scholarly journals Bunt i nostalgia. Filmy dokumentalne o festiwalu w Jarocinie

2019 ◽  
Vol 26 (35) ◽  
pp. 171-181
Author(s):  
Stanisław Bitka
Keyword(s):  
Documentary Films ◽  
Music Festival ◽  
The Subject ◽  
Film Change

The aim of the article is to present and attempt to classify documentary films about the Jarocin music festival. The films are conventionally divided into those shot during the 1980s editions and those created in our century, which describe them festival in retrospect. By analyzing selected works, the author draws attention to whether and how the approach to the subject and the form of the film change over the years.

SOVIET PRISONERS OF WAR IN GERMANY, 1941–1945 – AN UNDESIRABLE TOPIC FOR GERMAN SOCIETY?

2021 ◽  
pp. 105-116
Author(s):  
Valeriy P. Ljubin ◽  
Keyword(s):  
German Society ◽  
Second World War ◽  
Prisoners Of War ◽  
Civil Society Organizations ◽  
Concentration Camps ◽  
Documentary Films ◽  
World War ◽  
History Of ◽  
The Subject ◽  
Second World

In German and Russian historiography, the tragic fate of the Soviet prisoners of war in Germany during the Second World War has not been suffi- ciently explored. Very few researchers have addressed this topic in recent times. In the contemporary German society, the subject remains obscured. There are attempts to reflect this tragedy in documentary films. The author analyses the destiny of the documentary film “Keine Kameraden”, which was shot in 2011 and has not yet been shown on the German television. It tells the story of the Soviet prisoners of war, most of whom died in the Nazi concentration camps in 1941– 1945. The personal history of some of the Soviet soldiers who died in the German captivity is reflected, their lives before the war are described, and the relatives of the deceased and the surviving prisoners of war are interviewed. The film features the German historians who have written books about the Soviet prisoners. All the attempts taken by the civil society organizations and the historians to influence the German public opinion so that the film could be shown on German television to a wider audience were unsuccessful. The film was seen by the viewers in Italy on the state channel RAI 3. Even earlier, in 2013, the film was shown in Russia on the channel “Kultura” and received the Pushkin Prize.

Photography and Cinema in 20th-Century Mexico

2015 ◽  
Author(s):  
John Mraz
Keyword(s):  
Golden Age ◽  
Mexican Revolution ◽  
Great Majority ◽  
Documentary Films ◽  
Feature Films ◽  
Mexican Society ◽  
International Audience ◽  
The Subject ◽  
The Government ◽  
The Revolution

Photography, film, and other forms of technical imagery were incorporated quickly into Mexican society upon their respective arrivals, joining other visual expressions such as murals and folk art, demonstrating the primacy of the ocular in this culture. Photojournalism began around 1900, and has formed a pillar of Mexican photography, appearing in illustrated magazines and the numerous picture histories that have been produced. A central bifurcation in the photography of Mexico (by both Mexicans and foreigners) has been that of the picturesque and the anti-picturesque. Followers of the former tendency, such as Hugo Brehme, depict Mexicans as a product of nature, an expression of the vestiges left by pre-Columbian civilizations, the colony, and underdevelopment; for them, Mexico is an essence that has been made once and for all time. Those that are opposed to such essentialism, such as Manuel Álvarez Bravo, choose instead to posit that Mexicans are a product of historical experiences. The Mexican Revolution has been a central figure in both photography and cinema. The revolution was much photographed and filmed when it occurred, and that material has formed the base of many picture histories, often formed with the archive of Agustín Víctor Casasola, as well as with documentary films. Moreover, the revolution has been the subject of feature films. With the institutionalization of the revolution, governments became increasingly conservative, and the celebrity stars of “Golden Age” cinema provided models for citizenship; these films circulated widely throughout the Spanish speaking world. Although the great majority of photojournalists followed the line of the party dictatorship, there were several critical photographers who questioned the government, among them Nacho López, Héctor García, and the Hermanos Mayo. The Tlaltelolco massacre of 1968 was a watershed, from which was born a different journalism that offered space for the critical imagery of daily life by the New Photojounalists. Moreover, the representation of the massacre in cinema offered sharply contrasting viewpoints. Mexican cineastes have received much recognition in recent years, although they do not appear to be making Mexican films. Television in Mexico is controlled by a duopoly, but some programs have reached an international audience comparable to that of the Golden Age cinema.

scholarly journals Human on fire as a gesture of self-offering in Polish documentary films

2019 ◽  
Vol 25 (34) ◽  
pp. 172-179
Author(s):  
Urszula Tes
Keyword(s):  
The Self ◽  
Symbolic Meaning ◽  
Documentary Films ◽  
Burning Man ◽  
Cultural Contexts ◽  
The Family ◽  
The Subject ◽  
Common Man ◽  
Self Immolation ◽  
Adam Mickiewicz

Tes Urszula, Human on fire as a gesture of self-offering in Polish documentary films “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 172–179. ISSN 1731-450X. DOI 10.14746/i.2019.34.12. One of strongest acts of personal protest in the communist era was self-immolation, which was the subject of two Polish documentaries. Maciej Drygas in Hear My Cry invoked the figure of Ryszard Siwiec, who immolated himself on September 8, 1968 as a sign of protest against the Soviet army invasion of Czechoslovakia. In his documentary, Drygas shows a fragment of the film with the burning man, juxtaposing it with the testimony of witnesses to the tragedy and the account of the family. This documentary restores the memory of the whole society, who due solely to the film, learned about the radical gesture of a common man. Holy Fire by Jarosław Mańka and Maciej Grabysa in turn invokes the heroic but forgotten Walenty Badylak, who immolated himself in March of 1980 in Cracow as an expression of his objection to distortion of the truth about Katyń. Both acts of self-immolation had for many years been perceived as totally futile acts, while the directors show that the self-immolation of these now has a deep and symbolic meaning. In my analysis, I shall invoke historic and cultural contexts, conduct a multifaceted interpretation of self-immolation act and discuss the complex imagery included in the films.

Painlevé, Jean (1902–1989)

2018 ◽  
Author(s):  
Kendall Heitzman
Keyword(s):  
Slow Motion ◽  
Natural World ◽  
Georges Bataille ◽  
Scientific Study ◽  
Documentary Films ◽  
Scientific Establishment ◽  
Marc Chagall ◽  
Man Ray ◽  
Human World ◽  
The Subject

Jean Painlevé was a French scientist who was particularly well known for his documentary films about science and the natural world. He was the only son of French prime minister Paul Painlevé, himself a respected scientist. The younger Painlevé studied physics, chemistry, and biology at the Sorbonne, but he turned to filmmaking as a way of capturing aspects of scientific study that were other wise invisible. His films were criticized by the French scientific establishment, which distrusted the medium as a whole, but beginning with Œufs d’épinoche [The Stickleback’s Eggs: From Fertilization to Hatching] (1928), Painlevé built a corpus of documentary films that attracted attention from intellectuals in other fields, including Marc Chagall, Man Ray, and Georges Bataille. Painlevé’s films found resonances between science and Surrealism through a panoply of "trick" shots, using slow motion, whimsical music, and the patterns of nature to render the natural world strange. Painlevé was politically progressive throughout his life, and despite their ostensibly apolitical nature, Painlevé’s films are often perceived to be commentaries on the human world in which he lived. Painlevé claimed that he chose the subject of L’Hippocampe [The Seahorse] (1934) because the male of the species bears the eggs, while Les Assassins d’eau douce [Freshwater Assassins] (1947) depicts the brutality of life in a pond that mirrors the brutality of the war France had just endured. Painlevé was active in the creation and promotion of the Institute of Scientific Cinema (ICS), which worked to promote science films, and he continued to produce films into the 1980s.

Biased Beliefs

Beyond Bias ◽  
2021 ◽  
pp. 57-92
Author(s):  
Scott Krzych
Keyword(s):  
Common Sense ◽  
Subject Matter ◽  
Religious Fundamentalism ◽  
Documentary Films ◽  
Evangelical Christianity ◽  
Creative Potential ◽  
Ideological Position ◽  
Ideological Bias ◽  
The Subject

This chapter considers the challenges faced by documentary filmmakers who have attempted to expose examples of religious fundamentalism as ideological bias. How does one document fundamentalism objectively without also becoming a means for the very spread of the fundamentalist’s message? If documentary filmmakers rely too heavily on their own biases to frame the subject matter, then they risk trading one ideological position for another, as they well know; yet to simply reproduce on-screen the viewpoints of religious fanatics, without commentary or criticism, may result in documentary films that serve the interests of the same subjects they originally intended to expose; documentaries about evangelical Christianity may become just one additional means for evangelizing the “unsaved,” for instance. Turning to examples of fundamentalist documentary—particularly films intent to prove creationism—the chapter explains how evangelical media understands more intimately the creative potential involved in embracing bias as a means to reconstruct common sense on their own terms.

scholarly journals Understanding hallmark event failure: a case study of a Swedish music festival

2017 ◽  
Vol 8 (2) ◽  
pp. 172-185 ◽  
Author(s):  
Anders Nordvall ◽  
Tobias Heldt
Keyword(s):  
Design Methodology ◽  
Secondary Data ◽  
Relevant Information ◽  
Organizational Ecology ◽  
Data Sources ◽  
Content Type ◽  
Music Festival ◽  
The Subject ◽  
Event Organization

Purpose Hallmark events can be very beneficial for host communities, not least due to their potential in attracting tourists. The Peace & Love music festival was the hallmark event of the Swedish city Borlänge. In 2013, the event organization declared bankruptcy and canceled the forthcoming festival. The purpose of this paper is to identify and discuss the factors that caused the failure of the 2013 Peace & Love festival. Design/methodology/approach The case of the Peace & Love festival is analyzed using three data sources: interviews with the former members of the event organization; secondary data describing the Swedish festival industry; and festival visitors’ perspectives represented by comments on social media. An organizational ecology perspective frames the analysis. Findings The results of the study reveal that the failure of the event can be understood by a combination of three components: an organization in a vulnerable position, a strong new competitor entering the Swedish festival market, and uncertain visitors searching for the new place to be. Originality/value Very few studies have researched event failure, although the subject is a recommended priority within the field of festival studies. This study presents a thorough examination of a hallmark event failure, which contributes to this area of knowledge and provides relevant information for organizations and host cities.

scholarly journals PENGGUNAAN MEDIA PEMBELAJARAN FILM DOKUMENTER PADA MATA PELAJARAN SEJARAH KEBUDAYAAN ISLAM (SKI) KELAS VIII C DI MTs KEBUNREJO GENTENG BANYUWANGI

2021 ◽  
Vol 5 (1) ◽  
pp. 040
Author(s):  
Riza Faishol ◽  
Ahmad Izza Muttaqin ◽  
Mohammad Afton Fahmi Prayogie
Keyword(s):  
Learning Process ◽  
Subject Matter ◽  
Documentary Film ◽  
Learning Material ◽  
Student Interest ◽  
Documentary Films ◽  
Eighth Grade Students ◽  
Class Viii ◽  
The Subject ◽  
Better Than

Based on observations made by researchers at MTs Kebunrejo Genteng, it turns out that there are still many weaknesses and obstacles faced, especially in learning (SKI). This was strengthened based on the results of interviews with some eighth grade students, their understanding in the learning process was felt to be lacking because most of them assumed that subjects (SKI) were subjects that tended to be less interesting and boring, because students had to memorize years or names. figure. Because it is considered a boring subject which in the end has an impact on the students' lack of understanding in receiving the subject matter, this can be seen in the odd semester scores on the material of the Islamic dynasty. This can be proven from 34 students of which 14 students scored below the minimum completeness criteria (KKM), namely 7. Based on the above problems, the researcher intends to describe the problem by using a learning medium that can help students understand the learning material. The learning media used were documentary films. The results of research on the use of documentary film learning media in class VIII C students at MTs Kebunrejo Genteng are that students are easier to understand and memorize Islamic dinasty subject matter (Ayyubiyah), student interest in learning is better than before, and students can achieve the above score (KKM) that is the value 7.

scholarly journals “The Intensity of Looking” at Karabasz, 2018

2019 ◽  
Vol 24 (33) ◽  
pp. 166-178
Author(s):  
Andrzej Sapija
Keyword(s):  
Documentary Film ◽  
Documentary Films ◽  
Time And Space ◽  
Artistic Process ◽  
The Third ◽  
The Subject

The origins of particular documentary films are sometimes difficult to determine, precisely locate and capture in time and space. It is like searching for the source of a river. What marked the beginning of Intensity of Looking, a film about the great documentary film director Kazimierz Karabasz? The beginning of a documentary film’s creation determines the artistic process and elements that shape its strength, energy and main thought. These elements, which sometimes verge on intuition, guide this process, shaping the subject of the film, as well as its meaning, climate and aura. There is a thread connecting the author and the protagonist of the film, something that binds them together during work on the film, and sometimes lasts much longer. The three variants of what initiates the process of making a particular documentary film are as follows. The first is an encounter with a person who could be a character in a documentary film. The second is a thought, idea or problem that a filmmaker wants to address and discuss in a documentary by means of a certain character and story. The third is a return to a character who had been portrayed in a previous documentary film, to tell more about him or her. All three of these variants were the case in the making of Andrzej Sapija’s Intensity of Looking.

A Personal Vision of the Hong Kong Cityscape in Anson Mak’s Essayistic Documentary Films One Way Street on a Turntable and On the Edge of a Floating City, We Sing

2015 ◽  
Author(s):  
Mike Ingham
Keyword(s):  
Hong Kong ◽  
Documentary Films ◽  
Critical Perspective ◽  
Active Subject ◽  
Political Stance ◽  
The Subject

This chapter explores Anson Hoi Shan Mak's essayistic documentaries and her personal vision of the Hong Kong cityscape. Like the traditional mainstream documentary, the essay film often focuses on specific issue(s), rather than a fictional plot. However, while straight documentary makers concentrate on the ‘subject’, which is more ‘passive’ than the ‘active subject’ of the fiction film, film essayists opt to treat the subject as a theme ‘in which the subject is a particular development or an interpretation of that theme, and one that has a determining influence upon the form of the film’. The chapter argues that the radicality of Mak's film essays manifests itself both in a highly original aesthetics and in a critical perspective on Hong Kong. The independent filmmaker's discourse is articulated in a subtle way, but her political stance is, however, expressed firmly, especially in the more recent On the Edge of a Floating City, We Sing (2012).

scholarly journals The Amphibian Filmmaker: A new evolutionary species In the time of the Post-truth

2020 ◽  
Author(s):  
Luis Fernando Medina Cardona
Keyword(s):  
New Media ◽  
Scientific Method ◽  
The Internet ◽  
Documentary Films ◽  
New Media Art ◽  
Critical Issues ◽  
Internet Art ◽  
Artistic Vision ◽  
The Subject ◽  
Points Of View

This proposal is an exploration where film and new media art (particularly post-internet art) are approached from a perspective of the so-called post-truth. To do this, it starts from questioning the ideas ofobjectivity and the subject/object pair from two related points of view: how these ideas are interpreted in documentary films and how they play a role in the current scientific method crisis. This serves to give context to the problem of the image as a system of representation in both realms (film and science), and how truth is portrayed particularly in the realm of the technical image, serving to aesthetic and scientific purposes. Having mapped out this epistemological tension, three types of films are briefly discussed - the biopic, the intimate documentary and the false documentary - emphasizing on the latter and presenting it as the direct forerunner of the so-called “fakes” on the Internet. Moreover, the pair truth-objectivity is challenged in favor of false narratives that through humor or irony depict critical issues in a more engaging way. In order to do this, several examples are presented showing how the historical evolution of the single screen of the cinema into the multiple screens of the network society not only hybridizes creators with consumers,but expands with diversity the prior unequivocalness of the objectivity discourse. Finally, the concept of the amphibian filmmaker is posed, as a metaphor of a creator who is able to move on these fuzzy aesthetic territories being faithful to an artistic vision but also to a social and activist ethos.

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