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The paper aims to examine the basic elements of Lacan’s concept (ethics) of lust, present the author’s reading of Antigone applying the same key, and, using these principles, employ certain postulates of Lacan’s psychoanalytic theory on video games. Dark Souls was chosen as a video game that can serve as a fertile ground for further analysis. The analysis itself is not only based on the diegesis level of the game, but more importantly on the level of game mechanics with an emphasis on repetition as a crucial segment. The paper looks at video games (primarily Dark Souls) from the perspective of the critical theory which encompasses psychoanalytic ideas, primarily by Jacques Lacan, and offers an introduction into the application of those ideas in an interrelationship with the fastest growing medium. [ABSTRACT FROM AUTHOR]

This paper centres on Bogdan Žižić’s documentary films, aiming at providing arguments, on the basis of the number and quality of Žižić’s documentaries, for the claim that Žižić was primarily a documentary film author and only secondarily a feature-length film author. Reviewing films, the author of the paper establishes a thematic diversity of Žižić’s documentaries, ranging from intimist films about artists and people with health problems, emphasising the intimate even when tackling social topics, to strongly socially engaged films. Furthermore, stylistic diversity of his documentary films is described, from a more direct approach to reality inspired by cinéma vérité and direct cinema to the more indirect relationship to the reality through narrator’s speech, preparedness, symbolism, subjective frames, stylizations and philosophical discourse and a frequently present leitmotif pro- cedure. Žižić’s documentary films Jasenovac (1966), Praise to the Hand (1968), Foreign Worker (1977), One Life (1985) and Damnatio memoriae (2000) are analysed in more detail. [ABSTRACT FROM AUTHOR]

This paper centres on Bogdan Žižić’s documentary films, aiming at providing arguments, on the basis of the number and quality of Žižić’s documentaries, for the claim that Žižić was primarily a documentary film author and only secondarily a feature-length film author. Reviewing films, the author of the paper establishes a thematic diversity of Žižić’s documentaries, ranging from intimist films about artists and people with health problems, emphasising the intimate even when tackling social topics, to strongly socially enaged films. Furthermore, stylistic diversity of his documentary films is described, from a more direct approach to reality inspired by cinéma vérité and direct cinema to the more indirect relationship to the reality through narrator’s speech, preparedness, symbolism, subjective frames, stylizations and philosophical discourse and a frequently present leitmotif pro- cedure. Žižić’s documentary films Jasenovac (1966), Praise to the Hand (1968), Foreign Worker (1977), One Life (1985) and Damnatio memoriae (2000) are ana- lysed in more detail. [ABSTRACT FROM AUTHOR]

At the beginning of the 1950s, an amateur cinema clubs network started developing in Yugoslavia. These cinema clubs soon became centres of experimental films production and development. In order to understand Yugoslav experimental film in a more comprehensive manner, the author of the paper analyses its institutional and production framework at the time and states a thesis about the organized cinema amateurism as an aspect of identity homogeniza- tion of the Yugoslav society. The paper also touches on the relationship between this branch of film making and professional cinema, the discourse presence of which formed the position and (self)awareness of amateur experimentalists to a large extent. The comparative model for the analysis of emancipation and market position of Yugoslav experimental film is the New York City based The Film-Maker’s Cooperative, serving as a model for the attempt to organize Yugoslav experimental film via the JUFIKO initiative (the Yugoslav Film Cooperative). Amateur experimental film is looked at through the optics of commercial activities in the socialist system, opening neo-avant-garde ideological questions and the questions about the discipline to which this film belongs – is it “art” or “film”. [ABSTRACT FROM AUTHOR]

This research paper aims at demonstrating how the democratization of the (hyper)media domain represents a precondition for the possibility of the transgression of the entire commodification systematics of consumer culture in the postmodern period. Analysing the content of web-pages from the research sample, the authors recognize the sexual nature of pornographic practices of “ordinary people” as well as the sociological importance of the ever larger attachment of amateurs to digital “gift economy” which is not only reflected in the new, trans-economic modality of sexual activism but also in the fact that the consumeristic concept of sexual experience mediation – as a generic code for “standardized” pornography – loses its universalizing perspective. Instead of the mainstream ordinarity of money exchange for the visual pleasure of consumption, porn enthusiasts’ political economy interprets pleasure as a form of public good and opens up a new scopophilic hybris of mutuality of voyeurism and exhibitionism. [ABSTRACT FROM AUTHOR]

The subject-matter of this paper is the trailer for Guillaume Nicloux’s film The Kidnapping of Michel Houellebecq (L’enlevement de Michel Houellebecq, 2014). The aim is to explore how the metalepsis was built on the Houellebecq character in the trailer. The basis for the paper is Hrvoje Turković’s discussion “Is film pragmatism possible?” and the theoretical framework for the explicative part is offered by Gérard Genette’s book Metalepsis. The paper confirms the hypothesis of film as a rhetoric system with pragmatic implications and in the trailer (as a form) it is recognized how cooperative principles are broken for the benefit of the metalepsis. Metanarrative regulations of this film exposé rely on the familiarity with the Houellebecq’s poetics. That is why the perspective part proposes satire as a means of “punctuation”. The conclusion is the statement that the author’s expression implicitly understands the viewer’s familiarity with the broader cinematic and literary context. As for the pragmatic relevance, it is not necessary to watch the entire film; it suffices to watch the trailer. [ABSTRACT FROM AUTHOR]

After a short introduction that provides an explanation of the analytical approach to the subject-matter, the paper focuses on the practical aspect of the theory of literature and film, the narratological analysis. Three fairy-tales in literary and cinematic art form are analysed: Little Red Riding Hood, Hansel and Gretel, and Sister Alenushka and Brother Ivanushka. The author describes the time in terms of order, duration and frequency in art works and makes a comparison between the revealed temporal characteristics. [ABSTRACT FROM AUTHOR]

In this paper we are going to discuss documentary films from the period of the Slovak New Wave. We are going to present documentary films by the representatives of the "first wave", a generation of Slovak filmmakers who graduated from the Prague FAMU in the first decade of its existence and who later participated in the formation of the Slovak new wave - Ján Kadár and Štefan Uher. Afterwards, we are going to discuss the representatives of the later generation who brought the entire Czechoslovak New Wave to its peak and who eventually even surpassed it - Dušan Hanák and Juraj Jakubisko. We are going to try to follow the formation and the development of the Slovak New Wave from the first indications of its beginnings, placing an emphasis on the most important documentary films by aforementioned filmmakers in this period. However, in order to get a full picture of the new wave documentary films, it is going to be necessary to partially discuss the period prior to its emergence as well as the period of its repercussions in the 1970s. [ABSTRACT FROM AUTHOR]

The paper tackles new tendencies in contemporary documentary film, particularly reflexive and performative documentary film. Recent documentary films deconstruct the myth of documentary film authenticity and credibility, at the same time inviting the spectator to become aware of the practices and conventions by way of which the myth came to life. Contemporary documentary films are self-referential, metacinematic and transparent and they clearly show the relationship between the filmmaker and the filmed subjects as well as the mere process of creating film text. Performative documentary films do not rule out some of the traditional postulates on which this type of film is based: they do not present the existing reality, which is one of the fundamental documentary film postulates, but they deconstruct the myth of objective presentation, making room for subjectivity and polyphony and revealing reality manipulation mechanisms. [ABSTRACT FROM AUTHOR]

The essential problem involved in this paper is related to the possibility or the impossibility of defining the genre of Živko Nikolić's films. This problem is particularly conspicuous in Nikolić's documentary films because of their particular narrative-structural features. But although they have an underlined documentary texture, Nikolić's films, conditionally defined as faction, evade any definition and approach the genre of short-feature films. However, regardless of their fabulous dispersion, Nikolić's feature-length films are in this respect both clear and identifiable. Nikolić has never conceived genre as a finished model, or rather a scheme that must be adhered to. So we can say that he was not looking for genre in his films, but the genre found his films. In other words, he has never defined his films in advance, nor is he concerned with the problems of the genre structure. The genre, according to him, is the natural consequence of what makes the thought and idea of the director. The theme of the film was important as well as the message it contained - If it contained it at all! The specific sensibility of this author stood in opposition to all the prevailing dogmatic attitudes and prejudices. [ABSTRACT FROM AUTHOR]

The paper explains the key models of influence circularity in film. Through interdisciplinary analyses of films from all around the world, primarily Japanese and Hollywood cinema (Seven Samurai, The Magnificent Seven, Star Wars, The Hidden Fortress, Yojimbo, A Fistful of Dollars, Battle Royale, The Hunger Games, Zatoichi), as well as a detailed analysis of theoretical texts, we gain insight into the transcultural approach to the study of influence circularity of media texts and to finding possibilities of crossing the boundaries and opening up new comparative analysis perspectives. In this context, we can talk about transcultural media literacy. [ABSTRACT FROM AUTHOR]

The purpose and subject-matter of this paper, alongside providing a short biography of the artist, is to determine the structure of the system analysis of Ivan Ladislav Galeta's body of work. The interpretation and analysis of his works have been approached from Giulio Carlo Argan's "art as research" theoretical platform in which he defines art as a project. When talking about the area of visual arts, Argan draws attention to the idea of an art work as a work of life. This turning point in art occurred in the moment when the need arose for a work of art to be fluent, unfinished, in progress, as well as to point to the flow of life itself and its internal order as such. Argan's idea of artistic research, as a specific aspect of artistic behaviour, refers to the artist's intention, decision or ability to locate and determine a specific basis problem and the need for its solution. Based on Argan's theoretical platform, relating to the postulation of neo-avant-garde tendencies, Galeta's body of work has been classified in four dominant categories. A special emphasis was given to the poststructuralist theory of intertextuality as an instrumental key to a detailed analysis of Galeta's crucial projects/works. [ABSTRACT FROM AUTHOR]

From an ontological point of view, films materialize themselves in our consciousness, opening up something like a border mental space and time, bringing viewers in a state of temporary alienation from reality with a potential function of offering a better understanding of the reality. Feature films that, directly or indirectly, tackle the problem of alienation can with their story make viewers aware of their own alienation and in a powerful audio-visual manner suggest resolving the issue by warning about the "monstrous" side of one's self. Being capable of aggression, destructive and self-destructive actions play an important role in the creation of a meaningful life and shaping of an authentic personality that acts autonomously and responsibly in terms of primarily shaping one's own life. The paper comprises the ontology of film and the interpretation of films such as The Fire Within by Louis Malle, Wolf by Mike Nichols and Fight Club by David Fincher. [ABSTRACT FROM AUTHOR]

Film lists, or rather enumerative line-up of frames of heterogeneous, scenically unrelated scenes according to a very general selective criterion, have got in their pragmatic variant a highly documentational function based on the descriptive functionality of individual frames and the utility of such lists. However, film lists can be poeticized and in such case they can retain the starting descriptive functionality, simultaneously - applying the procedures of elimination of such functionality by way of specific systematic processing - gaining poetic functions as well. This is demonstrated by a detailed analysis of the film Almost Nothing (2016) by Ana Hušman, which while maintaining a detailed descriptive-documentarist nature provides documentarism with a specific direction towards an enjoyment-based meditative relationship applying a special system of image, sound and verbal processing. As film documentarism is prototypically linked to a scene that is coherent in a viewing sense and with which one becomes descriptively familiar by way of a series of variant vistas, the questions is whether documentarism, lists and enumerative presentation can still be considered a legitimate description. The answer is yes: apart from the description of concrete ambience units, photography and film also feature a type of description that can be called a "thematic description" - getting familiar with the variations of uniform details that characterise a broader area that is being tackled in a documentation sense. That kind of description is very suitable for poetization and with it the basic descriptive documentarism also gains a particular interpretative direction: not only are the presented scenes and areas to which these scenes belong being documented, but also the specific, aesthetic striving, observational relationship to those scenes. In conclusion, this film enables a two-sided documentation: of a specific viewing object and a specific model of viewing that object. [ABSTRACT FROM AUTHOR]