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Volume 23 Number 32 Year 2018

23 articles in this issue 

Maja Bogojevic

Post-Yugoslav film art is, similarly to Yugoslav cinema, exemplary of masculine cultural domination, approaching socio-national themes in a highly gendered mode and reflecting a return to patriarchy, more brutal than that during the existence of Yugo... see more

Pags. 111–118  

Wojciech Staron

As the very title of Wojciech Staron, a cinematographer and film director’s text “Documentary versusfiction – reflections, experiences and work methods of a director of photography” indicates, it is an attempt to analyse his own artistic ac... see more

Pags. 121–134  

Nemanja Zvijer

The article deals with the relation between films and the concept of the national identity. These issues are discussed on the example of Serbian cinema in the 1990s. Using Anthony Smith’s approach to the visual representation of national identity, the way... see more

Pags. 15–23  

Julian Bejko

The author of the essay titled «The Cinematographic Representation of Social Frames» analyzes images in the context of representing physical and ontological aspects of reality. He considers Albanian Communist Cinema (1952–1991) taking into consideration t... see more

Pags. 156–160  

Marek Hendrykowski

The aim of the article is to present a synthetic conception of film narrative both in the theoretical and practical context. The author considers the subject in terms of film theory and history. He also examines features of film narrat... see more

Pags. 161–169  

Piotr Zwierzchowski

The article examines how nudity was used as a promotional strategy in the Polish cinema in the 1980s. In contrast to earlier decades, the Polish movie industry delivered dozens of films that contained female nudity and erotic scenes. Some actresses l... see more

Pags. 170–176  

Krzysztof Zanussi,Ewa Ciszewska

The paper presents an interview with Krzysztof Zanussi (born 17 June 1939), one of the most renowned award-winning Polish film directors. Some of his numerous films for television and cinema have been made in co-operation with German produc... see more

Pags. 177–184  

Joanna Sikorska

The aim of the article is to illustrate the using of the horror’s convention in video games and to indicate the way of reinterpretation this convention in the digital medium. In the first part of the work the author presents ways of spaces’ arrangeme... see more

Pags. 185–196  

Marcin Adamczak,Agnieszka Orankiewicz

The article is an attempt to use essential statistical tools for analysis of market performance of films and its aes- thetical judgements made by film critics and fans. The authors describe differences between evaluations of films by p... see more

Pags. 197–209  

Artur Majer

The article discusses the functioning of the Film Council during its activity in Telewizja Polska in 2014–2015. In less than two years the Council consisting of over a dozen members from several TVP’s departments recommended almost forty coproductions for... see more

Pags. 210–218  

Andrzej Szpulak

The subject of interest in this text are the relations between the famous Elem Klimow’s Come and See and two Polish movies made in the second decade of the 21st century – Jan Komasa’s Warsaw 44 and Wojciech Smarzowski’s Wolyn... see more

Pags. 219–230  

Marek Hendrykowski

The author assumes that the curiosity is a type of human expression. It can manifest in various languages and people’s behaviors, e.g.: verbal, mimic, gestural, costume and also by props, hairstyles, makeup etc. Regardless of differences between particula... see more

Pags. 231–241  

Piotr Zwierzchowski

The review of the book 'Czlowiek, zbiorowosc, pamiec w filmach dokumentalnych Ireny Kamienskiej' (2016) by Urszula Tes.

Pags. 242–247  

Nevena Dakovic

The aim of this paper is to analyse the shift of the representational and narrative paradigms of Holocaust memory in the Balkan films that belong to two genres – of melodrama and historicalfiction. The hybrid format positons the Holocaust (... see more

Pags. 25–37  

Nikica Gilic

Genre production is often easily localised in various cultures, but localisations of science fiction seem particularly interesting, due to the technological sources of the genre imagery and typical narrative structures. Localisation to a less technologica... see more

Pags. 39–47  

Ana Grgic

This paper examines how certain contemporary audio-visual works from post-socialist countries in the Balkan region, employ archival footage from the communist period, to address and problematize the notion of remembering and suppressing national history t... see more

Pags. 49–56  

Tomic Janica

The paper demonstrates the prominence of network narratives (films with several autonomous storylines, globally popular since the mid-1990s) in post-Yugoslav, particularly Croatian, cinema, with examples such as Metastases (2009), The Reape... see more

Pags. 5–14  

Krunoslav Lucic

This paper focuses on the diverse stylistic heritage and various tendencies in Croatian cinema of the 1990s and 2000s. Since many film scholars accentuate the discontinuity between contemporary Croatian cinema and that from the Yugoslav period, the p... see more

Pags. 57–76  

Patrycjusz Pajak

Exploitation films are one of the main trends of the Serbian cinema of the beginning of the 21st century, when Serbia enters the second phase of systemic transformation, striving to neutralize the effects of the crisis in the first phase of tran... see more

Pags. 77–96  

Dejan Duric

The subject of this paper is a new generation of female directors in former Yugoslav (Croatia, Serbia, Bosnia and Herzegovina) cinematography. It considers the stylistic, narrative and representational strategies in the films Clip (Klip,&nb... see more

Pags. 97–109