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The article is an attempt to show the ‘cinematic reflections’ of contemporary, difficult motherhood that Western cinematography has recently noticed and depicted. The author of the text seeks to answer the question – how do selected films violate and deconstruct the patriarchal gender order in relation to motherhood? The text presents the results of a qualitative analysis of selected film images: We Need to Talk About Kevin (2011), Daughter (2021). The theoretical basis of the conducted research was the gender approach in social research and T. Scheff’s concept of guilt and shame. Artykuł jest próbą ukazania „kinowych odzwierciedleń” współczesnego trudnego macierzyństwa, które w ostatnim czasie jest coraz częściej zauważane i przedstawiane przez zachodnią kinematografię. Autorka tekstu poszukuje odpowiedzi na pytanie – jak wybrane obrazy filmowe naruszają i dekonstruują patriarchalny porządek płci w odniesieniu do macierzyństwa? Tekst prezentuje wyniki jakościowej analizy wybranych obrazów filmowych: Musimy porozmawiać o Kevinie (2011), Córka (2021). Podstawę teoretyczną zrealizowanych badań stanowiły: podejście genderowe w badaniach społecznych oraz koncepcja winy i wstydu T. Scheffa.

Svrha ovog završnog rada svodi se na kreativno rješavanje problema promoviranja filma Dragon Fight Z uz pomoć raznih ideja namijenjenih za kino-dvoransku upotrebu u svrhu promoviranja filma. Opisane su ideje i proces nastajanja tih ideja te se tim putem kreirao niz grafičkih proizvoda koji su potrebni prilikom promocije bilo kojeg filma u kinima. Proizvodi koji su kreirani su: logo, likovi, ulaznice, plakati, banner za ekranski prikaz, papirnate čaše te kutije za kokice. The purpose of this final paper is to creatively solve the problem of promoting the movie Dragon Fight Z with the help of various ideas intended for cinema-hall use for the purpose of promoting the movie. Ideas and the process of creating those ideas were described, and in this way a number of graphic products were created that are necessary for the promotion of any film in cinemas. The products that were created are: logo, characters, tickets, posters, banner for screen display, paper cups and popcorn boxes.

El cine constituye una poderosa herramienta cultural que opera de múltiples maneras en el rescate de memorias, así como en la reparación colectiva y conceptualización interdisciplinaria de experiencias traumáticas en comunidades devastadas por sistemáticas violaciones a sus derechos fundamentales. Hace perceptibles las prolongaciones de silenciadas o legitimadas violencias políticas tanto en el individuo como en el tejido social trastornado por perturbadoras marcas que desbaratan la existencia y la convivencia. Las expresiones cinematográficas no hacen referencia al ayer únicamente, sino que, sobre todo, cuestionan las pautas convencionales empleadas para articular pasado, presente y futuro a fin de explorar horizontes posibles. Como detonadoras de memoria y generadoras de conciencia, robustecen diferentes modi memorandi que tratan el pasado violento demasiado activo aún.

Im Rahmen des künstlerischen Forschungsprojektes «Unsichtbares und Ungesagtes» sind 10 Gespräche mit internationalen feministischen Regiepersonen entstanden, die sich mit der Frage einer feministischen Ästhetik im zeitgenössischen Kino auseinandersetzen. Gibt es aktuell eine neue Generation feministischer Filmemacherinnen? Inwieweit wird an den Filmästhetiken eine feministische Haltung sichtbar? Die Regisseurin und künstlerische Forscherin Bernadette Kolonko ist diesen und weiteren Fragen im Modus des sich Versammelns, des Zuhörens und des Austausches nachgegangen, um sowohl die filmkünstlerische Arbeit der Interviewten, als auch das gegenwärtige Kino unter dem Aspekt eines Female*Feminist*Gaze zu reflektieren. Mitwirkende: Susanne Heinrich, Laura Bispuri, Kamila Andini, Ester Maria Bergsmark, Anna Sofie Hartmann, Valérie Massadian, Teona Strugar Mitevska, Maryam Touzani, Katharina Wyss und Maura Delpero

The aim of the article is to set the work of Polish contemporary living female feature film directors in the context of the characteristic features of women’s work, common or not. Based on the own analysis of the found materials, the components of women’s film careers were extracted in order to create an outline of various attitudes and types of creativity, taking into account the discourse justifying the need to create cinematography, the situation of women artists in the artistic and film-making field through their generational affiliation, the creative attitude realised in action, the way in which they make their creativity available (circulation), the degree of innovation in creative activity, the degree of involvement in being an artist, their social position: successes, awards, prestige, moral influence in the artistic environment. Contemporary female filmmakers are characterised by their social involvement (social activist, social voiceover, intellectualist-reformist filmmaker, independent artist). This article is a sketch from the sociology of women artists, not including the whole output of women directors in Poland. Celem artykułu jest osadzenie twórczości współczesnych polskich reżyserek filmów fabularnych w kontekście charakterystycznych wspólnych (lub nie) rysów twórczości kobiet. Na podstawie analizy materiałów zastanych wyodrębniono komponenty karier kobiet filmu, by stworzyć zarys różnych postaw i rodzajów twórczości z uwzględnieniem dyskursu uzasadniającego potrzebę tworzenia kina, sytuację reżyserek w polu artystycznym, filmowym poprzez przynależność generacyjną, postawę twórczą realizowaną w działaniu, sposób udostępniania swojej twórczości (obieg), stopień nowatorstwa w działalności twórczej, stopień zaangażowania w bycie artystką, pozycję społeczną: sukcesy, nagrody, prestiż, oddziaływanie moralne w środowisku artystycznym. Współczesne twórczynie charakteryzuje społeczne zaangażowanie (społecznica, głosicielka społeczna, intelektualistka-reformatorka, kinopisarka, artystka odrębna). Artykuł jest szkicem z socjologii artystek, nieujmującym całego dorobku kobiet reżyserek w Polsce.

Depuis le Romantisme et la naissance du Wandermotiv, la thématique de l’exil est restée centrale dans l’espace germanophone, et ce notamment d’un point de vue esthétique. À travers l’analyse croisée de deux films d’auteur récents – Western de Valeska Grisebach, sorti en 2017 et Transit de Christian Petzold, sorti en 2018 – nous montrons que le cinéma allemand contemporain travaille le motif de l’exil dans une tension entre intériorité et extériorité, l’écriture cinématographique oscillant ici entre tradition(s) et modernité. Seit der Romantik und der Geburt des Wandermotivs, ist das Thema "Exil" im deutschsprachigen Raum – besonders von einem ästhetischen Standpunkt aus – zentral geblieben. Durch die parallele Analyse zweier Autorenfilme der letzten Jahre – Western von Valeska Grisebach aus dem Jahr 2017 und Christian Petzolds Transit aus dem Jahr 2018 – soll hier gezeigt werden, dass der zeitgenössische deutsche Film das Motiv des Exils in einem Spannungsfeld zwischen Innerlichkeit und Außenwelt bearbeitet, und dabei auf eine kinematographische Sprache zurückgreift, die zwischen Tradition(en) und Modernität schwankt.

Multimediju komunikācija Informācijas un komunikācijas zinātnes Multimedia Communication Information and Communication Sciences Bakalaura darba autors ir Eduards Kirejevs un darba vadītāja: Mg. art. Zane Valeniece. Bakalaura darba tēma: “Kino režisora Viestura Kairiša filmu stilistika, laika posmā no 2014. līdz 2022. gadam.” Šī darba mērķis ir analizēt Viestura Kairiša piecas filmas, piedāvājot to analīzi. Lai veiksmīgi atbildētu uz pētāmo jautājumu - Kādas ir Viestura Kairiša režijas stilistiskās iezīmes autora filmās? – tiek izmantota klavitatīvās kontantanalīzes metode. Darba teorētiskā daļa sastāv no četrām galvenajām nodaļām un to apakšnodaļām. Teorētiskajā daļā tiek aplūkota autorkino teorija, režisora Viestura Kairiša biogrāfija, kino māksla un kino valodas paņēmienus, kā arī tiek apskatīta kvalitatīvās kontenanalīzes nozīme pētījumā. Kino valodas sadaļā tiek dota informācija, pēc kāda principa tiks analizētas filmas. Pētījumam tika izvēlētas piecas latviešu režisora Viestura Kairiša filmas: “Pelikāns tuksnesī,” “Neredzamā pilsēta,” “Melānijas hronika,” “Pilsēta pie upes” un “Janvāris.” Šāda izvēle tika veikta balstoties uz režisora pēdējo 10 gadu filmogrāfiju. Filmu analīzei tika izveidotas kino valodas kategorijas – naratīvs, varoņi, laiks un telpa, kameras darbs un montāža. Pēc katras filmas detalizētas analīzes, rezultāti tika salīdzināti un apvienoti ar teorētiskajā daļā iegūtajām zināšanām. Darba noslēgumā tika izdarīti secinājumi, kuri ļauj noskaidrot, kāda ir Viestura Kairiša filmu stilistika un, kā tā ir mainījusies gadu laikā. Bakalaura darba noslēgumā, diskusijas daļā tiek dots pārskats par darbu, kā arī tika izvirzīti ieteikumi nākotnes pētījumiem, kas būtu saistīti ar Viestura Kairiša autorkino iezīmēm viņa filmās. The bachelor’s thesis is written by Eduards Kirejevs and Head of Labor: Mg. art. Zane Valeniece. The subject of the bachelor’s work: “Stylistics in the directors Viesturs Kairišs films in the period from 2014 to 2022.” The aim of this work is to analyse Viesturs Kairišs five films, offering analysis of them. A method of qualitative content analysis is used to successfully answer the research question - what are the stylistic features of directors Viesturs Kairišs films? The theoretical part of the research consists of four main chapters and their sub-chapters. The theoretical part looks at author filmography theory, director Viesturs Kairišs biography, cinema art and cinema language techniques, and examines the importance of qualitative content analysis in the research. The film language section provides information on the basis of which films will be analysed. Five films by Latvian director Viesturs Kairišs were chosen for the research: “Pelican in the desert,“ “Invisible City” (Neredzamā pilsēta), “Chronicles of Melanie,” “The Sign Painter” and “January.” Such a choice was made based on the filmography of the director's last 10 years. Cinema language categories were created for film analysis - narrative, characters, time and space, camera work and editing. After detailed analysis of each film, the results were compared and combined with the knowledge gathered in the theoretical part. The work concluded with conclusions that lets you find out Viesturs Kairišs film styling and how it has changed over the years. At the conclusion of the bachelor’s work, part of the discussion gives an overview of the work, as well as suggestions for future studies related to Viesturs Kairišs author filmography features in his films.

Bielefeld : transcript Verlag 2023, 305 S. - (Theorie Bilden; 45) - (Dissertation, Universität Dresden, 2021), Gilles Deleuze zufolge bewegen wir uns permanent in einem Strom von Bewegungsbildern. Vor diesem Hintergrund zeigt Jonas Hänel, dass eine bewegungsbildbasierte Forschung quer zu den Themenbereichen Bildung, Kino und Pflege und ausgehend von Michael Hanekes Film »Liebe« (2012) neue Qualitäten in den Blick rückt. Neben der Beschreibung kontingenter Verläufe im Leben fokussiert er Intensitäten wie Affektionen und Affekte in unterschiedlichen performativen Handlungsvollzügen. Sei es die Beschreibung von Bildungs-, Pflege- oder auch filmischen Prozessen: Sein zentrales Anliegen ist es, die Prozessualität performativer Praxen in ihrem von Brüchen durchzogenen Werden nachzuzeichnen. (DIPF/Orig.)

Die 1930er-Jahre gelten als das populistische Jahrzehnt Hollywoods. Regisseure wie Frank Capra, Leo McCarey und John Ford entwerfen in ihren Werken Szenarien geglückter oder gescheiterter politischer Repräsentation, in denen sich demokratische Ideale mit politischer Theologie und amerikanischem Exzeptionalismus verbinden. Die Szenographie dieser Filme hat sich tief in das kulturelle Gedächtnis der USA eingeschrieben und prägt die politische Inszenierung von Repräsentation bis heute. Johannes Pause liest die damals entstandene Bildsprache als eine Typologie populistischer Repräsentation neu und nutzt sie als Folie, um aktuelle politische Tendenzen zu analysieren.

Gilles Deleuze zufolge bewegen wir uns permanent in einem Strom von Bewegungsbildern. Vor diesem Hintergrund zeigt der Autor, dass eine bewegungsbildbasierte Forschung quer zu den Themenbereichen Bildung, Kino und Pflege und ausgehend von Michael Hanekes Film "Liebe" (2012) neue Qualitäten in den Blick rückt. Neben der Beschreibung kontingenter Verläufe im Leben fokussiert er Intensitäten wie Affektionen und Affekte in unterschiedlichen performativen Handlungsvollzügen. Sei es die Beschreibung von Bildungs-, Pflege- oder auch filmischen Prozessen: Sein zentrales Anliegen ist es, die Prozessualität performativer Praxen in ihrem von Brüchen durchzogenen Werden nachzuzeichnen.

Die vorliegende Arbeit beinhaltet als erstes einen Rückblick auf die frühen Holzbauten des Schweizer Architekturbüros Herzog und De Meuron. Anhand mehrerer Beispiele aus den 1980er Jahren werden unterschiedliche Ansätze gesammelt und verglichen. Herzog und de Meuron erkannten vielfältige Qualitäten im Baustoff Holz. Nicht nur als konstruktives Bauteil findet es Anwendung, sondern wegen seiner Optik und Oberfläche auch als Fassade. Das Material bekommt unterschiedliche Aufgaben. Bei genauerer Betrachtung stellt man einen Unterschied zwischen tragenden und getrage- nen Elemente fest.Diese Erkenntnisse wurden im darauf folgenden Schritt in einem Ent- wurf angewendet: einem freistehenden Kino im Garten einer bekannten Wiener Schauspielschule. Seit 1940 befindet sich das Max Reinhardt Seminar in einem Palais aus dem 18 Jh.. Der Neubau setzt sich mittig der Bestandsbäume und gliedert sich somit harmonisch in den Garten der Schule ein. Als nächstes wird die Bauaufgabe durch eine kurze historische Analyse der Wiener Kinokultur mit Schwerpunkt auf ihrer Architektur eingeleitet. Dar- über hinaus wird die Zukunft des Kinos thematisiert und was Architektur zu seiner Weiterentwicklung beitragen kann. Das Projekt soll einerseits eine räumliche Ergänzung für die Schauspiel und Schauspielregie Studenten sein, anderseits soll es für diverse öffentliche Vorstellungen zur Verfügung stehen.Ziel dieser Arbeit ist es einen zeitgenössischen Holzbau zu entwickeln, der neben der Nachhaltigkeit des Baumaterials auch auf eine Beständigkeit durch seine zurückhaltende Eingliederung im städtischen Gefüge zeigt., In view of the current and future climate development, sustainable solutions are increasingly coming into focus. Timber constructions make an important contribution to this. In recent years, wood has tended to be used more as a building material in many areas.The first part of this thesis is a review of the early wooden buildings by the Swiss architects Herzog and De Meuron. Different approaches are collected and compared using several examples from the 1980s. Herzog and de Meuron recognized the diverse qualities of wood as a building material. It is not only used as a constructive component, but also as a facade due to its appearance and surface. A closer look reveals that the material gets different tasks, there is a difference between load-bearing and supported elements.In the next step, these insights were applied in a design: a free-standing cinema in the garden of a well-known Viennese drama school. The Max Reinhardt Seminar has been located in a palace from the 18th century since 1940. The new building is located in the middle of existing trees and is thus integrated harmoniously into the school garden. The construction task is then introduced by a brief historical analysis of Viennese cinema culture with a focus on its architecture. In addition, the future of cinema is analyzed and what architecture can contribute to its further development. On the one hand, the project is intended to be a spatial addition for drama and directing students, on the other hand, it should be available for various public performances.The aim of this work is to develop a contemporary wooden building that, in addition to the sustainability of the building material, also shows durability through its reserved integration into the urban fabric.

Multimediju komunikācija Informācijas un komunikācijas zinātnes Multimedia Communication Information and Communication Sciences Ģimene uzskatāma kā viena no senākajām pastāvošajām institūcijām, kuras vēsture nesaraujami saistāma ar cilvēka evolūciju. Tās formēšanās ļāvusi veidoties civilizācijām un tautām, tās uzbūves un problēmu atklāšana un izpratne uzskatāma par valstu attīstības un pastāvēšanas priekšnosacījumu un dzinējspēku. Kino, būdams gan mākslas, gan mediju veids savas tapšanas īpatnību dēļ ir vērā ņemams realitāti modelējošs dokuments, kas ar savas ietekmes spēju ne tikai parāda režisora un mākslinieku saskatīto problēmu un tās sekas, bet ar tēlainās izteiksmes līdzekļiem arī rada izpratni par nācijai piemītošajām normām. Spēlfilma sevī ietver arī attēlotā laikmeta naratīvus, kā arī diskursus, kuri dažādu faktoru dēļ pēc režisora domām ietekmē ģimenes izpratni sabiedrībā. Bakalaura darba Ģimenes tipi un diskursi latviešu spēlfilmās no Zvejnieka dēla (1939) līdz mūsdienām mērķis noskaidrot latviešu spēlfilmu atainotos ģimeņu tipus un diskursus attiecībā pret atainoto laikmetu. Pētījumā aplūkoti gan visvairāk izmantotie ģimeņu modeļi, gan ģimenes uzbūvi un savstarpējās attiecības veidojošie diskursi, gan ārējo faktoru iespējamā ietekme šādu diskursu lomai laikmetu atainojumā. Bakalaurs strukturēts trīs daļās. Teorētiskajā aprakstā aplūkoti jautājumi par mākslu un tās saistību ar realitāti un propagandu, kino kā mākslu un audiovizuālu mediju, konstatētiem un definētiem vēsturiskiem ģimenes modeļiem, kuri pētījumā izmantoti kā rāmis ģimenes tipu konstatēšanai filmās. Otrā daļa atsevišķi no praktiskās darbības rezultātu apraksta izdalīta darba gaitas un ar to saistīto teoriju un metožu norādīšana un skaidrošana. Šeit atrodams ieskats hermeneitikas un kontentanalīzes metožu skaidrojumā, kā arī dots neliels pārskats Mišela Fuko diskursa teorijas tēzēs. Šajā daļā tiek doti arī izpētes objekta, respektīvi, spēlfilmas un priekšmeta - ģimenes kā zīmes un tēlu sistēmas – vispārēji raksturojumi. Trešā daļa veltīta praktiskā darba rezultātu aprakstam un definēšanai. Tiek noskaidroti laikmeti, kādus izmanto filmu veidotāji savu uzskatu un redzējuma paušanai par ģimeni, ģimeņu tipi un to īpatsvars katrā atainotajā laikmetā, kā arī diskursi un faktori, kas raksturo ģimenes tipus katrā laikmetā. Rezultātā atklāts, ka ģimeni ietekmē ne vien tās sastāvs, bet arī katra indivīda uzskati un rakstura iezīmes, kā arī ārējo faktoru un iekšējo attiecību sadursmju veidotie diskursi, piemēram vara, seksualitāte, aprēķins un atkarības. Darbam pievienoti arī pielikumi, kuros apkopoti, gan teorētiķu uzskaitītie ģimeņu modeļi, kas konstatējami mūsdienu sabiedrībā, pētījuma gaitas pārskata tabula ar izmantoto metodi vai teoriju un iegūstamo rezultātu, kā arī filmu sadalījuma pārskati. The family is considered to be one of the oldest existing institutions whose history is inextricably linked to human evolution. Its formation has enabled civilizations and peoples to develop, its construction and understanding are seen as a prerequisite for the development and existence of countries and as an engine. Cinema, as both arts and media, is, due to the nature of its creation, a remarkable reality-modeling document that, with its own power, not only shows the problems faced by the director and artists and its consequences, but also creates an understanding of the norms inherent in the nation by its means of sartorial expression. The feature film also includes narcissistic narratives of the depicted era, as well as discourse that, due to various factors, influence family awareness in society. Bachelor's Types and discourse of families portrayed in Latvian movies from Fisherman’s Son (1939) to modern times is to find out the family types and discourses depicted in Latvian feature films in relation to the depicted era. The study looks at both the most used family models and family-building and interpersonal discourse and the potential impact of external factors on the role of such discourse in representing the ages. Bachelor is structured in three parts. The theoretical description deals with art and its relationship with reality and propaganda, cinema as art and audiovisual media, historical family models identified and defined in the study used as a frame for identifying family types in films. The second part, separate from the description of the results of the practice, the identification and interpretation of the course of the work and the related theories and methods. Here is an insight into the interpretation of the methods of phenomenology, hermenitics and concessional analysis, as well as a small overview of Michel Fuko's theory of discourse. This part also gives general characteristics of the subject, namely the feature film and the subject's family as a sign and image system. The third part is devoted to the description and definition of the results of the practical work. The ages used by filmmakers to express their views and vision about family, family types, and their share in each represented era, and discourse and factors that describe family types in each era are identified. The work is accompanied by attachments that summarize both the family models listed by theorists, identified in today's society, an overview table of the course of the study with the method or theory used and the results to be obtained, as well as the film distribution reports.

This text is a presentation of secular interiors designed by Henryk Uziembła in the first two decades of the 20th century. Projects such as a music salon at the Dłuski sanatorium in Kościelisko, the interior of the Uciecha cinema in Kraków, the Bagatela Theater in Kraków, the Krakowski Hotel in Lviv and others have been included in the trend in interior design, which we can call “looking back”. This trend was especially visible in interior design in France and Austria. It was characterized by a combination of various inspirations, incl. Louis XVI style, classicism, empire, orient, folk art. It allowed for creative freedom, experimenting with colors, forms and styles. The style was characterized by intense and contrasting colors used in the decoration of walls, furniture and upholstery. The trend made it possible to give a place an atmosphere emphasizing its function or referring to the past of this place. Niniejszy tekst jest prezentacją wnętrz świeckich zaprojektowanych przez Henryka Uziembłę w dwóch pierwszych dekadach XX wieku. Takie projekty, jak salon muzyczny w sanatorium Dłuskich w Kościelisku, wnętrza kinoteatru Uciecha w Krakowie, teatru Bagatela w Krakowie, hotelu Krakowskiego we Lwowie i inne, zostały wpisane w nurt w projektowaniu wnętrz, który możemy nazwać „spojrzeniem wstecz”. Trend ten widoczny był zwłaszcza w projektowaniu wnętrz we Francji i Austrii. Cechował się łączeniem różnych inspiracji, m.in. stylu Ludwika XVI, klasycyzmu, empiru, orientu, sztuki ludowej. Pozwalał na swobodę twórczą, eksperymentowanie z kolorami, formami, stylami. Charakteryzowały go intensywne i kontrastowo użyte kolory zastosowane zarówno w dekoracji ścian, mebli, jak i ich tapicerki. Nurt ten umożliwiał nadawanie miejscu atmosfery podkreślającej jego funkcję lub odwołującej się do przeszłości tego miejsca.

This study evaluated the impact of a combined science outreach, oral health education and tooth brushing initiative introduced into a New Zealand Māori immersion primary school. Participants comple...

Bis heute ist der Erste Weltkrieg Teil der Medien-, insbesondere aber der Filmlandschaft. Wurzeln heutiger Action- und Militärfilme finden sich nicht selten in Filmen über den Ersten Weltkrieg, umgekehrt wird der Erste Weltkrieg auch über hundert Jahre später noch filmisch bearbeitet. Dass der ‚Große Krieg‘ bis heute im Kino über die Leinwand läuft, provoziert die Frage nach der Wahrnehmung des zeitgenössischen Publikums: Was sahen die Zuschauer, wenn sie zwischen 1914 und 1918 ins Kino gingen? Auf Grundlage eines umfangreichen lokalen Quellenbestandes werden in diesem Band kinotopographische und filmische Entwicklungen im Kaiserreich während des Ersten Weltkriegs anhand des Dresdner Beispiels überprüft. Wo und unter welchen Umständen ging das Dresdner Publikum ins Kino und aus welchen Filmen konnte es auswählen? Welche Kinotypen gab es und in welchen Besitzverhältnissen wurden sie geführt? Und welchen Anteil machten kriegsrelevante Vorführungen in einer Stadt wie Dresden tatsächlich aus? Der Publikation liegt eine durch Prof. Dr. Winfried Müller betreute und 2021 am Lehrstuhl für sächsische Landesgeschichte an der TU Dresden eingereichte Masterarbeit zugrunde, welche durch den Verein für Sächsische Landesgeschichte mit dem Hubert-Ermisch-Preis für herausragende studentische Abschlussarbeiten zur Geschichte und Kultur Sachsens ausgezeichnet wurde.

W artykule zwrócono uwagę na socjologiczny kontekst stworzenia jednej z najbardziej znanych postaci rysunkowych – Gala Asterixa. Przedstawiono pochodzenie jego autorów oraz ich prace, będące wyrazem ich drogi życiowej, podejmowanych decyzji oraz światopoglądu. Ważne znaczenie ma tutaj zagadnienie migracji oraz nawiązywania do własnych losów. Losy twórcy Asterixa są zatem pewnego rodzaju przykładem na bogactwo i złożoność kultur, które finalnie mogą przynieść bardzo dobre rezultaty w tworzeniu dzieł uniwersalnych, zrozumiałych dla każdego i cieszących się wielką popularnością. Gal Asterix jest wykreowaną postacią, która odniosła sukces w kulturze masowej, zatem niezwykle ważne są próby wyjaśnienia jej fenomenu, właśnie poprzez analizę życia i relacji społecznych jego twórcy.ENGLISH: The article highlights the sociological context of creating one of the most famous cartoon characters – Asterix the Gaul. The authors’ origins and their creative works are presented, embodying their life path, decisions and worldview. The issue of migration and relating to one’s own biographical fate is of great importance here. The fate of the creator of Asterix is therefore a kind of example of the richness and complexity of cultures that can ultimately bring very good results in creating universal works, understandable to everyone and enjoying great popularity.

As a country with the largest Muslim population in the world, Indonesia has a large Muslim market and growing halal industry. Now many Indonesian brands are using the halal label not only to comply with their regulations, but also to attract their consumers. One of the brands, which has made the halal label a brand, is the Sasha Halal Toothpaste. It is a brand launched by PT. Kino Indonesia, Tbk (Kino). This brand builds an image as an Islamic toothpaste that not only functions as a cleanser, but also satisfies its Muslim consumers. Kino itself is a consumer goods company from Indonesia, which was founded in 1999 by Harry Sanusi, and has become a public company in 2015. Kino launched Sasha Halal Toothpaste in 2018. In a relatively short period of time, this brand was able to generate its products, and be accepted in the toothpaste market in Indonesia. competing with competitors who have become long-standing players in this market. One of the things that drives this is Kino implementing a promotion mix strategy in promoting Sasha Halal Toothpaste. This study provides an overview of the promotion mix strategy of the Sasha Halal Toothpaste. This strategy has led people in Indonesia to be aware of this brand, including a combination of several methods such as advertising, sales promotion, interactive/digital marketing, public relations, events and experiences. This study uses a decsriptive qualitative method, and obtains its data by interviews with Ms. Danti Yulia Nastiti, a brand manager of Kino, including by online and visual data documentation.

The article is based on the archival materials from the former special funds found and processed for the first time by the author, which relate to the short life and activity of the Ukrainian publicist and writer, one of the creators of literary periodicals of the 20-the 30s of the 20th century, Serhii Zhyhalko. So far, nothing was known about the fate of this author. The author’s goal is to join to the return of Serhii Zhyhalko’s name, a native of the Boryspil region, whose creativity seems to have not only been appreciated but not read as well. Or, more precisely, it is scattered, that is, lost in numerous Ukrainian periodicals of the post-revolutionary period. Here are the examples of those numerous periodicals: "Nova hromada" ("New Community"), "Hart", "Chervonyi Shliakh" ("Red Way"), "Molodniak" ("Youth"), "Hlobus" ("Globe"), "Vsesvit" ("Universe"), "Kino" ("Cinema"), "Zhyttia i Revoliutsiia" ("Life and Revolution"). The name of this talented person, according to his freedom-loving vision, ie dissent, did not fit into the workers ‘and peasants’ theme of the newly created socialist realism, as the leading and defining line of the party in the literary process. The manifesto of the All-Ukrainian Congress of Proletarian Writers put a categorical slogan: a resolute struggle of the cultural front workers, to whom the party delimited primarily: writers, journalists, and filmmakers, "for the international class union of Ukrainian literature against the bourgeois nationalist, for the volitional active proletarian worldview in the literature against the bourgeois and passive, for social art versus individualistic-bohemian…". The workers ‘and peasants’ sickle and hammer became a reliable tool in the Bolshevik mowing and threshing of literary talents. During his life, Zhyhalko published three books: a collection of short stories "Single Shot" (publishing house "Mass", K. 1927), the novel "Shadows in the Alleys" (State Publishing House of Ukraine, H.-K., 1930), and the novel "Lime Blossom"State Publishing House of Ukraine, H.-K., 1930). All the works soon got into special funds. Much of the author’s work was destroyed during court inquiries. Serhii Zhyhalko’s hitherto unknown work is doomed to return to the Ukrainian reader, to enrich the spiritual world of Ukrainians, so ungratefully forgotten in the oppressive era of the Soviet Communist Inquisition.

Sur le plan esthétique, Jahrgang 45 de Jürgen Böttcher (1966/1990) est sans aucun doute l'un des films les plus radicaux de la DEFA. Non seulement il se caractérise par un recours extrêmement prononcé aux prémisses esthétiques du cinéma européen de l'après-guerre, mais il génère en même temps un moment profondément subversif. Ainsi, à travers sa dimension documentaire, il oppose, d’une part, une autre conception de réalisme à la doctrine esthétique du réalisme socialiste. D’autre part, il défie l’idée d’une progression continuelle du socialisme par des moments de suspension de la narration. Jürgen Böttchers Jahrgang 45 (1966/1990) hat in ästhetischer Hinsicht zweifelsohne als einer der radikalsten Filme der DEFA-Produktion zu gelten. Dabei zeichnet er sich nicht nur durch einen äußerst ausgeprägten Rekurs auf die ästhetischen Prämissen des modernen europäischen Kinos der Nachkriegszeit aus, sondern generiert darüber zugleich ein zutiefst subversives Moment. Der ästhetischen Doktrin des sozialistischen Realismus wird hierbei einerseits mit der dokumentarisches Dimension des Films eine andere Konzeption von Wirklichkeit entgegengestellt. Andererseits wird mittels beständiger narrativer Suspension der Impetus einer kontinuierlichen geschichtlichen Progression des Sozialismus untergraben.

En este libro se analizan los usos de la música en el cine en Chile en términos de significado e interpretación considerando las circunstancias sociopo-políticas que han marcado al país durante el siglo XX. El marco temporal de esta pesquisa abarca desde 1939 cuando se establece la producción sostenida de películas con sonido óptico en el país y 1973, cuando el golpe de Estado cívico-militar destruyó todos los pilares del campo cultural en Chile y muchos cineastas y compositores partieron al exilio. Este trabajo se propone desafiar la historiografía y la investigación existente poniendo el acento en la dimensión sonora del cine chileno. Lejos de ser un aspecto secundario y decorativo, la música ha sido un elemento central en distintos momentos y prácticas del cine chileno tanto a nivel interno en sus propuestas formales y narrativas como en el nivel externo en su discursividad y vínculos con lo social y político.

Der Autor beleuchtet Entwicklungen im 19. Jahrhundert von romantisch inspirierten Stücken, über lokale Possen bis zu avancierten Gesellschaftskomödien und Spielformen des Varietés. Das Buch resümiert für das 20. Jahrhundert die Verspannung des Lächerlichen und des Abgründigen im Zeichen der „Postkomödie' und als Reflex katastrophaler Entwicklungen. Auf dem Programm stehen das Avantgardetheater der 1910er- und 1920er-Jahre, das absurde Theater von Beckett, Ionescu und Dürrenmatt sowie das postmoderne Theater der Gegenwart, in dem sich der Widerspruch von grotesker Destruktion und komischer Konstruktion exemplarisch zeigt. Auch das Kino spielt seit seiner Entstehungszeit mit dem Bizarren und Fremdartigen, was an Stummfilmen von Chaplin, Keaton, Laurel und Hardy gezeigt wird. Einen Schwerpunkt liefert die apokalyptische Komik von Monty Python, Luc Besson und Edgar Wright. Der Band führt die Auseinandersetzung mit der Geschichte und Theorie des gespielt Komischen fort, die im ersten Band thematisiert wurde, in „Das verlorene Buch. Geschichte und Theorie gespielter Komik von den Anfängen bis ins 18. Jahrhundert'. Grundlage beider Bände sind die „Lost-Book'-Masterseminare an der Ruhr-Universität Bochum.

Leseprobe ----- Zusammenfassung Der Beitrag beschaftigt sich mit Reprasentationen Jugendlicher im dokumentarischen Film zwischen 1945 und 2005, die er mit jugendsoziologischer Forschung in Beziehung setzt, indem er fragt, welche Erkenntnisse die Jugendsoziologie und der dokumentarische Film uber Jugendliche seit 1945 in Deutschland, inklusive der DDR, hervorgebracht haben. Dabei reflektiert er die hochst unterschiedlichen methodischen Zugangsweisen und untersucht, ob, und wenn ja, sich beide zueinander verhalten, gar wechselseitig beeinflusst haben. Dafur werden in einem ersten Schritt die zentralen jugendsoziologischen Arbeiten und deren Diffusion in fachinterne, aber auch offentliche Diskurse rekonstruiert. Im zweiten Schritt werden exemplarisch signifikante dokumentarische Filme uber Jugendliche zwischen 1945 und 2005 sowohl inhaltlich als auch hinsichtlich ihrer asthetischen Ausdrucksformen vorgestellt und zeithistorisch kontextualisiert. Sowohl in der Jugendsoziologie als auch in dokumentarischen Filmen lassen sich ubereinstimmende zeitliche Phasenmuster identifizieren, die abschliesend aufeinander bezogen werden, um ihre jeweiligen zeitdiagnostischen, aber auch prognostischen Potentiale auszuloten. Schlagworter: Jugendfilm, Jugenddokumentarfilm, Medien und Jugend, Jugend und Kino, Jugendsoziologie, Gesellschaftstheorie und Jugend ----- Communicating Tubes? Representations of Young People in Documentary Film and Sociology between 1945 and 2005 Abstract The article deals with representations of youth in documentary films between 1945 and 2005, relating it to youth sociological research by asking what insights youth sociology and documentary film have produced about young people in Germany, including the GDR. In doing so, it reflects on the very different methodological approaches and examines whether, and if so, both of them have mutually influenced one another. In a first step youth sociological work and its diffusion into internal as well as public discourses is reconstructed. In the second step, some significant documentary films about young people between 1945 and 2005 are presented in terms of content and their aesthetic forms of expression. In youth sociology as well as in documentary films, coinciding temporal phase patterns can be identified. Therefore, both are related finally to each other in order to track out their time-diagnostic as well as prognostic potential. Keywords: youth film, youth documentary film, media and youth, youth and cinema, youth sociology, sociological theory and youth, youth studies ----- Bibliographie: Heinze, Carsten/Ralfs, Ulla: Kommunizierende Rohren? Reprasentationen Jugendlicher im dokumentarischen Film und in der Soziologie zwischen 1945 und 2005, Diskurs Kindheits- und Jugendforschung / Discourse. Journal of Childhood and Adolescence Research, 4-2020, S. 425-445. https://doi.org/10.3224/diskurs.v15i4.07

the social conditions of Indians as Native Americans for the treatment of white people who are immigrants from Europe in America. This research explores aspects of the reality of Indian relations with European immigrants in America that have an impact on discriminatory actions against Indians in John Steinbeck's novel The Pearl. Social facts are traced through fiction as part of the genetics of literary works. The research method used is genetic structuralism, a literary research method that traces the origin of the author's imagination in his fiction. The imagination is considered a social reality that reflects events in people's lives. The research data consist of primary data in the form of literary works, and secondary data are some references that document the background of the author's life and social reality. The results of this research indicate that racist acts as part of American social facts are documented in literary works. The situation of poor Indians and displaced people in slums is a social fact witnessed by John Steinbeck as the author of the novel The Pearl through an Indian fictional character named Kino. Racism is an act of white sentiment that discriminates against Native Americans, namely the Indian community.

Recently, there has been a steady increase in the interest of specialists in various fi elds in audiovisual documents and archival collections, as they are a kind of repository of semantic and fi gurative information, and their involvement in comprehensive research allows more objective tracking of historical phenomena and processes. The purpose of the study is to analyze the genre spectrum, topics, content and information potential of audiovisual documents of the Central State Archives of Cinema, Audio and Visual Documents of Ukraine named after H. Pshenychny, devoted to the development of science and scientifi c cinema of the 20th century. Research methods. The basis of the study are theoretical developments and concepts of foreign and domestic scholars in the fi eld of archival science, fi lm studies, source studies. The work is carried out using general scientifi c methods of analysis and synthesis based on the principles of historicism and objectivity. Methods of source criticism, chronological, systemic, typological analysis, structural and functional were also used in covering the topic. Scientifi c novelty. The problem of using audiovisual documents as historical sources is increasingly coming to the center of domestic and foreign scientifi c discourse. Audiovisual documents of the Central State Archives of Cinema, Audio and Visual Documents of Ukraine named after H. Pshenychny, devoted to the development of science and scientifi c cinema of the 20th century, were not the subject of a separate independent study; the composition of the archival «scientifi c» fi lm collection is presented for the fi rst time. Prospects for further research. A detailed study of individual audiovisual documents and thematic groups of documents from the collection of the Central State Archives of Cinema, Audio and Visual Documents of Ukraine named after H. Pshenychny, comparing them with other archival documents will contribute to a more complete and in-depth understanding of various phenomena and processes. Conclusions. The Central State Archives of Cinema, Audio and Visual Documents of Ukraine named after H. Pshenychny preserves a signifi cant variety of documentaries of «scientifi c cinema», which can be a solid basis for studying the history of science and technology in different decades of the 20th century in Ukraine and for representations of scientifi c topics on the screen. References: Bezklubenko, S. D. (2007). Yak robytsia film (vydy i zhanry) [How a film is made (kinds and genres)]. Pytannya kulturolohiyi: Zbirnyk naukovych prac, 23, 160–169. [in Ukrainian]. Briukhovetska, L. (2018). Perervanyi polit. Ukrainske kino chasiv VUFKU: sproba reconstrukcii [The interrupted flight. Ukrainian cinema from the times of VUFKU: reconstruction attempt]. Kyiv: Vydavnychyj dim «Kyivo-Mohylianska Akademija. [in Ukrainian]. Eitzen, D. 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Arkhivy Ukrainy, 1, 150–162. [in Ukrainian]. Kobelkova, L. A. (1998). Kvoprosuob analize informacionnogo potenciala audiovizualnyh dokumentov [On the question of informational potential analysis of audiovisual documents]. Vestnik arhivista, 2, 74–79. [in Russian]. Konyk, A. (2012). Istorichna pamiat yak кomuniкatyvnyj concept. [Historical memory as a communicative concept]. Visnyk Lvivskoho natsionalnoho universitetu im. I. Franka. Seriya zhurnalistyka, 33, 112–116. [in Ukrainian]. Kovalska, L. A. (2012). Kinodzherelnyj masyv yak audiovizualne svidchennya partyzansko-pidpilnoyi borotby 1941–1945 rr. [Cinema source array as an audiovisual evidence of the partisan and underground struggle of 1941–1945]. Istorychni zapysky, 33, 97–100. [in Ukrainian]. Kovalska, L. A. (2013). Specyfika analizu teledokumentalistyky yak dzherela z istoriyi Ruhu Oporu v roky Velykoyi Vitchyznyanoyi vijny [The analysis specifics of TV documentary films as the sources on the history of the Resistance movement during the Great Patriotic War]. Istorychni i politolohichni doslidzhennya, 1(51), 40–45. [in Ukrainian]. Magidov, V. M. (1992). Kinofotofonodokumenty kak istoricheskij istochnik [Cinema, photo and audio records as the historical source]. Otechestvennaja istorija, 5, 104–116. [in Russian]. Magidov, V. M. (2005). Kinofotofonodokumenty v kontekste istoricheskogo znanija [Cinema, photo and audio records in terms of historical knowledge]. Moskva: RGGU. [in Russian]. Mazur, L. N. (2015). Vizualizaciia istorii: novyj povorot v razvitii istoricheskogo poznaniya [History visualization: new turn in the development of historical perception]. Quaestio Rossica, 3, 160‒178. [in Russian]. Naumova, L. (2014). Umovy vynyknennya ukrainskoho natsionalnoho kinematohrafa i diialnist VUFKU [Conditions for the establishment of the Ukrainian national cinematography and the activities of All-Ukrainian Photo Cinema Administration]. Naukovyj Visnyk Kyivskoho natsionalnoho universitetu kino i telebachennia imeni I. K. Kаrpenка-Kаrоhо, 15, 152‒160. [in Ukrainian]. Osnovni napryamky diyalnosti VUFKU [Main directions of the All-Ukrainian Photo Cinema Administration activity]. Retrieved March 12, 2020, from https://uk.wikipedia.org/wiki/ [in Ukrainian]. Ovsiyuk, O. (2017). Kartohrafiya i hronolohia stolychnoho sinematohrafa: kyivske kino pershoyi polovyny XX stolittia [Cartography and chronology of the capital cinematography: cinema in Kyiv throughout the first half of the 20th century]. Ukraina Moderna. Retrieved March 12, 2020, from http://uamoderna.com/md/ovsiuk-cinema [in Ukrainian]. Prozhiko, G. S. (1980). Zhanry v sovetskom dokumentalnom kino 60–70-h godov: uchebnoe posobie [Genres of the Soviet documentary films of the 1960s‒1970s: study guide]. Moskva: VGIK. [in Russian]. Roslyak, R. V. (2014). Thematychne planuvannya v ukrainskij kinematohrafii doby VUFKU [Thematic planning of Ukrainian cinematography in the period of All-Ukrainian Photo Cinema Administration]. Naukovyj Visnyk Kyivskoho natsionalnoho universitetu kino i telebachenna imeni I. K. Kаrpenка-Kаrоhо, 15, 167‒172. [in Ukrainian]. Seksenbaeva, G. A. (2011). Kinofonofotodokumenty kak istoricheskij istochnik: uchebnoe posobie [Cinema, photo and audio records as the historical source: study guide]. Almaty. [in Russian]. Trymbach, S. V. (n.d.) Kino naukovo-populiarne. In Encyklopediya suchasnoyi Ukrainy [Popular science cinema. In Encyclopedia of modern Ukraine]. Retrieved February 10, 2020, from http://esu.com.ua/search_articles.php?id=6928 [in Ukrainian]. Trymbach, S. V. (n.d.). Kroky za horyzont. 85 lit tomu narodyvsya Feliks Sobolyev [Steps across horizon. 85 years ago Feliks Sobolev was born]. Retrieved April 18, 2020, from kinoduk.com [in Ukrainian]. Vasilkov, I. (1982). Iskusstvo kinopopuliarizacii: ocherki teorii nauchno-populjarnogo kino [The art of movie popularization: analytical review on the theory of popular science cinema]. Moskva: VGIK. [in Russian]. Venhrynovych, O. B. (2015). «Naukove kino» yak osoblyva haluz ekrannoho mystectva [«Scientific cinema» as a special branch of the on-screen art]. Visnyk KNUKiM. Seriya mystectvoznavstvo, 32, 21–26. [in Ukrainian]. Yemelianova, T. O. (2019). Formuvannya arkhivnyh audiovizualnyh kolekcij: novitni tendencii ta vyklyky rozvytku [The formation of archival audiovisual collections: current trends and development challenges]. Arkhivy Ukrainy, 3, 100‒112. [in Ukrainian]. Yemelianova, T. O. (2015). 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El presente trabajo explora y sistematiza la concepción de lo cinematográfico en la obra de Martin Heidegger desde su primera mención en su bibliografía en 1929 –Introducción a la filosofía– hasta sus apuntes personales y sus seminarios de 1944. En primer lugar, pretendemos contribuir a la clarificación de un aspecto apenas tratado en los estudios de su filosofía del arte: su conflictiva relación con el cine, entendido siempre o bien como un proceso de exhibición vinculado con la vertiente nihilista de la técnica (Kino) o como un entretenimiento banal para las masas (Film). En segundo lugar, pretendemos contextualizar y explorar una colección de textos que pueden ser entendidos como una discusión más o menos explícita con los mecanismos de control cultural de la UFA de Goebbels, tomando como referencia tanto aquellas intervenciones realizadas de manera pública –especialmente su primer seminario sobre Heráclito de 1943–, como sus propias anotaciones privadas consignadas en los Cuadernos negros, las Meditaciones y los Apuntes. This work explores and systematizes the conception of cinematography in Martin Heidegger’s work from his first mention in his 1929 seminar –Introduction to Philosophy– to his personal notes and his 1944 seminars. In the first place, we intend to contribute to the clarification of an aspect briefly touched in the studies of his philosophy of art: his conflictive relation with cinema, always understood either as an exhibition process linked to the nihilistic side of the technique (Kino) or as a banal entertainment for the masses (Film). Secondly, we intend to contextualize and explore a collection of texts that can be understood as a more or less explicit discussion with the cultural control mechanisms of Goebbels UFA. We will analyze both those interventions made in public –especially his first seminar on Heraclitus in 1943–, as well as his own private annotations consigned in the BlackNotebooks, the Meditations and the Notes.

This study is aimed to compare two methods to determine the potential for bankruptcy of the company. The method used is the Altman (Z Score) and Zavgren (Logit Analysis) models. The Z Score model is a method to predict the financial difficulties, where the score value on the Altman Z Score classifies whether a company being bankrupt or not. Zavgren developed bankruptcy prediction model with Logit Analysis which divide bankruptcy classifications. The identification problem in this research are the decline in profits occurred from the end of 2016 until 2018, and the mismatch of the increase in profits to the increase the number of assets in the Cosmetics Company, through the use of secondary data from the Indonesia Stock Exchange of companies with code MRAT, KINO, TCID, dan MBTO. Thus, the financial state of cosmetics companies listed on the Indonesia Stock Exchange (BEI) during the 2016 to2018, according to the Altman Z Score model can be categorized into 2 criteria, they are: Gray Area; MBTO and Sound Area: MRAT, KINO and TCID. Meanwhile, based on the Zavgren model, MRAT, KINO, TCID and MBTO were declared as Sound.

What can the Jewish myth of the Golem teach us about artificial intelligence? This article explores the Golem as one of the earliest AI prototypes and a myth that became a foundational story of sci-fi cinema. The Golem sets the parameters of opposition between men and intelligent or sentient machines, and at the same time points to possible third options beyond the dialectic of control.

This is a review of anthropologist Ilya Utekhin’s What Is Visual Anthropology: A Guidebook on the Classic of Ethnographic Cinema. On the example of classical ethnographic films of the 20th century, the monograph considers the phenomenon of ethnographic cinema as an important part of visual anthropology. The book’s main intent is to show how outstanding projects that shaped visual anthropology as a discipline posed key questions for anthropology as a whole. These include nonverbal communication, the socialization and association of personality types with the dominant ethos of culture, the form and function of ritualized aggression in tribal society, obsession and communication with other beings, psycho-pathology, boundaries of normality, arrangement of specialized social institutes, boundaries of human beings and human projections in relations between human beings and animals. The review focuses on the key problems of developing visual anthropology as a discipline and how they were reflected in films.

Kunstpädagogik ist eine wissenschaftliche Disziplin mit vielen Facetten und Berührungspunkten. Die Beiträge des Sammelbandes sind ein Versuch, das vielfältige Fach durch Überschneidungen und Abgrenzungen zu anderen Disziplinen neu zu konturieren. Aus Perspektive der Philosophie, Architektur, Literatur, Kunstgeschichte, Kunstvermittlung, der künstlerischen Praxis und der Kunstpädagogik untersuchen die Autor:innen Gemeinsamkeiten und Anknüpfungspunkte. Zentrale Bezugspunkte der Beiträge sind dabei die verschiedenen Positionen zur Theorie und Praxis der Kunstpädagogik. Die Autor:innen zeigen, wie stark die Diskurse von den berufsbiografischen Perspektiven, den persönlichen Blicken der Akteur:innen, ihren wissenschaftlichen und künstlerischen Schwerpunkten beeinflusst werden. Mit diesen Betrachtungen eröffnet der Band eine Alternative zu den „Richtungen' der Kunstpädagogik, die als fest umrissene „Positionen' einiger Protagonist:innen in der Kunstpädagogik teilweise nebeneinander existieren. Die Beiträge machen die Differenz der unterschiedlichen Positionen nachvollziehbar und geben Raum für die Entwicklung didaktischer Theorien.

Die vorliegende Arbeit vergleicht die Filmf��rderungssysteme auf Bundesebene in Deutschland und Brasilien. Dia Analyse der gegenw��rtigen normativen Strukturen in beiden L��ndern umfasst vier Kernpunkte: i - die in den Rechtsinstrumenten zum Ausdruck gebrachten Ziele; ii- die Funktionsweise und Organisationsstruktur der F��rderinstitutionen; iii - die Ma��nahmen zur Finanzierung der verschiedenen Bereiche der Filmwirtschaft; iv - die rechtlichen Kriterien f��r die Gew��hrung von Finanzmittel. Solche Punkte werden als Bestandteile eines Systems von Rechtsnormen verstanden, durch das der Staat das einheimische Kino in beiden L��ndern f��rdert und sch��tzt. Die vergleichende Analyse des deutschen und brasilianischen Rechtssystems ber��cksichtigt die drei grundlegenden Aspekte eines Films: wirtschaftlich, kulturell und medial. Unterschiede zwischen deutschem und brasilianischem F��deralismus werden ebenfalls ber��cksichtigt. Ziel dieser Arbeit ist es, zu untersuchen, inwieweit Ziele, Institutionen, F��rderarten und Kriterien rechtlich miteinander vereinbar sind und ob die Rechtsstruktur der derzeitigen Filmf��rderungssysteme den deutschen und den brasilianischen Staaten dazu bringen kann, ihre legalen Zwecke zu erreichen., The present work compares the cinema incentive systems at the federal level in Germany and Brazil. The analysis of the current normative structures in both countries covers four key points: i- the objectives expressed in the legal instruments; ii- the mode of operation and organizational structure of the incentive institutions; iii- the types of measures adopted to finance the different areas of the cinema economy; iv- the criteria adopted for granting incentives. Such points are understood as components of a system of legal norms through which the State promotes and protects national cinema in both countries. The comparative analysis of the German and Brazilian legal systems takes into account the three fundamental aspects of cinema: economic, cultural and media. Differences between German federalism and Brazilian federalism are also considered. The objective of this work is to investigate to what extent objectives, institutions, types of incentives and criteria are legally compatible with each other and if the legal structure of the current cinema incentive systems can lead the German and Brazilian states to reach their legal purposes.

Šī bakalaura darba nosaukums ir “Ziemeļkorejas ikdienas dzīve caur nacionālā kino prizmu”. Mūsdienās sociālos mēdijos bieži parādās ziņas par ziemeļkorejas politiskiem lēmumiem, bet ļoti reti parādās informācija par pašu iedzīvotāju ikdienas dzīvi. Tāpēc šajā darbā autore dod nelielu ieskatu Ziemeļkorejas iedzīvotāju iekdienas dzīvē, maksimāli neskaroties klāt politikas tēmai. Kā arī tiek dots neliels ieskats Ziemeļkorejas ikdienas dzīves kinofilmu attēlojumā. Darba temata aktualitāti izskaidro fakts, ka Ziemelkoreja, savas noslēgtības dēļ arvien vairāk mudina pētniekus interesēties par to, kas ir aiz šīs noslēgtas valsts sienām. Bakalaura darbs ir 40 lapaspuses garš un sastāv no 3 nodaļām ar 3 apakšnodaļām katrā. Par darba mērķi tika uzstādīts izpētīt ziemeļkorejiešu ikdienas dzīvi un salīdzināt ar to, kā tā ir attēlota šīs valsts nacianālajā kino, izvērtējot to, cik liela ietekme ir valsts ideoloģijas propogandai uz Ziemeļkorejas iedzīvotāju ikdienas dzīvi un kinoindustriju. Šī darba pirmajā daļā tiek pētīts ģimenes, mājokļa un ēšanas kultūras attēlojums kino un salīdzināts ar realitāti. Otrajā daļā tiek pētīts darba vides, izglītojošo un armijas attēlojums. Trešajā nodaļā pētīts veselīga dzīvesveida, svētku un brīvā laika attēlojums. Pētot ikdienas dzīves attēlojumu Ziemeļkorejas kino, tika secināts ka kinofilmas ir veidotas pēc valsts ideoloģijas standartiem un tās kalpo tam, lai uzrunātu tautu politiskā vēstijuma izplatīšanai. Tika secināts, ka ziemeļkorejiešu ikdienas dzīve atšķirās no tā, ko var redzēt šīs valsts kinofilmās., The topic of this bachelor’s thesis is “North Korea Everyday Life Through the Lense of National Cinema”. Nowadays, news about North Korea's political decisions often appears on social media, but information about the daily lives of the people themselves is very rare. Therefore, in this work, the author gives a little insight into the daily life of the North Korean people, without touching on the topic of politics. It also provides a brief overview of North Korean cinematography. The topicality of the topic of the work is explained by the fact that North Korea, due to its seclusion, is increasingly encouraging researchers to inquire about what is beyond the borders of this closed country. This thesis is is 40 pages long, and consists of 3 chapters with 3 subsections each. The objective of this paper was to study the daily life of North Koreans and compare them with the way they are portrayed in the country's national cinema, assessing the impact of the country's ideology on the daily life of the North Korean people and the film industry. In the first part of this work, the depiction of family, housing and eating culture in cinema is studied and compared with reality. The second part study the representation of the work environment, educators and the army. The third part study the depiction of a healthy lifestyle, holidays and leisure. Study the depiction of everyday life in North Korean cinema, it was concluded that the films are made according to the standards of national ideology and serve to spread the political message of the people. It was concluded that the daily life of North Koreans was different from what can be seen in the country's films.

Artykuł, zainspirowany "nową falą" studiów nad cywilizacjami, skupia się na sferze, która zwykle pozostaje poza głównym nurtem badań cywilizacyjnych, na kinie. Podstawowym celem artykułu jest pokazanie, że analiza dzieł filmowych może być wartościowym źródłem wiedzy o tożsamości cywilizacyjnej, promowanej przez polityczne i kulturowe elity. Uzupełnia to ujęcia, kładące nacisk na sposoby wykorzystania pojęcia "cywilizacja" w dyskursach politycznych, akademickich czy medialnych, czy też poszukujące danych na temat "tożsamości cywilizacyjnej" określonych społeczeństw za pomocą ilościowych sondaży. Analizowanym w artykule przypadkiem jest hojnie dofinansowany przez ukraińskie państwo historyczny film "Kruty 1918" (Kruty 1918) w reżyserii Ołeksija Szapariewa, który wszedł na ekrany kin w styczniu 2019 roku. Pokazano, w jaki sposób film wyraża "europejski wybór" Ukrainy oraz przy pomocy jakich obrazów i treści tworzy określone wyobrażenia narodu ukraińskiego i jego cywilizacyjnej przynależności. The article, inspired by the "new wave" of civilizational studies, focuses on a sphere that usually remains outside the mainstream of civilizational research: cinema. The main aim of the article is to show that the analysis of film works can be a valuable source of knowledge about the civilizational identity promoted by the political and cultural elite. This complements approaches that focus on ways to use the term "civilization" in political, academic, or media discourses, or to look for data on the "civilizational identity" of specific societies through quantitative surveys. The case analyzed in the article is the historical film Kruty 1918, generously financed by the Ukrainian state, which was released in January 2019. The studies focused on how the film expresses the "European choice" of Ukraine and how it creates specific images of the Ukrainian nation and its civilizational affiliation.

Christoph Seelinger liefert in seiner Promotionsschrift einen Überblick über Legitimations- und Funktionalisierungsstrategien dokumentarischer Toten- und Todesszenen im Erzählkino. Seelingers chronologischer Bogen beginnt bei den frühesten animalischen Toden vor laufender Kamera wie beispielsweise der filmisch festgehaltenen Hinrichtung des Elefantenweibchens Topsy in »Electrocuting an Elephant – Thomas A. Edison« (1903) und er führt bis zu den Hochglanz-Snuff-Videos der Medienabteilung des Islamischen Staates in den 2010er Jahren. Zwischen diesen beiden Polen betrachtet der Autor mit derselben medienwissenschaftlichen Hinwendung arrivierte Arthouse-Filme, vor allem aber auch zahllose als Trash und Exploitation abqualifizierte Vertreter des Bahnhofskinos, die einem akademischen Zugriff bislang entzogen waren. Das Ergebnis ist ein Streifzug durch die verfemteren Regionen der Kinogeschichte und dabei nichts weniger als die erste auführliche Geschichte des Einbruchs realer Todesdarstellungen in die Fiktion des Spielfilms.

Bakalaura darba tēma ir Deivida Linča filmu “Dzēšgumijgalva”, “Ceļš uz nekurieni” un “Malholandas Ceļš” semiotiskā un naratīvā analīze. Teorētiskajā daļā tiek aplūkoti termini, kas aptver problēmas vidi un ir pamats pētījumam naratīvs, kino naratīvs, vizuālais naratīvs, semiotika, kino semiotika un kino valoda. Pētījumā tiks veikta filmu semiotiskā un naratīvā analīze. Darba galvenie uzdevumi ir iepazīties ar teoriju par semiotiku un naratīvu, kino semiotiku, kino naratīvu, iepazīties ar teoriju par darbā izmantotajām pētniecības metodēm, izveidot metodoloģisko pieeju filmu analīzei, apkopot un izanalizēt iegūtos rezultātus un veikt secinājumus. Bakalaura darbā izmantotās pētniecības metodes ir semiotiskā un naratīva analīze., The subject of the bachelor thesis is – “Semiotics and Narrative Analysis of David Lynch's films “Eraserhead”, “Lost Highway” and “Mulholland Drive”. The theoretical part of the study is dealing with the terms like narrative, film narrative, visual narrative, semiotics, film semiotics, film language. The research methods used in the bachelor's thesis are semiotic and narrative analysies. The main tasks of the thesis are to get acquainted with the theory of semiotics and narrative, semiotics of cinema, narrative of cinema, get acquainted with the theory of research methods used in the thesis, develop a methodological approach to film analysis, summarize and analyze the results and draw conclusions. The research methods used in the bachelor's thesis are semiotic and narrative analysies.

This thesis describes the attitude of generation Y to watching films, both in the cinema and at home. The thesis includes a description of the film distribution forms, their advantages and disadvantages for the viewer, and describes the film market before the pandemic and after the lifting of the lockdown (2022). The thesis also includes research on the target audience living in the Czech Republic and covers their preferences for watching video content.

The role of the cinema industry has got stuck between a rock and a hard place lately. Before the corona crisis, cinemas were at its peak in the year 2019. Even if the corona crisis wouldn't happen, the decline of the industry was expected. But since the corona crisis came, streaming platforms were on the rise which hurt cinemas in a way from which they might not recover in the future. During the corona crisis, the cinema industry ceased completely. On the other hand, streaming services were in the spotlight. The corona crisis is for the most part over which means that cinemas are slowly gaining back its strength again. The goal of this thesis is to find out whether cinemas will or will not recover to its former state, whether they will be able to coexist next to the streaming services and if blockbusters will be the only movies to be shown in cinemas while the movies of a smaller budget will find its home on the streaming services. In order to find that out, I'm going to write about the role of cinemas and streaming services throughout the years, I'm going to compare the cinema box office before and after the corona crisis with the increase of subscribers of streaming services and I'm going to present the readers with opinions of both the moviegoers and industry professionals and also with...

Multimediju komunikācija Informācijas un komunikācijas zinātnes Multimedia Communication Information and Communication Sciences Bakalaura darba nosaukums ir “Kvalitatīvu filmu legālai pieejamībai veltītas mājas lapas izveide” un tā autors ir Rīgas Stradiņa universitātes studiju programmas “Multimediju komunikācija” 3. kursa 2. grupas students Kārlis Jānis Krūmiņš. Bakalaura darba vadītāja ir Doc. Art. Dita Rietuma. Bakalaura darba mērķis ir izveidot mājaslapu, kurā tiktu apkopota informācija par kvalitatīvu filmu legālu pieejamību Latvijā. Šī tēma ir aktuālā mūsdienu sabiedrībā, jo gan pieaug pieprasījums pēc filmu skatīšanās tiešsaistē, gan arvien būtiskāks ir jautājums par to legālu skatīšanos. Interneta pirātisms, vēljoprojām ir tikpat aktuāls kā agrāk, it īpaši nelegālai filmu un TV seriālu ieguvei. Lai vairāk pievērstu kino skatītāju uzmanību kvalitatīvām filmām un liktu tiem aizdomāties par to skatīšanās ieradumiem, bakalaura darba autors izveidoja mājaslapu “redzikino.lv”. Mājaslapas “Par mums” sadaļā ir aprakstīta mājaslapas ideja un būtība, informācija par interneta pirātismu Latvijā, kā arī doti kontakti ieteikumiem un sadarbībai. Otra sadaļa “Kur un ko skatīties?” apmeklētājiem piedāvā divu interneta datubāžu visu laiku labāko filmu sarakstu ar to pieejamības statistiku Latvijā reģistrētajās straumēšanas platformās. Bakalaura darba mērķa veiksmīgai izpildei un iecerētā sasniegšanai, autors definēja 4 mērķus. Bakalaura darba uzdevumi: 1. Veikt izpēti par filmu un TV seriālu straumēšanas platformām Latvijā; 2. Izzināt informāciju par kvalitatīvām filmām un to legālu straumēšanu no dažādām interneta kino datubāzēm; 3. Izveidot “WordPress” mājaslapu un tās dizainu; 4. Mājaslapā apkopot iegūto informāciju par kvalitatīvu, legālu filmu pieejamību Latvijā; Bakalaura darba teorētiskā daļa sastāv no 4 nodaļām un 4 apakšnodaļām, kurās aprakstītas Latvijā reģistrētās straumēšanas platformas, interneta pirātisms, kvalitatīvu filmu būtība, interneta kino datubāzes un satura pārvaldes sistēma “WordPress”. Praktiskajā daļā, kas aprakstīta radošajā koncepcijā, bakalaura darba autors ir veicis izpēti, kas tiek atspoguļota autora izveidotā “WordPress” mājaslapā. Bakalaura darbā ir 49 lappuses, 35 informatīvie avoti un 10 pielikumi. The title of the bachelor's thesis is "Creation of a website dedicated to the availability of quality, legal films in Latvia" and its author is Kārlis Jānis Krūmiņš, a 3rd year student of the study program "Multimedia Communication" of Riga Stradins University. The supervisor of the bachelor's thesis is Doc. Art. Dita Rietuma. The aim of the bachelor's thesis is to create a website that would gather information about the availability of legal quality films in Latvia. This topic is relevant in today's society, as the demand for watching movies online is growing, and the issue of watching them legally is becoming increasingly important. Internet piracy is still as prevalent as ever, especially for the illegal acquisition of movies and TV series. In order to draw the attention of cinema lovers to quality films and make them think about their viewing habits, the author created the website "redzikino.lv". The “About Us” section of the website describes the idea and essence of the website, information about internet piracy in Latvia and the contacts for suggestions or partnerships. The second section "Where and what to watch?" offers visitors a list of the best films of all time in two internet databases with their availability statistics on streaming platforms registered in Latvia. To successfully complete the goal of the bachelor's thesis and achieve the intended goal, the author defined 4 goals. Tasks of the bachelor's thesis: 1. To carry out research on film and TV series streaming platforms in Latvia; 2. To find out information about quality films and their legal streaming from various internet cinema databases; 3. Create a “WordPress” website and its design; 4. To summarize the obtained information about the availability of high-quality, legal films in Latvia and display it in the website; The theoretical part of the bachelor's thesis consists of 4 chapters and 4 subchapters, which describe the streaming platforms registered in Latvia, internet piracy, the essence of quality films, the internet cinema databases and the content management system "WordPress". In the practical part described in the creative concept, the author has performed a research, which is reflected in the author's “WordPress” website. The bachelor's thesis contains 49 pages, 35 informative sources and 10 attachments.

Dwudziestolecie międzywojenne było dla Polski bardzo ważnym czasem. Terminem tym jest określany czas pomiędzy końcem I wojny światowej a początkiem II wojny światowej, czyli rokiem 1918-1939. 21 lat wolności i suwerenności państwa polskiego – II Rzeczypospolitej to czas wyjątkowy pod wieloma względami. Rok 1918 zapisuje się bardzo wyraźnie w polskiej historii. To rok odzyskania niepodległości i suwerenności. Polska w pamiętnym 1918 roku staje się wolnym i samodzielnym państwem po 123 latach zaborów (1795-1918). Z okresu międzywojnia pochodzi wiele kluczowych i nowoczesnych aktów prawnych takich jak konstytucja marcowa z 1921, czyli Konstytucja Rzeczypospolitej Polskiej. Media XX-lecia rozwijają się w zawrotnym tempie poszerzając audytorium dla swoich produktów. Radio, prasa, kinematografia i fotografia oraz dopiero planowana telewizja zyskują powszechne narzędzia dzięki, którym przekaz mógł być odbierany na terenie całej wolnej Polski. Inżynierowie i konstruktorzy z zapałem wymyślają coraz to lepsze rozwiązania techniczne. Film niemy zostaje udźwiękowiony. Te epokowe odkrycia rodzimej inżynierii są natychmiast adaptowane przez przemysł. Rusza produkcja urządzeń dzięki, którym Polacy mają dostęp do tworzącej się wówczas kultury i rozrywki. Media pełnią ważną rolę kulturową o charakterze integrującym. Wszystkie te procesy są barwnie opisane w książce "Media dwudziestolecia". Rozwój mediów w XX-leciu sprzyja poszerzaniu się wpływów kultury popularnej. To czas niezwykłego rozwoju piosenki, wodewili, udźwiękowionych filmów, prasy filmowej i kobiecej, mody, dancingów, kin. Cały ów rozrywkowy przemysł zasila kadra znakomitych polskich literatów, poetów, aktorów, muzyków, malarzy, architektów. W książce zostają w sposób bardzo atrakcyjny opisane kwestie związane z fotografią, radiem, prasą, kinem i telewizją. The interwar period was a very important time for Poland. This term is defined as the time between the end of World War I and the beginning of World War II, i.e. 1918-1939. 21 years of freedom and sovereignty of the Polish state - the Second Polish Republic is a unique time in many respects. The year 1918 goes down very clearly in Polish history. This is the year of regaining independence and sovereignty. In the memorable 1918, Poland becomes a free and independent country after 123 years of partitions (1795-1918). Many key and modern legal acts come from the interwar period, such as the March Constitution of 1921, i.e. the Constitution of the Republic of Poland. The media of the 20th century are developing at a dizzying pace, expanding the audience for their products. Radio, press, cinematography and photography, as well as the planned television, gained common tools thanks to which the message could be received throughout free Poland. Engineers and constructors eagerly come up with better and better technical solutions. The silent film is voiced. These epoch-making discoveries of domestic engineering are immediately adapted by the industry. The production of devices thanks to which Poles have access to the emerging culture and entertainment begins. The media play an important cultural role of an integrating nature. All these processes are colorfully described in the book " Media in the Interwar Period". The development of the media in the interwar period is conducive to the expansion of the influence of popular culture. It is a time of extraordinary development of song, vaudeville, sound-enhanced films, film and women's press, fashion, dances, and cinemas. The entire entertainment industry is powered by a cadre of excellent Polish writers, poets, actors, musicians, painters and architects. The book „Media in the Interwar Period” covers issues related to photography, radio, press, cinema and television in a very attractive way