http://hdl.handle.net/11320/10815 2026-06-10T12:13:59Z http://hdl.handle.net/11320/10827 Tytuł: Przyszłość kultury: od diagnozy do prognozy Redaktor(rzy): Kisielewska, Alicja; Kostaszuk-Romanowska, Monika; Kisielewski, Andrzej 2017-01-01T00:00:00Z http://hdl.handle.net/11320/10826 Tytuł: „Polska Światłoczuła” – kino objazdowe i jego publiczność w XXI wieku Autorzy: Wejbert-Wąsiewicz, Ewelina Abstrakt: The goal of this article is sociological reflection about polish traveling cinema, the audience and reception of polish cinema on the basis of three years of observations during the route of traveling cinema “Polska Światłoczuła”. The text uses literature from the field of sociology of culture and art and sociology of film, which were devoted sociological researches of cinema and film. The cinema is considered as a social institution, and the film as a cultural product and human experience. The sociology of film in Poland currently has not developed. The article reminds a heritage of polish sociology of film and describes in this field history and social frame of traveling cinema. This old institution (from the perspective of technological development), operates in the 21st century as a holiday in Poland. 2017-01-01T00:00:00Z http://hdl.handle.net/11320/10825 Tytuł: Oglądanie telewizji a kultura czasu wolnego w Polsce. W poszukiwaniu przyjemności Autorzy: Kisielewska, Alicja Abstrakt: The subject of this article is TV watching as a cultural practice, constituting an element of everyday-life routines in Polish families and households and – until today – the most popular play in free time. Because the history of TV watching in Poland is to a large extent the history of free time, I would like to examine how cultural patterns and norms considering spending free time and leisure by Poles have changed, by analyzing ways of TV watching since 1952, which is considered a beginning of television in Poland, until now. 2017-01-01T00:00:00Z http://hdl.handle.net/11320/10824 Tytuł: Strategie kamp jako reprezentacje hiszpańskich tradycji kulturowych w filmach Pedra Almodóvara Autorzy: Citko, Katarzyna Abstrakt: The films of Pedro Almodóvar are characterized by their spectacularness and splendor. Their essential components are attractiveness, prestige, charm, glamour. Almodóvar uses in his work a rich tradition of Spanish culture, with specific aesthetics, which can be compared to categories of glamour and camp. This phrases refers both to the aesthetic category of beauty and to the beauty, and its representations are found mainly in the mass culture, fashion, photography and interior design. Constituent features of glamour are associated with its multi-functionality that leads to impracticality, excessive ornamentation, sensuality and eroticism. Such representations are very characteristic for Pedro Almodóvar's cinema. However, the creative strategies of the director are original and do not rely solely on patterns or superficial inspirations. Almodóvar uses his glamour aesthetics in his own version of camp to determine the condition of contemporary Spanish society and Iberian culture through a variety of strategies. At the same time, the treatments of the rich Spanish cultural traditions used by the director, recovers her forgotten patterns in the modern world, restoring their meaning and codes. They show how it is possible to transform traditional themes, motifs and patterns into stories that are important from today's perspective. Pedro Almodóvar invokes a variety of patterns from traditional Spanish culture to show how their former meaning is changed and redefined by modern society. He takes the difficult task of facing the rich tradition of religious Spanish Catholicism (represented by mystics, saints, monks, baroque cathedrals and altars, statues of Virgin Mary, processions and fiestas); bullfighting; national dances and songs; the patriarchate's established social norms (machismo); cult of football as a national sport. Using new codes to read traditional patterns, Almodóvar builds his own strategy by introducing personal emotional engagement and homosexual preferences into his works. Therefore, the campaign strategies implemented in Almodóvar's cinema appeal primarily to the consciousness of the audience, because the cinema of Almodóvar’s is both a spectacle and its own auto-parody. This is particularly evident in the Almodóvar’s parodies of television shows. The effect of a dazzling spectacle is also gained by referring to the style of Hollywood melodramas, especially in the 1950s. It is therefore possible to conclude that the reference to the rich cultural heritage and its revelation in the "rejuvenated" form becomes an element of the Almodóvar’s diagnosis of how important is the former for the present. At the same time, the cinema of Pedro Almodóvar demonstrates the possibility of remitologization and transformation of the old codes and representation in the new, and shows the role of tradition for the creation of a new, postmodern society 2017-01-01T00:00:00Z