ta","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"106 1","pages":"75 - 76"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79033213","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}

{"title":"Lucian Pintilie (1933–2018)","authors":"Andrei Gorzo","doi":"10.1080/2040350X.2018.1545202","DOIUrl":"https://doi.org/10.1080/2040350X.2018.1545202","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"46 1","pages":"72 - 74"},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86739668","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}

{"title":"Zooming out from East Germany Re-Imagining DEFA: East German Cinema in its National and Transnational Contexts","authors":"C. Dueck","doi":"10.1080/2040350x.2018.1493413","DOIUrl":"https://doi.org/10.1080/2040350x.2018.1493413","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80247009","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}

{"title":"The sound of love. Music and affect in Filip Dzierżawski’s ‘Miłość’","authors":"Artur Szarecki","doi":"10.1080/2040350X.2018.1516058","DOIUrl":"https://doi.org/10.1080/2040350X.2018.1516058","url":null,"abstract":"Abstract In the 1990s Poland, a young generation of musicians attempted to reinvent jazz in a spirit of playful experimentation. Miłość, meaning ‘love’, was one of the pivotal bands in this movement, which came to be known as yass. Filip Dzierżawski’s documentary of the same title offers a candid look on the intimate and difficult relations between Miłość’s musicians, as they discuss a possible reunion in 2008. As such, it provides an opportunity to reflect on how the emotional bond that connects them impacts their music and their capacity to play together. Therefore, in this paper, I employ affect theory to provide a rereading of the film’s plot and audiovisual content. Specifically, I argue that through its combination of archival footage, interviews, and depiction of real-time interaction during the band’s rehearsal, Dzierżawski’s documentary encourages us to think of music making in terms of affect, that is, as emerging from intensive relations between different entities as they come into contact and undergo a series of transformations in their capacities to affect and be affected by each other and their environment.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"24 1","pages":"161 - 174"},"PeriodicalIF":0.0,"publicationDate":"2018-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90662644","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}

{"title":"Music television aesthetics, experimentation, and the evocation of chaos in Serbian film","authors":"Laura Todd","doi":"10.1080/2040350X.2018.1518616","DOIUrl":"https://doi.org/10.1080/2040350X.2018.1518616","url":null,"abstract":"Abstract The creation of the MTV channel in 1981 sparked new global trends, influencing a range of spheres from politics to fashion. Starting with a limited domestic audience in the US, the culture of MTV soon spread to young people across the globe, including those in Yugoslavia. By the late 1980s, music television aesthetics strongly influenced the works of young film directors in Belgrade, who experimented in both music and film production. I discuss how the omnibus film The Fall of Rock-and-Roll/Kako je propao rokenrol (dirs. Zoran Pezo, Vladimir Slavica and Goran Gajić, 1989) uses the aesthetics of music television and combines them with the alternative music scene. This style was replicated and built upon in the 1990s by Srđan Dragojević, in his films, We are not angels/Mi nismo andjeli (1991), Pretty Village, Pretty Flame/Lepa sela lepo gore (1996) and The Wounds/Rane (1998). By the early 1990s, however, the use of music television aesthetics had become political, as the Milošević regime tried to capitalise on this global trend by creating their own music television aesthetics.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"22 1","pages":"129 - 145"},"PeriodicalIF":0.0,"publicationDate":"2018-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79731979","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}