Suchergebnisse

The present day understanding would state that in a context of studies of anthropological, visual studies any view is an equivalent expression of cultural discourse that is why approaching to culture through analysis of a film also may be successfully applied in knowing different cultural models around or even in our own societies. The first theoretical part is dedicated to review a conception of sexuality in a context of western culture: essencelisation vs constructionalism. The second part is dedicated to analysis sexuality as social construction in the discourse of power. M. Foucault is being introduced who underlines sexuality as a social construct in a discourse of power, processes of suppression of sexuality are being analysed as well as outcomes of the process. In a changing society, understanding of the world, new comprehensions concerning traditional conceptions of sexual roles, manifestations and transformation of sexuality as a social construct are being formed. After reviewing Lithuanian cinematography, we notice the changing expression of sexual images, roles, intercommunication. Forms of sexuality which were replaced out of public discourse, normative definitions of proper behaviour earlier, in a present period are simply being reproduced, revitalised – thus constructing a vision of transformation.

The present day understanding would state that in a context of studies of anthropological, visual studies any view is an equivalent expression of cultural discourse that is why approaching to culture through analysis of a film also may be successfully applied in knowing different cultural models around or even in our own societies. The first theoretical part is dedicated to review a conception of sexuality in a context of western culture: essencelisation vs constructionalism. The second part is dedicated to analysis sexuality as social construction in the discourse of power. M. Foucault is being introduced who underlines sexuality as a social construct in a discourse of power, processes of suppression of sexuality are being analysed as well as outcomes of the process. In a changing society, understanding of the world, new comprehensions concerning traditional conceptions of sexual roles, manifestations and transformation of sexuality as a social construct are being formed. After reviewing Lithuanian cinematography, we notice the changing expression of sexual images, roles, intercommunication. Forms of sexuality which were replaced out of public discourse, normative definitions of proper behaviour earlier, in a present period are simply being reproduced, revitalised – thus constructing a vision of transformation.

The present day understanding would state that in a context of studies of anthropological, visual studies any view is an equivalent expression of cultural discourse that is why approaching to culture through analysis of a film also may be successfully applied in knowing different cultural models around or even in our own societies. The first theoretical part is dedicated to review a conception of sexuality in a context of western culture: essencelisation vs constructionalism. The second part is dedicated to analysis sexuality as social construction in the discourse of power. M. Foucault is being introduced who underlines sexuality as a social construct in a discourse of power, processes of suppression of sexuality are being analysed as well as outcomes of the process. In a changing society, understanding of the world, new comprehensions concerning traditional conceptions of sexual roles, manifestations and transformation of sexuality as a social construct are being formed. After reviewing Lithuanian cinematography, we notice the changing expression of sexual images, roles, intercommunication. Forms of sexuality which were replaced out of public discourse, normative definitions of proper behaviour earlier, in a present period are simply being reproduced, revitalised – thus constructing a vision of transformation.

The main objective of this article is to identify the factors which determine the depiction of criminal events in Lithuanian internet media and film, as well as consumer demand for this type of information. The impact of mass media and films is evidenced in the fact that the messages they provide influence our ideas about social, economic and political phenomena and shape our perception of them. Even if a fictional film is based on subjective creativity and its criteria, mass media has to meet the requirements of objectivity; nevertheless, the messages provided by both are a representation of constructed reality. Mass media produces messages about crime, and crime movies help reproduce this information by expanding it with fictional narrative and condensing one aspect or another. In Lithuanian internet media, criminal events are presented every day, and the abundance of these messages hyperbolizes the view of the existing reality. The depiction of many criminal occurrences is used in Emilis Vėlyvis' films Zero and Zero 2. The appearance of this information in mass media and films results in consequences which affect society both negatively and positively. On one hand, information about crime helps to understand safety conditions in society, but on the other hand, it forms a fear of crime and an exaggerated view of criminality. This in turn makes it difficult to distinguish crime from entertainment, because depictions of crime are being presented in various forms of media both as necessary information for society and also as entertainment.

The main objective of this article is to identify the factors which determine the depiction of criminal events in Lithuanian internet media and film, as well as consumer demand for this type of information. The impact of mass media and films is evidenced in the fact that the messages they provide influence our ideas about social, economic and political phenomena and shape our perception of them. Even if a fictional film is based on subjective creativity and its criteria, mass media has to meet the requirements of objectivity; nevertheless, the messages provided by both are a representation of constructed reality. Mass media produces messages about crime, and crime movies help reproduce this information by expanding it with fictional narrative and condensing one aspect or another. In Lithuanian internet media, criminal events are presented every day, and the abundance of these messages hyperbolizes the view of the existing reality. The depiction of many criminal occurrences is used in Emilis Vėlyvis' films Zero and Zero 2. The appearance of this information in mass media and films results in consequences which affect society both negatively and positively. On one hand, information about crime helps to understand safety conditions in society, but on the other hand, it forms a fear of crime and an exaggerated view of criminality. This in turn makes it difficult to distinguish crime from entertainment, because depictions of crime are being presented in various forms of media both as necessary information for society and also as entertainment.

The main objective of this article is to identify the factors which determine the depiction of criminal events in Lithuanian internet media and film, as well as consumer demand for this type of information. The impact of mass media and films is evidenced in the fact that the messages they provide influence our ideas about social, economic and political phenomena and shape our perception of them. Even if a fictional film is based on subjective creativity and its criteria, mass media has to meet the requirements of objectivity; nevertheless, the messages provided by both are a representation of constructed reality. Mass media produces messages about crime, and crime movies help reproduce this information by expanding it with fictional narrative and condensing one aspect or another. In Lithuanian internet media, criminal events are presented every day, and the abundance of these messages hyperbolizes the view of the existing reality. The depiction of many criminal occurrences is used in Emilis Vėlyvis' films Zero and Zero 2. The appearance of this information in mass media and films results in consequences which affect society both negatively and positively. On one hand, information about crime helps to understand safety conditions in society, but on the other hand, it forms a fear of crime and an exaggerated view of criminality. This in turn makes it difficult to distinguish crime from entertainment, because depictions of crime are being presented in various forms of media both as necessary information for society and also as entertainment.

The main objective of this article is to identify the factors which determine the depiction of criminal events in Lithuanian internet media and film, as well as consumer demand for this type of information. The impact of mass media and films is evidenced in the fact that the messages they provide influence our ideas about social, economic and political phenomena and shape our perception of them. Even if a fictional film is based on subjective creativity and its criteria, mass media has to meet the requirements of objectivity; nevertheless, the messages provided by both are a representation of constructed reality. Mass media produces messages about crime, and crime movies help reproduce this information by expanding it with fictional narrative and condensing one aspect or another. In Lithuanian internet media, criminal events are presented every day, and the abundance of these messages hyperbolizes the view of the existing reality. The depiction of many criminal occurrences is used in Emilis Vėlyvis' films Zero and Zero 2. The appearance of this information in mass media and films results in consequences which affect society both negatively and positively. On one hand, information about crime helps to understand safety conditions in society, but on the other hand, it forms a fear of crime and an exaggerated view of criminality. This in turn makes it difficult to distinguish crime from entertainment, because depictions of crime are being presented in various forms of media both as necessary information for society and also as entertainment.

dustry that examined the cultural and economic aspects of the Lithuanian film industry's national and global situation and developments in the 21st century. The authors review changes in the political, legal, tax, and other circumstances in 2011–2014 that led to qualitative changes in the film industry over the last four years. The authors conducted quantitative research in order to properly evaluate the symbolic and cultural national film industry output level. The survey data is analyzed and compared with survey data from the previous year.

dustry that examined the cultural and economic aspects of the Lithuanian film industry's national and global situation and developments in the 21st century. The authors review changes in the political, legal, tax, and other circumstances in 2011–2014 that led to qualitative changes in the film industry over the last four years. The authors conducted quantitative research in order to properly evaluate the symbolic and cultural national film industry output level. The survey data is analyzed and compared with survey data from the previous year.

The objective of this work is to identify collective memory shapes in lithuanian fiction TV and cinema film during soviet period (1957-88). Acording to new popular theoretical approches this work analyses the specific sourse of history - fiction film. The main problem is that this type of resourse is mostly ignored by lithuanian sholarship of history. So this reserach brings lithuanian fiction film up-to-date usual resorces of history. According to research made in this work, it is possible to denitrify new methodical approaches, which help to classify fiction films in which it can be seen past representations. Research of archival origins helps to reconstruct soviet film industry system of Lithuania: the fiction film censorship, the specific "control-gear" of films. It is made a contecstual analysis, which identifies the main political and creative displacements. According to difficult chronological range, it is made the research of individual film censorship cases and it's reasons. It is need because of influence over film content, which is essential in this research. Film content research helps to identify the reconstructions of past and it's sociohistorical approaches. The identification of soviet society collective memory, is possible because of fiction film flexibility: it can show no visible(nonvisible) social reality zones and popular past representations.

The objective of this work is to identify collective memory shapes in lithuanian fiction TV and cinema film during soviet period (1957-88). Acording to new popular theoretical approches this work analyses the specific sourse of history - fiction film. The main problem is that this type of resourse is mostly ignored by lithuanian sholarship of history. So this reserach brings lithuanian fiction film up-to-date usual resorces of history. According to research made in this work, it is possible to denitrify new methodical approaches, which help to classify fiction films in which it can be seen past representations. Research of archival origins helps to reconstruct soviet film industry system of Lithuania: the fiction film censorship, the specific "control-gear" of films. It is made a contecstual analysis, which identifies the main political and creative displacements. According to difficult chronological range, it is made the research of individual film censorship cases and it's reasons. It is need because of influence over film content, which is essential in this research. Film content research helps to identify the reconstructions of past and it's sociohistorical approaches. The identification of soviet society collective memory, is possible because of fiction film flexibility: it can show no visible(nonvisible) social reality zones and popular past representations.

The aim of this MA thesis is to analyze culture-specific items and their translation strategies in Vytautas Petrukaitis' Lithuanian translation of Mario Puzo's famous novel The Godfather (1969) and in Lithuanian subtitles of the film The Godfather (1972) directed by Francis Ford Coppola. In 1969 Vytautas Petrukaitis translated Puzo's novel The Godfather into the Lithuanian language; in 2009 Coppola's film with Lithuanian subtitles appeared on Lithuanian screen and in DVD. Both the novel The Godfather and the subtitles of the film The Godfather include a large number of culture-specific items. The analysis of culture-specific items follows the categorization of culture-specific items suggested by Jurgita Mikutytė; the discussion of translation strategies applied in translation of culture-specific items from English into Lithuanian is based on the classification of translation strategies as proposed by Eirlys E. Davies. The thesis is comprised of the introduction, four sections, the conclusion, two appendices, and a list of references. Part One introduces the subject of culture-specific items and presents their classification and translation strategies. Part Two of the paper discusses the aspects of audiovisual translation and its two main forms; namely, dubbing and subtitling. Part Three is devoted to the issue of adaptation; thus, the relationship between two different mediums, literature and film, is discussed. Part Four, which is composed of two sub-sections, analyses culture-specific items and their translation strategies in Petrukaitis' translation of the novel The Godfather and in the Lithuanian subtitles of the film The Godfather. The first sub-section deals with culture-specific items and their translation strategies in Lithuanian translation of the novel, whereas the second sub-section deals with culture-specific items found in Lithuanian subtitles of the film. Culture-specific items discussed in the present analysis are divided into categories of geographic realia, ethnographic realia, political and social realia, and proper names as suggested by Jurgita Mikutytė. Statistical analysis reveals which translation strategies proposed by Eirlys E. Davies, namely, preservation, localization, omission, addition, globalization, transformation, and creation, are most frequently employed by the translator of the novel, Vytautas Petrukaitis, and the translator of the subtitles (unknown). The conclusion presents the findings of the research. The appendices include all the examples of culture-specific items found in the Lithuanian translation of novel and in the Lithuanian subtitles of the film.

The aim of this MA thesis is to analyze culture-specific items and their translation strategies in Vytautas Petrukaitis' Lithuanian translation of Mario Puzo's famous novel The Godfather (1969) and in Lithuanian subtitles of the film The Godfather (1972) directed by Francis Ford Coppola. In 1969 Vytautas Petrukaitis translated Puzo's novel The Godfather into the Lithuanian language; in 2009 Coppola's film with Lithuanian subtitles appeared on Lithuanian screen and in DVD. Both the novel The Godfather and the subtitles of the film The Godfather include a large number of culture-specific items. The analysis of culture-specific items follows the categorization of culture-specific items suggested by Jurgita Mikutytė; the discussion of translation strategies applied in translation of culture-specific items from English into Lithuanian is based on the classification of translation strategies as proposed by Eirlys E. Davies. The thesis is comprised of the introduction, four sections, the conclusion, two appendices, and a list of references. Part One introduces the subject of culture-specific items and presents their classification and translation strategies. Part Two of the paper discusses the aspects of audiovisual translation and its two main forms; namely, dubbing and subtitling. Part Three is devoted to the issue of adaptation; thus, the relationship between two different mediums, literature and film, is discussed. Part Four, which is composed of two sub-sections, analyses culture-specific items and their translation strategies in Petrukaitis' translation of the novel The Godfather and in the Lithuanian subtitles of the film The Godfather. The first sub-section deals with culture-specific items and their translation strategies in Lithuanian translation of the novel, whereas the second sub-section deals with culture-specific items found in Lithuanian subtitles of the film. Culture-specific items discussed in the present analysis are divided into categories of geographic realia, ethnographic realia, political and social realia, and proper names as suggested by Jurgita Mikutytė. Statistical analysis reveals which translation strategies proposed by Eirlys E. Davies, namely, preservation, localization, omission, addition, globalization, transformation, and creation, are most frequently employed by the translator of the novel, Vytautas Petrukaitis, and the translator of the subtitles (unknown). The conclusion presents the findings of the research. The appendices include all the examples of culture-specific items found in the Lithuanian translation of novel and in the Lithuanian subtitles of the film.

The aim of this MA thesis is to analyze culture-specific items and their translation strategies in Vytautas Petrukaitis' Lithuanian translation of Mario Puzo's famous novel The Godfather (1969) and in Lithuanian subtitles of the film The Godfather (1972) directed by Francis Ford Coppola. In 1969 Vytautas Petrukaitis translated Puzo's novel The Godfather into the Lithuanian language; in 2009 Coppola's film with Lithuanian subtitles appeared on Lithuanian screen and in DVD. Both the novel The Godfather and the subtitles of the film The Godfather include a large number of culture-specific items. The analysis of culture-specific items follows the categorization of culture-specific items suggested by Jurgita Mikutytė; the discussion of translation strategies applied in translation of culture-specific items from English into Lithuanian is based on the classification of translation strategies as proposed by Eirlys E. Davies. The thesis is comprised of the introduction, four sections, the conclusion, two appendices, and a list of references. Part One introduces the subject of culture-specific items and presents their classification and translation strategies. Part Two of the paper discusses the aspects of audiovisual translation and its two main forms; namely, dubbing and subtitling. Part Three is devoted to the issue of adaptation; thus, the relationship between two different mediums, literature and film, is discussed. Part Four, which is composed of two sub-sections, analyses culture-specific items and their translation strategies in Petrukaitis' translation of the novel The Godfather and in the Lithuanian subtitles of the film The Godfather. The first sub-section deals with culture-specific items and their translation strategies in Lithuanian translation of the novel, whereas the second sub-section deals with culture-specific items found in Lithuanian subtitles of the film. Culture-specific items discussed in the present analysis are divided into categories of geographic realia, ethnographic realia, political and social realia, and proper names as suggested by Jurgita Mikutytė. Statistical analysis reveals which translation strategies proposed by Eirlys E. Davies, namely, preservation, localization, omission, addition, globalization, transformation, and creation, are most frequently employed by the translator of the novel, Vytautas Petrukaitis, and the translator of the subtitles (unknown). The conclusion presents the findings of the research. The appendices include all the examples of culture-specific items found in the Lithuanian translation of novel and in the Lithuanian subtitles of the film.