Studies in Eastern European Cinema最新文献

{"title":"Fragments of the Body: Woman in Socialist Screen Advertising","authors":"Lucie Česálková","doi":"10.1080/2040350x.2022.2085363","DOIUrl":"https://doi.org/10.1080/2040350x.2022.2085363","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90156879","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 Representation of the Socialist Abortion Ban as Women’s Reproductive Burden in Postsocialist Romanian Cinema","authors":"Mirela David","doi":"10.1080/2040350x.2022.2087342","DOIUrl":"https://doi.org/10.1080/2040350x.2022.2087342","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80633595","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":"HBO’s the Sleepers: How Spy Genre and Transnational Co-Production Challenged the Memory of Communism in the Czech Republic","authors":"Irena Řehořová","doi":"10.1080/2040350x.2022.2086094","DOIUrl":"https://doi.org/10.1080/2040350x.2022.2086094","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73355921","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":"Thrown away people","authors":"Veronika Hermann","doi":"10.1080/2040350X.2022.2086338","DOIUrl":"https://doi.org/10.1080/2040350X.2022.2086338","url":null,"abstract":"","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"71 1","pages":"307 - 309"},"PeriodicalIF":0.0,"publicationDate":"2022-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74988962","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":"Andrzej Korzyński (1940–2022)","authors":"Ewa Mazierska","doi":"10.1080/2040350X.2022.2077533","DOIUrl":"https://doi.org/10.1080/2040350X.2022.2077533","url":null,"abstract":"During Easter 2022 Poland lost one of its most famous composers of film music: Andrzej Korzyński (b. 1940). Korzyński scored six Andrzej Wajda films, including two of his most successful films internationally: Czlowiek z marmuru/Man of Marble (1976) and Człowiek z żelaza/Man of Iron (1981). Others included Polowanie na muchy/Hunting Flies (1969) and Brzezina/Birch Wood (1970). Korzyński also composed music for almost all films by Andrzej Żuławski. His other achievements include scoring an adaptation of the Henryk Sienkiewicz young adult novel W pustyni i w puszczy/In Desert and Wilderness (1973), directed by Władysław Ślesicki and three movies about the adventures of Mr. Kleks/Mr Blob, based on a popular book by Jan Brzechwa and directed by Krzysztof Gradowski, made in 1983, 1985 and 1988. Gradowski’s films broke records of popularity in the 1980s thanks to attracting families to Polish cinemas. Korzyński also composed for films produced in Italy, France and East and West Germany. He was a prolific composer, able to work on as many as three films at any given time and finish them within a month. Korzyński was a classically trained musician with a university degree in composition. However, rather than pursuing a career in classical music, he decided to turn to popular and electronic music. In his own words, his fascination with electronic instruments came early, when as a child his parents gave him an East German ‘Szmaragd’ tape recorder which allowed its user to play recordings at two speeds, as well as backwards. This encouraged Korzyński to experiment on this instrument with his then school friend, Andrzej Żuławski. During his studies Korzyński became involved in music journalism, which put him in contact with a radio journalist and a fellow pioneer of electronic music, Mateusz Święcicki. Thanks to Święcicki he also helped to organise the first festivals of Polish songs in Opole in the early 1960s. In the same decade he started writing popular music for multiple purposes, including songs and film music. As a songwriter, his first achievement was discovering the talent of the then student and amateur singer from Lublin, Piotr Szczepanik, for whom he wrote such hits as ‘Żółte kalendarze’ (Yellow Calendars) and ‘Kochać’ (To Love). A record with these songs, released in 1967, was most likely the best-selling Polish record during the entire period of state socialism. Many years later,","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"122 1","pages":"314 - 316"},"PeriodicalIF":0.0,"publicationDate":"2022-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73647263","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":"Summoning Ghosts of Post-Soviet Spaces: A Comparative Study of the Horror Games Someday You’ll Return and the Medium","authors":"Tereza Fousek Krobová, Justyna Janik, Jaroslav Švelch","doi":"10.1080/2040350X.2022.2071520","DOIUrl":"https://doi.org/10.1080/2040350X.2022.2071520","url":null,"abstract":"Abstract This paper aims to analyse the tension between the universal themes of the horror genre that are appealing for the global public and the local character of the digital games developed by smaller companies/studios from the semi-peripheral countries of Central and Eastern Europe. To examine in-game representation of game spaces as well as the authorial intention and production processes behind their inclusion, we combine close readings of the two titles with interviews with their designers of two digital games: Someday You’ll Return and The Medium. Both games target an international audience but heavily feature real-life domestic locations and landmarks. The digitally represented physical space is also a vehicle for the narration, which is centred around memories of personal trauma of the in-game characters. While using the concepts of hauntology, postmemory, and folk horror, we try to understand the process of creating stories that appeal to an international audience but is heavily rooted in very specific local folklore (Someday You’ll Return) or painful national history (The Medium). This phenomenon can lead to both popularisation of new aesthetics in global market, as well as to perpetuating stereotypical narratives about national cultures and histories.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"69 1","pages":"39 - 52"},"PeriodicalIF":0.0,"publicationDate":"2022-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87580265","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":"Adapting contested national history for global audiences in Attentat 1942 and Svoboda 1945: Liberation","authors":"Vít Šisler, Jan Švelch, Shawn Clybor, Ondřej Trhoň","doi":"10.1080/2040350X.2022.2071522","DOIUrl":"https://doi.org/10.1080/2040350X.2022.2071522","url":null,"abstract":"Abstract The video game Attentat 1942 (2017) and its follow-up Svoboda 1945: Liberation (2021) received worldwide recognition and numerous awards for their representation of Czechoslovak history. Drawing upon the personal experiences of several members of the development team at Charles Games, including translators and historians, the article addresses the challenges involved in adapting Central and Eastern European historical narratives for players unfamiliar with the regional context, but also for countries (i.e. Germany) with stringent rules on video game depictions of Nazi symbolism. By doing so, we critically examine how the development team strove to maintain historical accuracy and authenticity not only in the games’ development but, more specifically, in their localization. The article builds on existing research on video game localization, which sees localization as a complex set of processes involving not only translation of in-game texts, but also more fundamental adjustments related to globalization and internationalization. The article complements a self-reflexive design case analysis with a reception study, based on a thematic analysis of foreign language reviews in the specialized press, to explore how regional historical themes are perceived by reviewers, and whether, or to what extent, localization affects these perceptions.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"26 1","pages":"69 - 84"},"PeriodicalIF":0.0,"publicationDate":"2022-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83689794","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":"An Actually Existing Dystopia: Othering Eastern Europe and the Lived Experience of an Authoritarian Regime in Black: The Fall","authors":"Zsófia O. Réti","doi":"10.1080/2040350X.2022.2071523","DOIUrl":"https://doi.org/10.1080/2040350X.2022.2071523","url":null,"abstract":"Abstract Sand Sailor Studio, a small Romanian indie game developer company launched a Kickstarter project to fund the development of their game Black: The Fall in 2014. After having more than 1,600 people backing their pitch, they could finish their 2.5D puzzle-platformer set in a bleak dystopic past/future and published it in 2017, receiving mostly positive reviews. The paper argues that Black: The Fall inscribes a more general Orwellian dystopia into a dystopified version of Romania’s socialist past in order to present it as a commodity for Western audiences, leveraging on the perceived uniqueness of Romanian history and hence reinforcing the image of Eastern Europe as an ‘other at hand?’. While the visuals support what we can call a mediatised experience of the late Ceausescu-era, the game mechanic and affective qualities of playing may be capable of offering a more nuanced impression of the 1980s in Romania as a lived experience.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"67 1","pages":"85 - 97"},"PeriodicalIF":0.0,"publicationDate":"2022-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75225584","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 Cold War Will Not Take Place: The Cold War in Non-Western Videogames","authors":"Regina Seiwald, Alex Wade","doi":"10.1080/2040350X.2022.2071521","DOIUrl":"https://doi.org/10.1080/2040350X.2022.2071521","url":null,"abstract":"Abstract This paper examines how the Cold War was depicted in videogames from outside the West. Using Jean Baudrillard’s double spiral of symbolic exchange and simulation as its theoretical framework, it describes the generation of the hyperreal in Western countries. The hyperreal is directly tied to machines in the welfare and warfare state that made the Cold War a battle that could never be fought. While these machines and the knowledge factories of which they were a part offered ludic alternatives to war in the West, in Eastern Europe and beyond, sitting outside of the Western hyperreal, they offer an opportunity to recollect and model human experiences of the inhumanities of their oppressors, through a certain point in history where digital technology and the downfall of the Eastern bloc coalesced. In this space, videogames from across Eastern Europe and Asia are interrogated in their form, function, content, distribution, and delivery to position non-Western videogames as offering a viable alternative to the technosphere that eventually swallows the world in its integral reality, indirect products of a war that could not take place.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"10 1","pages":"53 - 68"},"PeriodicalIF":0.0,"publicationDate":"2022-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78118477","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":"Żulionerzy and the Polish Independent Video Games of the Early 2000s","authors":"M. Felczak, Maria B. Garda","doi":"10.1080/2040350X.2022.2071519","DOIUrl":"https://doi.org/10.1080/2040350X.2022.2071519","url":null,"abstract":"Abstract This article investigates the development of discourses related to a specific era of independent games and offers a close historical and cultural analysis of the freeware Polish game Żulionerzy (Ortalion Entertainment 2001). The game is positioned as a compelling cultural artefact from the often overlooked and underresearched period of the early 2000s, combining inspirations from the globally recognized TV franchise Who Wants to be a Millionaire and the emerging indie games scenes. The authors argue that Żulionerzy is a project that manages to capture young adults’ perspective on the economic and cultural zeitgeist of the era. Its potential as a counter-cultural and transgressive gaming intervention is further reinforced by intertextual references and a parodistic core gameplay loop. The assessment of Żulionerzy is concluded with a call to investigate similar productions which, while produced in a national language, shared their key features with the rising wave of grassroot browser-based games.","PeriodicalId":52267,"journal":{"name":"Studies in Eastern European Cinema","volume":"74 1","pages":"25 - 38"},"PeriodicalIF":0.0,"publicationDate":"2022-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83815908","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}