Poland–Russia Social Diagnosis 2013
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RUSSIAN WORLD VISION Russian Content Distributor Russian World Vision Signed an Inter- National Distribution Deal with Russian Film Company Enjoy Movies
CISCONTENT:CONTENTRREPORTEPORT C ReviewОбзор of новостейaudiovisual рынка content производства production and и дистрибуции distribution аудиовизуальногоin the CIS countries контента Media«»«МЕДИ ResourcesА РЕСУРСЫ МManagementЕНЕДЖМЕНТ» №11№ 1(9) February №213 января, 1 April, 22, 20132011 2012 тема FOCUSномера DEARслово COLLEAGUES редакции WeУже are в happyпервые to presentдни нового you the года February нам, issue редак ofц theии greatПервый joy itномер appeared Content that stillReport there выходит are directors в кану whoн КИНОТЕАТРАЛЬНЫ Й CISContent Content Report, Report сразу where стало we triedпонятно, to gather что в the 2011 mostм treatСтарого film industryНового as года, an art который rather than (наконецто) a business за все мы будем усердно и неустанно трудиться. За вершает череду праздников, поэтому еще раз РЫНTVО КMARKETS В УКРАИН Е : interesting up-to-date information about rapidly de- velopingнимаясь contentподготовкой production первого and выпуска distribution обзора markets но хотим пожелать нашим подписчикам в 2011 ЦИФРОВИЗАЦИ Я КА К востей рынка производства и аудиовизуального годуAnd one найти more свой thing верный we’d likeпуть to и remindследовать you. емуPlan с- IN TAJIKISTAN, of the CIS region. As far as most of the locally pro- ning you business calendar for 2013 do not forget to ducedконтента series в этом and год TVу ,movies мы с радостью are further обнаружили distributed, упорством, трудясь не покладая рук. У каждого UZBEKISTAN,ОСНОВНОЙ ТРЕН ANDД что даже в новогодние праздники работа во мно свояbook timeдорога, to visit но theцель major у нас event одн forа – televisionразвивать and и and broadcast mainly inside the CIS territories, we media professionals in the CIS region - KIEV MEDIA РАЗВИТИ Я (25) pickedгих продакшнах up the most идет interesting полным хо andдом, original а дальше, projects как улучшать отечественный рынок. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) Permalink https://escholarship.org/uc/item/0hq1924k Author Zelechowski, Jamie Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Germanic Languages by Jamie Leigh Zelechowski 2017 © Copyright by Jamie Leigh Zelechowski 2017 ABSTRACT OF THE DISSERTATION The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) by Jamie Leigh Zelechowski Doctor of Philosophy in Germanic Languages University of California, Los Angeles, 2017 Professor Todd S. Presner, Co-Chair Professor Roman Koropeckyj, Co-Chair My dissertation investigates the cinematic representation of forced migration (due to the border changes enacted by the Yalta and Potsdam conferences in 1945) in East Germany, West Germany, and Poland, from 1945–1970. My thesis is that, while the representations of these forced migrations appear infrequently in feature film during this period, they not only exist, but perform an important function in the establishment of foundational national narratives in the audiovisual sphere. Rather than declare the existence of some sort of visual taboo, I determine, firstly, why these images appear infrequently; secondly, how and to what purpose(s) existing representations are mobilized; and, thirdly, their relationship to popular and official discourses. -
New Polish Films 20082 0 0 8 NPF 2008 Okladka S II:Layout 1 28/1/08 11:22 Page 1 New Polish Films 2008
NNPFPF 22008008 ookladkakladka s I.aiI.ai 28/1/0828/1/08 11:57:1811:57:18 NewPolish Films 20082008 C M Y CM MY CY CMY K 2008 Sponsor of PISF: NPF 2008 okladka s II:Layout 1 28/1/08 11:22 Page 1 New Polish Films 2008 New Polish Films 2008 1 2 New Polish Films 2008 Introduction Dear Ladies and Gentleman, We begin the third year of the Polish Film Institute's activity and the second year after the Act on Cinematography was approved by European Commission in May 2006. For last two years the situation of Polish cinema has changed favourably. In 2005 with the introducing the parliamentary act, Polish cinema received a great opportunity. The Polish Film Institute, created according to world's best standards, has become an institution supporting artists at every stage of film production. The PFI also subsidizes film festivals and retrospectives, supports the infrastructure of cinemas' renewal, promotes Polish cinema abroad, grants professional advancement of filmmakers as well as film schools. We are always trying to be where something important is happening in cinema. The new law and establishing the PFI resulted not only in multiplying the State's expenses on cinema – here I would like to remind that in the worst in this case year of 2002 Ministry of Culture assigned 4.3 million zloty for film production, while only this year the Institute assigned almost 80 million zloty for film production and development. The number of last year's feature film production increased up to 37 titles and in 2007 – 39 feature films have been made. -
Filmy Eldara Riazanowa W Polsce – Z Zagadnień Recepcji
UWM Olsztyn Acta Polono-Ruthenica XXII/4, 2017 ISSN 1427-549X Maria Mocarz-Kleindienst Katolicki Uniwersytet Lubelski Jana Pawła II Filmy Eldara Riazanowa w Polsce – z zagadnień recepcji Produkcje filmowe, zwłaszcza jeśli przekraczają granice kultur narodowych, stają się ważkim medium w interkulturowym pejzażu audiowizualnym. Służą wzajemnemu poznaniu, wzbogacaniu, niekiedy konfrontacji systemów wartości, światopoglądu oraz codziennych realiów jako elementów konstytuujących i zarazem różnicujących obszary kulturowe. Takie spojrzenie na proces przenikania filmu z jednej kultury do innej jest charakterystyczne dla czasów współczesnych, cechu- jących się otwartością na inność kulturową – tę mniej lub bardziej odległą. Jedną z dróg osiągania takich celów jest niewątpliwie recepcja filmu zagranicznego zarów- no przez widownię zinstytucjonalizowaną, zgromadzoną w salach kinowych, jak i widzów indywidualnych, którzy w warunkach domowych mają do swojej dyspo- zycji różne możliwości poznania osiągnięć kinematografii krajowej i zagranicznej. Recepcja w wymiarze indywidualnym i zbiorowym, rozumiana jako pro- ces przyjęcia i odbioru dzieła (w danym przypadku filmu), jego funkcjonowania w przestrzeni kulturowej, jest zjawiskiem konstytuującym receptywne uczestnictwo w kulturze. To pojęcie wyrosłe na gruncie socjologii kultury odnosi się w głównej mierze do zbiorowej postawy intelektualnej związanej z przyswajaniem dzieła przez środowiska profesjonalistów, w mniejszym stopniu widzów-amatorów [Bokszański 1981, 15 i in.]. W przypadku recepcji dzieła filmowego -
Poles and Ukrainians in Daily Contacts
Poles and Ukrainians in daily contacts Nadiia Koval Laurynas Vaičiūnas Iwona Reichardt 2021 Poles and Ukrainians in daily contacts ISBN 978-83-7893- 276-5 Copyright © by Nadiia Koval, Iwona Reichardt and Laurynas Vaičiūnas, 2021 Copyright © by the Jan Nowak-Jeziorański College of Eastern Europe in Wroclaw, 2021 Copyright © by Foreign Policy Council “Ukrainian Prism”, 2021 Copyright © by Friedrich-Ebert-Stiftung, 2021 This research was organized, coordinated and funded by the Representations of the Friedrich Ebert Foundation in Poland and Ukraine. www.fes-polska.org www.fes.kiev.ua Friedrich-Ebert-Stiftung, Representation in Ukraine 34, Pushkinska Street, Kyiv 01024 Ukraine Tel.: +38-044-234-00-38 | fax: +38-044-451-40-31 Responsible: Marcel Röthig | Resident Representative in Ukraine, Friedrich-Ebert-Stiftung Friedrich-Ebert-Stiftung, Representation in Poland ul. Poznańska 3/4, 00–680 Warszawa Responsible: Ernst Hillebrand | Resident Representative in Poland, Friedrich-Ebert-Stiftung The views expressed in this publication are not necessarily those of the Friedrich-Ebert-Stiftung or of the employers of the authors. Commercial use of all the publications and media published by Friedrich-Ebert-Stiftung (FES) is not permitted without the written consent of the FES. The Jan Nowak-Jeziorański College of Eastern Europe is co-funded by the City of Wroclaw. Cover image by DoLasu | www.dolasu-pracownia.pl Layout and design by DoLasu Table of contents 1. Introduction. Why this study matters? 2. Research methodology 3. Research results 3.1. Stereotyping the Other – neighbour, worker, normal guy 3.2. Entrenched asymmetries of the everyday contacts 3.3. Culture and collective memory 3.4. -
Opinions of Film Critics and Viewers
Alexander Fedorov 100 most popular Soviet television movies and TV series: opinions of film critics and viewers Moscow, 2021 Fedorov A.V. 100 most popular Soviet television movies and TV series: opinions of film critics and viewers. Moscow: "Information for all", 2021. 144 p. What does the list of the hundred most popular Soviet television films and TV series look like? How did the press and viewers evaluate and rate these films? In this monograph, for the first time, an attempt is made to give a panorama of the hundred most popular Soviet television films and serials in the mirror of the opinions of film critics, film critics and viewers. The monograph is intended for high school teachers, students, graduate students, researchers, film critics, film experts, journalists, as well as for a circle of readers who are interested in the problems of cinema, film criticism and film sociology. Reviewer: Professor M.P. Thselyh. © Alexander Fedorov, 2021. 2 TABLE OF CONTENTS Introduction ………………………………….................................................................................... 4 100 most popular Soviet television movies and TV series: opinions of film critics and viewers ……………………………........................................................................................... 5 Interview on the release of the book "One Thousand and One Highest Grossing Soviet Movie: Opinions of Film Critics and Viewers"…………………………………………………………….. 119 List of "100 most popular Soviet television films and TV series.......................................... 125 About -
Poland – Ukraine Poles – Ukrainians
POLSKA UKRAINA POLACY UKRAIŃCY POLAND – UKRAINE POLES – UKRAINIANS LOOK ACROSS THE BORDER JOANNA FOMINA JOANNA KONIECZNA-SAŁAMATIN JACEK KUCHARCZYK ŁUKASZ WENERSKI INSTITUTE OF PUBLIC AFFAIRS European Programme Publication ‘‘Poland ---- Ukraine, Poles ---- Ukrainians. A look across the border’’ was prepared as a part of the project ‘‘The perception of Poland and Poles in Ukraine and Ukraine, Ukrainians in Poland’’. The project was financed by the PZU Foundation. English translation: dr Joanna Fomina Cover photo: Mariusz Gaczyński/EastNews All rights reserved. No part of this report may be printed or reproduced without the permission of the publisher or quoting the source. © Copyright by Instytut Spraw Publicznych, Warszawa 2013 Published by: Fundacja Instytut Spraw Publicznych 00----031 Warszawa, ul. Szpitalna 5 lok. 22 tel. (22) 55 64 260, faks (22) 55 64 262 e-mail: [email protected] www.isp.org.pl The Institute of Public Affairs is supported by the European Commission. This publication reflects the views only of the Institute of Public Affairs, and the Commission cannot be held responsible for any use which may be made of the information contained therein. INTRODUCTION An image of a country is related to the perceptions of its relations with one’s home country, its standard of living and economic development as well as its perceived cultural proximity.1 Currently the most popular definition of an image has been proposed by Philip Kotler: it is the sum of knowledge and emotions that a group of people associates with a given object: a state, a product, a company or a service provided by a company. -
Poles and Ukrainians in Daily Contacts
Poles and Ukrainians in daily contacts Nadiia Koval Laurynas Vaičiūnas Iwona Reichardt 2021 Poles and Ukrainians in daily contacts ISBN 978-83-7893- 276-5 Copyright © by Nadiia Koval, Iwona Reichardt and Laurynas Vaičiūnas, 2021 Copyright © by the Jan Nowak-Jeziorański College of Eastern Europe in Wroclaw, 2021 Copyright © by Foreign Policy Council “Ukrainian Prism”, 2021 Copyright © by Friedrich-Ebert-Stiftung, 2021 This research was organized, coordinated and funded by the Representations of the Friedrich Ebert Foundation in Poland and Ukraine. www.fes-polska.org www.fes.kiev.ua Friedrich-Ebert-Stiftung, Representation in Ukraine 34, Pushkinska Street, Kyiv 01024 Ukraine Tel.: +38-044-234-00-38 | fax: +38-044-451-40-31 Responsible: Marcel Röthig | Resident Representative in Ukraine, Friedrich-Ebert-Stiftung Friedrich-Ebert-Stiftung, Representation in Poland ul. Poznańska 3/4, 00–680 Warszawa Responsible: Ernst Hillebrand | Resident Representative in Poland, Friedrich-Ebert-Stiftung The views expressed in this publication are not necessarily those of the Friedrich-Ebert-Stiftung or of the employers of the authors. Commercial use of all the publications and media published by Friedrich-Ebert-Stiftung (FES) is not permitted without the written consent of the FES. The Jan Nowak-Jeziorański College of Eastern Europe is co-funded by the City of Wroclaw. Cover image by DoLasu | www.dolasu-pracownia.pl Layout and design by DoLasu Table of contents 1. Introduction. Why this study matters? 2. Research methodology 3. Research results 3.1. Stereotyping the Other – neighbour, worker, normal guy 3.2. Entrenched asymmetries of the everyday contacts 3.3. Culture and collective memory 3.4. -
UNIVERSITY of CALIFORNIA Los Angeles
UNIVERSITY OF CALIFORNIA Los Angeles The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Germanic Languages by Jamie Leigh Zelechowski 2017 © Copyright by Jamie Leigh Zelechowski 2017 ABSTRACT OF THE DISSERTATION The Representation of Forced Migration in the Feature Films of the Federal Republic of Germany, German Democratic Republic, and Polish People’s Republic (1945–1970) by Jamie Leigh Zelechowski Doctor of Philosophy in Germanic Languages University of California, Los Angeles, 2017 Professor Todd S. Presner, Co-Chair Professor Roman Koropeckyj, Co-Chair My dissertation investigates the cinematic representation of forced migration (due to the border changes enacted by the Yalta and Potsdam conferences in 1945) in East Germany, West Germany, and Poland, from 1945–1970. My thesis is that, while the representations of these forced migrations appear infrequently in feature film during this period, they not only exist, but perform an important function in the establishment of foundational national narratives in the audiovisual sphere. Rather than declare the existence of some sort of visual taboo, I determine, firstly, why these images appear infrequently; secondly, how and to what purpose(s) existing representations are mobilized; and, thirdly, their relationship to popular and official discourses. Furthermore, I articulate to what extent and in what way the experiences of “others” (e.g. Jews, Ukrainians, ii Soviets, etc.) are (or are not) integrated into these narratives of victimhood. To these ends, I conduct close analyses of ten films, focusing on those scenes that depict refugee treks and “repatriate” trains. -
29 May 2015 1
THENew 13 TPolishH POLISH Cinema FILM FESTIVAL 8 APRIL— 29 MAY 2015 1 IN LONDON AT THE BFI SOUTHBANK, FESTIVAL GUIDE ICA, TATE MODERN AND MORE... kinoteka.org.u k Welcome to Kinoteka 13! 2 Welcome to Kinoteka 13! 3 contents WELCOME TO KINOTEKA 13! Welcome to KINOTEKA 13! ....................................................................... 3 This year KINOTEKA Polish Film Festival Pawlikowski will present a special weekend returns to the capital for an extended bumper of screenings of his acclaimed documentaries Special Guests .................................................................................... 4 13th edition. Encompassing all aspects of Polish at the ICA (18th / 19th April), including From film culture, an enticing mix of film, music Moscow to Pietushki and Dostoevsky’s Travels. SCREENINGS & EVENTS and visual arts is on offer with an outstanding WojciecH Wiszniewski RediscoveRed Opening Night Gala ............................................................................... 8 selection of screenings, UK premieres, curated at the ICA on 12th April celebrates the short retrospectives, exhibitions, concerts, interactive career of influential documentarian Wojciech New Polish Cinema .............................................................................. 10 workshops and industry masterclasses with Wiszniewski. He made just 12 films in total Documentary Screenings ........................................................................ 13 special guests. before his premature death at the age of 34. Polish Cinema -
Filmy Eldara Riazanowa W Polsce – Z Zagadnień Recepcji
UWM Olsztyn Acta Polono-Ruthenica XXII/4, 2017 ISSN 1427-549X Maria Mocarz-Kleindienst Katolicki Uniwersytet Lubelski Jana Pawła II Filmy Eldara Riazanowa w Polsce – z zagadnień recepcji Produkcje filmowe, zwłaszcza jeśli przekraczają granice kultur narodowych, stają się ważkim medium w interkulturowym pejzażu audiowizualnym. Służą wzajemnemu poznaniu, wzbogacaniu, niekiedy konfrontacji systemów wartości, światopoglądu oraz codziennych realiów jako elementów konstytuujących i zarazem różnicujących obszary kulturowe. Takie spojrzenie na proces przenikania filmu z jednej kultury do innej jest charakterystyczne dla czasów współczesnych, cechu- jących się otwartością na inność kulturową – tę mniej lub bardziej odległą. Jedną z dróg osiągania takich celów jest niewątpliwie recepcja filmu zagranicznego zarów- no przez widownię zinstytucjonalizowaną, zgromadzoną w salach kinowych, jak i widzów indywidualnych, którzy w warunkach domowych mają do swojej dyspo- zycji różne możliwości poznania osiągnięć kinematografii krajowej i zagranicznej. Recepcja w wymiarze indywidualnym i zbiorowym, rozumiana jako pro- ces przyjęcia i odbioru dzieła (w danym przypadku filmu), jego funkcjonowania w przestrzeni kulturowej, jest zjawiskiem konstytuującym receptywne uczestnictwo w kulturze. To pojęcie wyrosłe na gruncie socjologii kultury odnosi się w głównej mierze do zbiorowej postawy intelektualnej związanej z przyswajaniem dzieła przez środowiska profesjonalistów, w mniejszym stopniu widzów-amatorów [Bokszański 1981, 15 i in.]. W przypadku recepcji dzieła filmowego -
Russian-Polish Relations: a Long Way from Stereotypes to Reconciliation
Russian-Polish Relations: A Long Way From Stereotypes to Reconciliation Peter Cheremushkin Moscow State University Marked by centuries of conflict and profound mutual suspicion, Russian-Polish relations, particularly in the twentieth century, provide a striking example of the difficulties involved in the process of potential reconciliation. The Poles have historically viewed Russia as a foe, and for their part the Russians regarded Poland as a kind appendage to their country. In one way or another this was true both for the Soviet period of history and for the post-Communist world. In the struggle to understand each other’s goals and aspirations, the burden of the past has continued to hamper the creation of new relations. The story of Russian-Polish relations, a story of mutual prejudices between two neighboring nations, has its roots far back in time. Suspicions and allegations alternated with the struggle against the tsarist regime, and the cooperation of Polish and Russian dissidents in the struggle against Communism have continued down to our day.1 These relations were formed against the backdrop of such bloody events as the Polish invasion of Russia at the turn of the sixteenth and the seventeenth centuries, the Russian repression of the Poles during the eighteenth and nineteenth century revolts, the three divisions of Poland in eighteenth century, the investigation of the Katyn crime (the mass killing of Polish prisoners, mostly officers, by Stalin’s secret police NKVD in April,1940), and the incidents at the Tukhol death camp at which Red Army soldiers died after the Soviet-Polish War of 1920.2 The focus here will be on the most recent phase of bilateral relations, starting from the establishment of the new Russia which declared itself a democratic country.