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  • 1
    Online Resource
    Online Resource
    Equinox Publishing ; 2018
    In:  Popular Music History Vol. 11, No. 1 ( 2018-04-16), p. 47-60
    In: Popular Music History, Equinox Publishing, Vol. 11, No. 1 ( 2018-04-16), p. 47-60
    Abstract: This article considers cases when Polish popular music of the state socialist period drew on non-western motifs. It argues that initially the main source of inspiration was South America and its music; in the later period the Middle-East and India moved to the fore, which reflects a wider trend in Anglo-American pop-rock and testifies to the knowledge and experiences gained during travels undertaken by Polish musicians, especially to the eastern part of the Soviet Union. Appropriation of exotic motifs took different forms. In Estrada music of the 1950s and 1960s ‘banal exoticism’ prevailed, based on recycling touristy clichés; in the later periods rock musicians attempted to imitate and rework the sound of non-western musics and even live in tune with Oriental philosophy. There were also cases of playful and ironic appropriation of exotic themes. A special case is the work of Czes?aw Niemen, who was particularly open to non-western cultures. The piece is grounded in the study of Orientalism and tourism.
    Type of Medium: Online Resource
    ISSN: 1743-1646 , 1740-7133
    Language: English
    Publisher: Equinox Publishing
    Publication Date: 2018
    SSG: 9,2
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  • 2
    Online Resource
    Online Resource
    Brill ; 2021
    In:  Studies in World Cinema Vol. 1, No. 1 ( 2021-04-29), p. 14-21
    In: Studies in World Cinema, Brill, Vol. 1, No. 1 ( 2021-04-29), p. 14-21
    Abstract: This article examines the term ‘World Cinema’ by comparing it to ‘world literature’, as understood by two German thinkers of the Romantic period: Johann Wolfgang von Goethe and Karl Marx, who attributed universal appeal to it. It argues that World cinema, like world literature, testifies to the unequal distribution of economic and cultural power. World Cinema refers to cinemas of peripheries, cinematic production of ‘developing’ or Third World countries or non-Hollywood. Moreover, it does not encompass everything which is produced in the peripheries, but only that part, which lends itself to the gaze of (broadly understood) western scholars. Inevitably, such gaze privileges ‘canonical works’, which have already received national recognition and which due to their subjects, forms or ideologies, align themselves with the production in the centre. However, there are also films created in the peripheries which transcended national boundaries despite being openly local and even hostile to the idea of competing with other films on the global market, especially films made in Hollywood or modelled on Hollywood, such as Third Cinema, whose analysis concludes the discussion.
    Type of Medium: Online Resource
    ISSN: 2665-9883 , 2665-9891
    Language: Unknown
    Publisher: Brill
    Publication Date: 2021
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  • 3
    Online Resource
    Online Resource
    Walter de Gruyter GmbH ; 2021
    In:  Hungarian Journal of English and American Studies Vol. 27, No. 1 ( 2021-06-01)
    In: Hungarian Journal of English and American Studies, Walter de Gruyter GmbH, Vol. 27, No. 1 ( 2021-06-01)
    Abstract: This article examines representations of young people in three recent films set in British seaside resorts: Jellyfish (2018), directed by James Gardner Vs. (2018), directed by Ed Lilly, and Eaten by Lions (2018), directed by Jason Wingard, in light of the fact that in the past few decades resorts have been seen as places from which young people try to escape, rather than go to.  My essay shows how the experience of those who visit the resorts is different from that of those who live there. It considers the production values, characters, stories, and locations of these films, drawing on secondary research on coastal resorts and their cinematic representations, Erving Goffman’s taxonomy of spaces into “front” and “back regions,” and Mikhail Bakhtin’s concept of the carnivalesque. The article also links the representation of the resort itself to wider discourses about England, class, and race. (EM)
    Type of Medium: Online Resource
    ISSN: 2732-0421 , 1218-7364
    Language: Unknown
    Publisher: Walter de Gruyter GmbH
    Publication Date: 2021
    SSG: 7,25
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  • 4
    Online Resource
    Online Resource
    Intellect ; 2010
    In:  Journal of Adaptation in Film & Performance Vol. 3, No. 1 ( 2010-03-01), p. 29-42
    In: Journal of Adaptation in Film & Performance, Intellect, Vol. 3, No. 1 ( 2010-03-01), p. 29-42
    Abstract: This article discusses Despair (1978) by Vladimir Nabokov and Rainer Werner Fassbinder's film adaptation as stories of escape. In both works the protagonist, Hermann Hermann, tries to flee into a different identity and ontological order. However, I argue that Nabokov's Hermann wants to escape from fiction to reality, whilst Fassbinder's protagonist strives to escape from reality into fiction. From this difference I derive some characteristics of the moral positions of Nabokov and Fassbinder.
    Type of Medium: Online Resource
    ISSN: 1753-6421 , 1753-643X
    Language: English
    Publisher: Intellect
    Publication Date: 2010
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  • 5
    Online Resource
    Online Resource
    Liverpool University Press ; 2022
    In:  Music, Sound, and the Moving Image Vol. 16, No. 2 ( 2022-12), p. 179-187
    In: Music, Sound, and the Moving Image, Liverpool University Press, Vol. 16, No. 2 ( 2022-12), p. 179-187
    Type of Medium: Online Resource
    ISSN: 1753-0768 , 1753-0776
    Language: English
    Publisher: Liverpool University Press
    Publication Date: 2022
    SSG: 9,2
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  • 6
    Online Resource
    Online Resource
    Informa UK Limited ; 2014
    In:  Studies in Eastern European Cinema Vol. 5, No. 1 ( 2014-01-02), p. 93-95
    In: Studies in Eastern European Cinema, Informa UK Limited, Vol. 5, No. 1 ( 2014-01-02), p. 93-95
    Type of Medium: Online Resource
    ISSN: 2040-350X , 2040-3518
    Language: English
    Publisher: Informa UK Limited
    Publication Date: 2014
    detail.hit.zdb_id: 2710704-8
    SSG: 9,3
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  • 7
    Online Resource
    Online Resource
    Informa UK Limited ; 2020
    In:  Studies in Eastern European Cinema Vol. 11, No. 3 ( 2020-09-01), p. 241-242
    In: Studies in Eastern European Cinema, Informa UK Limited, Vol. 11, No. 3 ( 2020-09-01), p. 241-242
    Type of Medium: Online Resource
    ISSN: 2040-350X , 2040-3518
    Language: English
    Publisher: Informa UK Limited
    Publication Date: 2020
    detail.hit.zdb_id: 2710704-8
    SSG: 9,3
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  • 8
    Online Resource
    Online Resource
    Intellect ; 2016
    In:  Journal of Gaming & Virtual Worlds Vol. 8, No. 2 ( 2016-06-01), p. 117-130
    In: Journal of Gaming & Virtual Worlds, Intellect, Vol. 8, No. 2 ( 2016-06-01), p. 117-130
    Abstract: This article asks the question, how should the computer game as a new cultural form be assessed from a Marxist perspective? Marxism is a developed theoretical discourse operative in several domains that are potentially relevant to computer games. The first part of our discussion focuses on Marx’s discussion of technology in relation to art and presents his historical dialectic of alienation and disalienation. This dialectic highlights the ambivalence of technology: it is both the condition of possibility of a society of plenty in which humanity is freed from drudgery and yet, with each step forward, it is associated with the imposition of new demands and novel forms of oppression. Viewed in this way, computer games are an important manifestation of digital technology, deeply implicated in new forms of capitalism. In the second section we use Marx’s ideas on art to explore the aesthetics of the new medium. The aesthetic occupies a special place in Marxist thought because it defines a space of reflection in which we can find a momentary escape from the fray of conflictual social relations and from which the future may shine a light. Viewed as a form of art, computer games are also ambivalent. On one side, they have been associated with a revival of play and a new culture of levity and creativity, which has spread as far as contemporary workplaces and even transformed the design of industrial, or productive, technology. At the same time, we argue that there has been no corresponding social transformation – people are not more free as a result of ‘gamification’. Rather, it seems that computer games present a deepening entanglement of aesthetic values (play, freedom, imagination) with technologies of control (interface, system, rules). In conclusion, we suggest that digital games bring the dream of art to life but that the result is not freedom but rather a perversion of play as its facility for opening up imagined spaces is used to restrict access to the space of freedom.
    Type of Medium: Online Resource
    ISSN: 1757-191X , 1757-1928
    Language: English
    Publisher: Intellect
    Publication Date: 2016
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  • 9
    Online Resource
    Online Resource
    Intellect ; 2015
    In:  Short Film Studies Vol. 5, No. 1 ( 2015-04-01), p. 37-40
    In: Short Film Studies, Intellect, Vol. 5, No. 1 ( 2015-04-01), p. 37-40
    Abstract: This article will discuss The Office as a Polish take on bureaucracy. For that I will locate Kieślowski’s film in a wider historical context, such as the ideologies of Romanticism and communism, which greatly affected Polish attitudes to the state and its institutions.
    Type of Medium: Online Resource
    ISSN: 2042-7824 , 2042-7832
    Language: English
    Publisher: Intellect
    Publication Date: 2015
    SSG: 9,3
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  • 10
    Online Resource
    Online Resource
    Intellect ; 2021
    In:  Journal of Scandinavian Cinema Vol. 11, No. 3 ( 2021-09-01), p. 317-325
    In: Journal of Scandinavian Cinema, Intellect, Vol. 11, No. 3 ( 2021-09-01), p. 317-325
    Abstract: This article examines the phenomenon of ABBA, the most popular band ever to originate in Sweden, as accounted for in four documentaries, used to compare domestic and foreign responses to ABBA. Discussion draws on the concept of authenticity as formulated by Allan Moore, arguing that authenticity is not located in the music itself, but in the relationship between the artists and their audience. Analysis also considers the authenticity of the documentary form.
    Type of Medium: Online Resource
    ISSN: 2042-7891 , 2042-7905
    Language: English
    Publisher: Intellect
    Publication Date: 2021
    SSG: 9,3
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