Suchergebnisse

Abstrakt

L'analisi dei cambiamenti avvenuti all'interno del repertorio verbale italiano sulla base dei mutamenti del trasmesso filmico di tre produzioni di epoche diverse permette di dare uno sguardo d'insieme allo sviluppo del repertorio linguistico influenzato dalle vicende storiche e sociali. Inoltre, ricorrendo agli strumenti della sociolinguistica, è stato possibile valutare se le scelte linguistiche presenti all'interno del parlato filmico veicolato dai tre film analizzati siano state determinate dalla necessità di caratterizzare i personaggi e le situazioni o se siano piuttosto da ascrivere a un riflesso degli usi e dei comportamenti linguistici reali dei parlanti.

Ewolucja języka włoskiego na podstawie analizy socjolingwistycznej języka mówionego używanego w trzech wybranych filmach

Zmiany, które nastąpiły w języku włoskim zostały poddane analizie na podstawie języka stosowanego w trzech produkcjach filmowych pochodzących z różnych okresów czasowych. Pozwoliło to na szersze spojrzenie na rozwój języka wynikający z uwarunkowań historyczno-społecznych. Analiza socjolingwistyczna pozwoliła ustalić, czy język i styl wypowiedzi używany w wybranych filmach wynikał z potrzeby wiernego oddania charakteru postaci, sytuacji, czy był raczej odzwierciedleniem zwyczajów i zachowań społeczno-językowych mówiących.

Meanders and paradoxes of interwar film censorship in PolandThe article concerns film censorship in Poland in the interwar period. The first detailed rules on censorship appeared in February 1919. Due to the small level of film production, these provisions related primarily to distribution and screenings. The detailed instructions for censors from 1920 cited in the text contain a long list of prohibitions concerning the presentation of scenes and images "contrary to law and public morality." In practice, film was subject to political, moral, military, religious, and also artistic censorship. The article presents the ways to circumvent censorship guidelines used by distributors and cinema owners, as well as a critical evaluation of the activities of this institution in the eyes of film publicists. ; Meanders and paradoxes of interwar fi lm censorship in PolandThe article concerns film censorship in Poland in the interwar period. The first detailed rules on censorship appeared in February 1919. Due to the small level of film production, these provisions related primarily to distribution and screenings. The detailed instructions for censors from 1920 cited in the text contain a long list of prohibitions concerning the presentation of scenes and images "contrary to law and public morality." In practice, film was subject to political, moral, military, religious, and also artistic censorship. The article presents the ways to circumvent censorship guidelines used by distributors and cinema owners, as well as a critical evaluation of the activities of this institution in the eyes of film publicists.

Abstrakt

L'articolo prende in esame l'opera prima del regista Vittorio De Sica, in particolare i suoi primi quattro film: "Rose scarlatte" (1940), "Maddalena zero in condotta" (1941), "Teresa Venerdì" (1941) e "Un Garibaldino in convento" (1942). Oltre a collocare l'opera del regista italiano nel contesto politico, sociale e culturale dell'ultimo decennio del regime fascista, vengono analizzati i messaggi impliciti delle singole pellicole, abilmente nascosti sotto una maschera comica: p.es. l'emancipazione femminile, il carattere repressivo delle istituzioni e la problematica del "Strapaese e Straccittà".

Nie tylko "Złodzieje rowerów" – faszystowskie Włochy w pierwszych filmach Vittoria de Siki

Artykuł analizuje cztery pierwsze filmy Vittoria De Siki: "Szkarłatne róże" (1940), "Magdaleno, dwója ze sprawowania" (1941), "Teresa Venerdì" (1941) oraz "Un Garibladino in convento" (1942), pod kątem ich kontekstu politycznego, społecznego i kulturowego. Analiza poszczególnych dzieł pozwala ukazać ich zawoalowane przesłanie (np. dotyczące emancypacji kobiet, represyjnej natury instytucji oraz problematyki "Strapaese i Straccittà"), ukryte pod maską komizmu.

Film actors, theatre actors? The Polish actors' market in recent yearsThe author of the paper analyzes the career paths of Polish film and theater actors in recent years, taking account of social and institutional changes in Polish theater and cinema after 1989. On this basis, current three strategies present in the acting profession are identified: Courtier, Byplay and Celebrity. These three groups are highlighted depending on actors' artistic achievements and accu- mulated symbolic capital. The main thesis of the article is that leading film actors, who are most successful on the big screen, forsake engagement in theater. While describing this regularity, the author provides specific examples of actresses and actors - eg. Magdalena Cielecka, Andrzej Chyra, Jacek Poniedziałek and Agnieszka Grochowska. The article concludes with considerations about the various reasons why Polands market for film actors and the theater market have split in recent years. ; Film actors, theatre actors? The Polish actors' market in recent yearsThe author of the paper analyzes the career paths of Polish film and theater actors in recent years, taking account of social and institutional changes in Polish theater and cinema after 1989. On this basis, current three strategies present in the acting profession are identified: Courtier, Byplay and Celebrity. These three groups are highlighted depending on actors' artistic achievements and accu- mulated symbolic capital. The main thesis of the article is that leading film actors, who are most successful on the big screen, forsake engagement in theater. While describing this regularity, the author provides specific examples of actresses and actors - eg. Magdalena Cielecka, Andrzej Chyra, Jacek Poniedziałek and Agnieszka Grochowska. The article concludes with considerations about the various reasons why Polands market for film actors and the theater market have split in recent years.