Widma dawnych wartości. Kryzysy ekonomiczne w filmach o nawiedzonych domach

British and American cinema used a haunted house motif to tell a story about a family in a time of economic crisis. Most of the movies mentioned in the article are found on a similar pattern: not wealthy family is buying or renting a big house; they believe that this is their future dream place, so they spend their last money on house repairs. Though they are broke, they continue to live on their „American dream”. Neoliberal myths instruct them that in American or British society there’s no place for economic losers. By this time house is reviling the symptoms of being haunted by the demons and along with the paranormal phenomena wife, husband and their children are starting to show their demons (they are extremely violent and stressed). Economic problems are linked with interpersonal family drama and the decay of social relations. Haunted house horrors are showing that the only remedy for their problems they can find in the past. Film characters from movies such as Burnt Offerings and The Amityville Horror believe that conservatism and old values are going to help their situation. In the end, it turns out that, this symbolic return to the past is just another form of ideological oppression.

On Living with Television

In On Living with Television, Amy Holdsworth examines the characteristics of intimacy, familiarity, repetition, and duration that have come to exemplify the medium of television. Drawing on feminist television studies, queer theory, and disability studies as well as autobiographical life-writing practices, Holdsworth shows how television shapes everyday activities, from eating and sleeping to driving and homemaking. Recounting her own life with television, she offers a sense of the joys and pleasures Disney videos brought to her disabled sister, traces how bedtime television becomes part of a daily routine between child and caregiver, explores her own relationship to binge-eating and binge-viewing, and considers the idea of home through the BBC family drama Last Tango in Halifax. By foregrounding the ways in which television structures our relationships, daily routines, and sense of time, Holdsworth demonstrates how television emerges as a potent vehicle for writing about life.

Ian McEwan’s Aesthetic Stakes in Adaptation as Political Rewriting: A Study of Nutshell (2016) and The Cockroach (2019)

This essay will examine two of Ian McEwan’s recent novellas as political rewritings of William Shakespeare and Franz Kafka. McEwan’s Nutshell (2016) repositions the avenger figure in Hamlet as an unborn child whose melancholic awareness of the condition of modern existence allows him a mode of ironic commentary about the possibilities of moral and political choices in a world soon to be destroyed by climate change and nuclear apocalypse. The Cockroach (2019) turns Kafkaesque absurdity into political satire as the protagonist-turned-insect first encountered in The Metamorphosis (1915) is arrogated a position of absolute power in a fictional dystopia eerily resonant of Britain on the verge of Brexit. I argue that McEwan’s re-scripting of these two works of canonical literature imbues his narratives with political resonance, as the formulations and distortions of the physical body in his two novellas map onto the articulations of political belief. In effect, McEwan posits the Foucaultian notion that the body is determined by symbolic systems of power. However, he succeeds in turning the gaze back onto the political by instantiating the radical dimension of a subject whose coming into being is already a political act and event. In other words, McEwan’s artistic intervention in rewriting the narratives of Hamlet and Gregor Samsa explodes the hermeticism of the family drama in the originals by relocating the theatre of subjectivity within the sphere of the political.

Cognitive Film and Media Ethics

Cognitive Film and Media Ethics provides a grounding in the use of cognitive science to address key questions in film, television, and screen media ethics. This book extends prior works in cognitive media studies to answer normative and ethically prescriptive questions: what could make media morally good or bad, and what, then, are the respective responsibilities of media producers and consumers? Moss-Wellington makes a primary claim that normative propositions are a kind of rigor, in that they force media theorists to draw more active ought conclusions from descriptive is arguments. Cognitive Film and Media Ethics presents the rigors of normative reasoning, cognitive science, and consequentialist ethics as complementary, arguing that each seeks progressive elaboration on its own models of causality, and causal projections are crucial for any reflection on our moral responsibilities in the world. A hermeneutics of “ethical cognitivism” is applied in the latter half of the book, with each essay addressing a different case study in film, television, news, and social media: cinema that sets out to inspire moral dissonance in the viewer, satirical and humorous depictions of family drama in film and television, the politics of the romantic comedy, formal aspects of screen media bullying in an era dubbed the “television renaissance,” and contemporary problems in the conflation of news and social media. Cognitive Film and Media Ethics synthesizes current research in social psychology, anthropology, memory studies, emotion and cognition, personality and media selection, and evolutionary biology, integrating wide-ranging concepts from the various disciplines that make up cognitive theory to provide new vantages on the applied ethics of film and screen media.

CRYPTOGRAPHIC POETICS OF F. M. DOSTOEVSKY’S SHORT STORY THE ETERNAL HUSBAND (ROUGH SKETCHES AND BIOGRAPHICAL SUBTEXT)

The article suggests that F. M. Dostoevsky’s short story The Eternal Husband is a reinterpretation of A. I. Herzen’s novel Who Is to Blame? (1847). A note preserved in the drafts, that seems to refer to the future character of Trusotsky, serves as a key to unraveling the biographical subtext of the work. It seems that, apart from Dostoevsky’s own romantic experiences with M. D. Isaeva and A. P. Suslova, the story was based on his attitudes to the family drama of Herzen and Ogarev.

Membaca Film Sebagai Sebuah Teks: Analisis Isi Film “Nanti Kita Cerita Tentang Hari Ini (NKCTHI)”

<p><em>Abstrak</em> - <strong>Perkembangan dunia perfilman saat ini sudah berkembang pesat, tak terkecuali di Indonesia.</strong> <strong>Berbagai tema film telah diproduksi sebagai sarana hiburan maupun penyampaian pesan bagi khalayaknya.</strong> <strong>Penelitian ini bertujuan mendeksipsikan pesan (<em>message</em>) yang disampaikan dalam sebuah film dengan menganalisis isi (<em>content analysis</em>) secara kualitatif dalan paparan cerita film “Nanti Kita Cerita Tentang Hari INI (NKCTHI)” yang bergenre drama keluarga yang telah mendeskripsikan tentang kedudukan dan peran seorang lelaki, suami dan ayah dalam sebuah keluarga yang digugat oleh anak-anaknya sesuai perkembangan jaman mereka. Pesan cerita film NKCTHI ini menggugat dominasi laki-laki sebagai suami dan sekaligus ayah dalam latar belakang masyarakat yang masih patriarki, dimana otoritas dan pusat kekuasaan masih dominan pada laki-laki. </strong></p><p><strong><em>Kata Kunci</em></strong>– <em>film, analisis isi, kualitatif, komunikasi massa, media</em></p><p><em>Abstract –</em><strong> Expanded growth in film industry all over the worlds, include Indonesia to released many theme and variant genre of movies for entertaintment and delivered messages for target audiences. The Objective of this study to describe about story message from family drama movie “<em>Nanti Kita Cerita Tentang Hari Ini (NKCTHI)</em>”. This qualitative study used <em>content analysis</em> method with description about role and position a man as husband and father in traditional society with patriarchy, when a man handled authority and power dominantly, who sued by his lovely children in family.</strong></p><p><strong><em>Keywords</em></strong> – <em>film, content analysis, qualitative, mass communication, media</em></p>

Domesticating gangsters? Home/work conflicts in South Korean family drama gangster film

Gangster films are largely an urban genre set in the mean streets of metropolitan ganglands. A significant proportion of South Korean gangster films depart from this spatial convention, however, setting their central family or romance plots in the domestic space of the apartment. This article addresses the question of why we find gangsters in domestic space in South Korean cinema and examines what the domestic setting ‘does’ to the gangster film. The Show Must Go On (2008) is discussed in detail to exemplify the ways that questions of masculinity, gendered family role performance and class anxieties are crystallized around domestic space. What emerges in this spatial shift is a new sub-genre, the ‘family drama gangster film’. This form combines elements of the traditional gangster narrative with family melodrama, producing tension between the conflicting obligations of the gangster towards gang and family. The article concludes that the family drama gangster film emerged as a response to a conjunction of socio-economic and film industry factors and became a vehicle through which conflict between competing ideologies of Korean familism is negotiated, mostly resolving in favour of affective familism.

“The Semantic Environment” of the Late Dramatic Works of A. Platonov

This review raises a set of important issues. The use of contextual, motif, and “evidence-based” methods make it possible to identify hidden semantic layers which are hard to discern in Platonov’s late plays at first. The authors manage to demonstrate both the peculiarities of the plot of Platonov’s late dramas and their connection with the writer’s creative work as a whole. Particularly important is the autobiographical context which significantly enriches the “semantic environment” of the works analysed. It is based on Platonov’s family drama related to the arrest and premature death of his son Platon. The study reveals various ways of inclusion of the “son motif ” in the plays Voice of the Father, A Magical Being, and A Student of the Lyceum. The analysis of the play Noah’s Ark turns out to be less interesting, which is largely due to the fact of its being unfinished and, thus, lacking artistic perfection. The stylistic originality of Platonov’s late creative work and its artistic distinction from the works of the 1920s – 1930s remain outside the authors’ framework of reflection. This range of issues may serve as a future focus of study.