Suchergebnisse

Master Thesis "The implementation of culture policy in Lithuania: cinema's case study". Paper analyzes the implementation of culture policy and the case of cinema in particular. The object of this research is the implementation of cinema policy in the period of years 2002-2009. Despite the fact that cinema policy is constantly reforming, particular factors lead to inadequacy between purposes and results, which don't show expected effects, this means that implementation of policy is unsuccessful. According to successful factors of implementation which were suggested by V. Nakrošius and R. Vilpišauskas, this work analyzes the process of cinema policy implementation. The main steps are: the analysis of law base; forming of analytical scheme; analysis of cinema case. Issues raised for this analysis: are the purposes and tasks of cinema policy defined correctly?; is institutional structure of the cinema policy implementation in Lithuania suitable?; are the communication, responsibility and coordination defined clearly?; are there enough resources for the institutions?; is there an understanding between interest groups - legislatures and the executive for implementation of cinema policy in Lithuania?; do economic, social and political changes influence the success of policy implementation and what are the factors which improve implementation of policy? The following hypotheses were raised: (1) the implementation of cinema policy is unsuccessful because of ambitious purposes, lack of financial and professional resources, misunderstanding between interest groups - legislatures and the executive; (2) the main factor of unsuccessful policy implementation is inappropriate institutional structure of cinema policy. This research suggests establishing of the National institute of cinema, which would solve a lot of problems existing in implementation of cinema policy: formation and implementation of cinema policy would be provided more carefully instead of concentrating only on administration of funding; the implementation process would be provided by better skilled persons. Therefore, according to examples of "good practice" establishing of National institute of cinema would be the best decision to avoid all the problems which causes the implementation of cinema policy. Considering that policy of Lithuanian cinema hasn't been analyzed yet, this research is relevant and important.

Master Thesis "The implementation of culture policy in Lithuania: cinema's case study". Paper analyzes the implementation of culture policy and the case of cinema in particular. The object of this research is the implementation of cinema policy in the period of years 2002-2009. Despite the fact that cinema policy is constantly reforming, particular factors lead to inadequacy between purposes and results, which don't show expected effects, this means that implementation of policy is unsuccessful. According to successful factors of implementation which were suggested by V. Nakrošius and R. Vilpišauskas, this work analyzes the process of cinema policy implementation. The main steps are: the analysis of law base; forming of analytical scheme; analysis of cinema case. Issues raised for this analysis: are the purposes and tasks of cinema policy defined correctly?; is institutional structure of the cinema policy implementation in Lithuania suitable?; are the communication, responsibility and coordination defined clearly?; are there enough resources for the institutions?; is there an understanding between interest groups - legislatures and the executive for implementation of cinema policy in Lithuania?; do economic, social and political changes influence the success of policy implementation and what are the factors which improve implementation of policy? The following hypotheses were raised: (1) the implementation of cinema policy is unsuccessful because of ambitious purposes, lack of financial and professional resources, misunderstanding between interest groups - legislatures and the executive; (2) the main factor of unsuccessful policy implementation is inappropriate institutional structure of cinema policy. This research suggests establishing of the National institute of cinema, which would solve a lot of problems existing in implementation of cinema policy: formation and implementation of cinema policy would be provided more carefully instead of concentrating only on administration of funding; the implementation process would be provided by better skilled persons. Therefore, according to examples of "good practice" establishing of National institute of cinema would be the best decision to avoid all the problems which causes the implementation of cinema policy. Considering that policy of Lithuanian cinema hasn't been analyzed yet, this research is relevant and important.

Master Thesis "The implementation of culture policy in Lithuania: cinema's case study". Paper analyzes the implementation of culture policy and the case of cinema in particular. The object of this research is the implementation of cinema policy in the period of years 2002-2009. Despite the fact that cinema policy is constantly reforming, particular factors lead to inadequacy between purposes and results, which don't show expected effects, this means that implementation of policy is unsuccessful. According to successful factors of implementation which were suggested by V. Nakrošius and R. Vilpišauskas, this work analyzes the process of cinema policy implementation. The main steps are: the analysis of law base; forming of analytical scheme; analysis of cinema case. Issues raised for this analysis: are the purposes and tasks of cinema policy defined correctly?; is institutional structure of the cinema policy implementation in Lithuania suitable?; are the communication, responsibility and coordination defined clearly?; are there enough resources for the institutions?; is there an understanding between interest groups - legislatures and the executive for implementation of cinema policy in Lithuania?; do economic, social and political changes influence the success of policy implementation and what are the factors which improve implementation of policy? The following hypotheses were raised: (1) the implementation of cinema policy is unsuccessful because of ambitious purposes, lack of financial and professional resources, misunderstanding between interest groups - legislatures and the executive; (2) the main factor of unsuccessful policy implementation is inappropriate institutional structure of cinema policy. This research suggests establishing of the National institute of cinema, which would solve a lot of problems existing in implementation of cinema policy: formation and implementation of cinema policy would be provided more carefully instead of concentrating only on administration of funding; the implementation process would be provided by better skilled persons. Therefore, according to examples of "good practice" establishing of National institute of cinema would be the best decision to avoid all the problems which causes the implementation of cinema policy. Considering that policy of Lithuanian cinema hasn't been analyzed yet, this research is relevant and important.

Master Thesis "The implementation of culture policy in Lithuania: cinema's case study". Paper analyzes the implementation of culture policy and the case of cinema in particular. The object of this research is the implementation of cinema policy in the period of years 2002-2009. Despite the fact that cinema policy is constantly reforming, particular factors lead to inadequacy between purposes and results, which don't show expected effects, this means that implementation of policy is unsuccessful. According to successful factors of implementation which were suggested by V. Nakrošius and R. Vilpišauskas, this work analyzes the process of cinema policy implementation. The main steps are: the analysis of law base; forming of analytical scheme; analysis of cinema case. Issues raised for this analysis: are the purposes and tasks of cinema policy defined correctly?; is institutional structure of the cinema policy implementation in Lithuania suitable?; are the communication, responsibility and coordination defined clearly?; are there enough resources for the institutions?; is there an understanding between interest groups - legislatures and the executive for implementation of cinema policy in Lithuania?; do economic, social and political changes influence the success of policy implementation and what are the factors which improve implementation of policy? The following hypotheses were raised: (1) the implementation of cinema policy is unsuccessful because of ambitious purposes, lack of financial and professional resources, misunderstanding between interest groups - legislatures and the executive; (2) the main factor of unsuccessful policy implementation is inappropriate institutional structure of cinema policy. This research suggests establishing of the National institute of cinema, which would solve a lot of problems existing in implementation of cinema policy: formation and implementation of cinema policy would be provided more carefully instead of concentrating only on administration of funding; the implementation process would be provided by better skilled persons. Therefore, according to examples of "good practice" establishing of National institute of cinema would be the best decision to avoid all the problems which causes the implementation of cinema policy. Considering that policy of Lithuanian cinema hasn't been analyzed yet, this research is relevant and important.

The purpose of the article is to carry out a comparative analysis of the features of the use of martial arts on the theatre stage and in the cinema. The research methodology is based on historical, structural-analytical, comparative, and art studies approaches. The scientific novelty. Taking into account the world and domestic theatrical and cinematographic practices, the peculiarities of the use of martial arts in them are compared. Conclusions. The art of stage combat is based on military martial arts, which is confirmed by both literary primary sources and facts from the biographies of outstanding actors-performers of combat scenes in cinema. The technique of performing stage combat involves the use of techniques from different types of martial arts, however, in favour of creating more expressiveness and ensuring an increased level of safety for performers. The peculiarities of performing combat scenes in the theatre include limited space for combat techniques, due to the size of the stage; the dominance of the visual perception of the battle scene by the audience actually from a single angle – from the auditorium; since the scene of the battle in the performance, as a rule, takes a little time, performers are not required to perfectly perform a large list of techniques of stage combat; theatre actors usually have much more rehearsal time to stage a combat scene than movie actors; theatre actors do not have the right to do takes, that is, they have only one attempt to complete the task. During the production of combat scenes in the cinema, for the most part, there are no space restrictions, the scene can be shot from any angle, and if the combat trick fails, you can always shoot another take, in addition, the scene can be decorated with special effects and computer graphics. In cinema, an actor must have excellent physical training, be able to use a large number of different weapons, and have a wide range of martial arts skills, even though there are stuntmen who are able to perform what the actor cannot do. ...

Vadym Illenko's creative work as a cinematographer and director was not yet considered in detail aside a few publications, including those that consider his early works as film director. Vadym Illenko's filmography can be chronologically divided into several periods, which correspond to the periodization of Ukrainian cinema. The first, Thaw period was very intense for his creative output; it included seven films which Vadym Illenko has shot as a cinematographer (Journey to Youth, Simple Thing, Military Secret, Coming to You, Oleksa Dovbush, Chasing Two Hares, Only Statues Keep Silence), as well as two films he directed (Veronika's Return, Southern Cross is Above Us). During this period, thanks to the cultural politics of the Thaw, the film industry was growing and new fresh forces entered cinema. The Thaw films often portrayed romantic persons as main characters; this was the case of Vadym Illenko's directorial debut. This film affirms such traits as nobleness, selflessness, and sympathizes with the characters that are ready to prefer the uncomfortable conditions of life for the sake of moral comfort. In other words, this film fits to the ethos of the Thaw. Soviet cinema of 1950s was eager to address the topics of underdeveloped areas, and Vadym Illenko's creative biography illustrates this trend. His films of the period featured adventures of alpinists, mysterious fortress in Crimea, marine rescue ship, virgin land, Antarctica. Vadym Illenko also took part in creating the most popular Ukrainian comedy of this period - Chasing Two Hares.The central for the second period of Vadym Illenko's creative biography was the work on the film The Eve of Ivan Kupalo, which testified his innovative approach to cinematography. Particularly important was the complicated search for color chord, which was achieved only due to professional obsession of cinematographer. Vadym Illenko's camera work in this film can be treated as an anthology of the best accomplishments of Ukrainian school of cinematography and is equal to the attainments of the world cinematography. The successful formal experiment was facilitated by the late Thaw, which was relatively prolonged in Ukraine. Yet, Vadym Illenko also made completely different kind of cinematography in films Postal Romance, White Bashlyk, as well as in his directorial work Cuckoo with Diploma.The third period (There Far, Beyond the River…, Feast of Backed Potato, School and others) was a period of Stagnation when there was a great pressure to make ideologically correct films which generally were deprived of any artistic merits.The fourth period (Ivan A., directorial work Pass it Over…) belongs to Perestroyka time with its creative freedom and possibility of realize long nurtured projects.Finally, during Independencetime Vadym Illenko worked as cinematographer on the film Hetman's Gems directed by Leonid Osyka (based on the novella Whirlpool, 1993, by Bohdan Lepky). This film is the last work of talented filmmaker Leonid Osyka. It depicts the period of Ruin, whenUkraine due to the internal squabbles was losing its power and statehood achieved during Bohdan Khmelnytsky's time. The cause of the squabbles, according to the authors, laid in the inability of every individual person to see beyond its private interests, in individualism which excludes love to the near ones and wider state interests.In 1991 Vadym Illenko co-authored screen play, directed and made cinematography of his best film The Last Bunker. The film revisited the events of Soviet time from the new perspective, which is free of the ideology enforced by the Communist Party. This film was an adaptation of the novella In Front of Tribunal by Leonid Borodin, based on the real story told to the author during his imprisonment in Soviet labor camp in 1960s. The internal struggle and moral opposition among perpetrators of Soviet repressive state apparatus faded onto background in the film. National resistance against Russian perpetrators was foregrounded. Vadym Illenko's film reveals the ways of criminal conduct Russian perpetrators, for example, how they kill Ukrainian intelligentsia while dressed as representatives of Ukrainian Insurgent Army. The film shows the war after the war, and the struggle between the unequal forces: a powerful, efficient repressive apparatus of NKVD-MVD on one side, and a national resistance to Russian occupation inWestern Ukraine on the other. Vadym Illenko made everything to stay true to the harsh reality of that struggle. There are no open battles in the film; the armed struggle was not possible by 1947. The struggle was conducted as an underground terror, UPA warriors were destroying representatives of NKVD-MVD and their collaborators; and in the film this is shown from point of view of the latter. The film exposes slyness and perfidy of experienced captain Shytov, who is ready to sacrifice the local population and even his colleagues in the sake of his career.The last work on Vadym Illenko's filmography is an adaptation of the novel Helli and Nock by Olaksander Granin. Vadym Illenko turned to the work of romantic writer in the pragmatic time proving that the person with realistic and sober thinking was able to contain the trust in strong and pure hearts.For a long time Vadym Illenko stayed in the shadow of his brother, Yuri Illenko, an ambitious and successful director and cinematographer, a prizewinner of international festivals. Yet, Vadym Illenko also experienced a moment of success. It happened during the 1990s, the disadvantageous period for film production that almost halted in Ukraineand in the whole Post-Soviet space. During this time the comedy Chasing Two Hares, which Vadym Illenko shoot as a director of photography, became extremely popular.Vadym Illenko was highly prized for his professional qualities and reliability, which he proved from the very beginning of his career in the second half of 1950s. He successfully shot films in extreme circumstances, for example such films as Journey to Youth and Oleksa Dovbush. Vadym Illenko's cinematography exposes a wide pallet, yet his work is recognizable. He always inspires optimism with the help of visual means; he always tries to give chance to the characters to improve the drawbacks. When human impasse and repentance is shown, as in the film Nonsense based on Chekhov's story, there is a prospect for hope opened in the field of vision. Vadym Illenko didn't overaccentuate violence in the films which displayed cruelty; he was able to relate such episodes to the environment, which affirmed universals and eternity of existence. As a director Vadym Illenko tended to assert his trust in humanity, indestructability of goodness. Vadym Illenko affirmed eternal values even when he shot the ironic, sparkling comedy Chasing Two Hares. Vadym Illenko was considered as an authority, yet he was a humble person. He never flaunted his professional abilities preferring to prove them in his work. ; Постановочно-складні, експериментальні й жанрові фільми українського кіно радянських часів кінооператор Вадим Іллєнко знімав, маючи репутацію високого професіонала і людини, цілком відданої своїй справі, що і поєднувало все зняте ним. І якби він зняв усього два фільми — «За двома зайцями» та «Вечір на Івана Купала» — його ім'я увійшло б в історію українського кіно. Він же зняв дев'ятнадцять. А крім того, поставив шість картин як кінорежисер, серед яких пальма першості належить стрічці «Останній бункер». Аналіз операторського і режисерського спадку майстра і становить зміст статті.

Vadym Illenko's creative work as a cinematographer and director was not yet considered in detail aside a few publications, including those that consider his early works as film director. Vadym Illenko's filmography can be chronologically divided into several periods, which correspond to the periodization of Ukrainian cinema. The first, Thaw period was very intense for his creative output; it included seven films which Vadym Illenko has shot as a cinematographer (Journey to Youth, Simple Thing, Military Secret, Coming to You, Oleksa Dovbush, Chasing Two Hares, Only Statues Keep Silence), as well as two films he directed (Veronika's Return, Southern Cross is Above Us). During this period, thanks to the cultural politics of the Thaw, the film industry was growing and new fresh forces entered cinema. The Thaw films often portrayed romantic persons as main characters; this was the case of Vadym Illenko's directorial debut. This film affirms such traits as nobleness, selflessness, and sympathizes with the characters that are ready to prefer the uncomfortable conditions of life for the sake of moral comfort. In other words, this film fits to the ethos of the Thaw. Soviet cinema of 1950s was eager to address the topics of underdeveloped areas, and Vadym Illenko's creative biography illustrates this trend. His films of the period featured adventures of alpinists, mysterious fortress in Crimea, marine rescue ship, virgin land, Antarctica. Vadym Illenko also took part in creating the most popular Ukrainian comedy of this period - Chasing Two Hares.The central for the second period of Vadym Illenko's creative biography was the work on the film The Eve of Ivan Kupalo, which testified his innovative approach to cinematography. Particularly important was the complicated search for color chord, which was achieved only due to professional obsession of cinematographer. Vadym Illenko's camera work in this film can be treated as an anthology of the best accomplishments of Ukrainian school of cinematography and is equal to the attainments of the world cinematography. The successful formal experiment was facilitated by the late Thaw, which was relatively prolonged in Ukraine. Yet, Vadym Illenko also made completely different kind of cinematography in films Postal Romance, White Bashlyk, as well as in his directorial work Cuckoo with Diploma.The third period (There Far, Beyond the River…, Feast of Backed Potato, School and others) was a period of Stagnation when there was a great pressure to make ideologically correct films which generally were deprived of any artistic merits.The fourth period (Ivan A., directorial work Pass it Over…) belongs to Perestroyka time with its creative freedom and possibility of realize long nurtured projects.Finally, during Independencetime Vadym Illenko worked as cinematographer on the film Hetman's Gems directed by Leonid Osyka (based on the novella Whirlpool, 1993, by Bohdan Lepky). This film is the last work of talented filmmaker Leonid Osyka. It depicts the period of Ruin, whenUkraine due to the internal squabbles was losing its power and statehood achieved during Bohdan Khmelnytsky's time. The cause of the squabbles, according to the authors, laid in the inability of every individual person to see beyond its private interests, in individualism which excludes love to the near ones and wider state interests.In 1991 Vadym Illenko co-authored screen play, directed and made cinematography of his best film The Last Bunker. The film revisited the events of Soviet time from the new perspective, which is free of the ideology enforced by the Communist Party. This film was an adaptation of the novella In Front of Tribunal by Leonid Borodin, based on the real story told to the author during his imprisonment in Soviet labor camp in 1960s. The internal struggle and moral opposition among perpetrators of Soviet repressive state apparatus faded onto background in the film. National resistance against Russian perpetrators was foregrounded. Vadym Illenko's film reveals the ways of criminal conduct Russian perpetrators, for example, how they kill Ukrainian intelligentsia while dressed as representatives of Ukrainian Insurgent Army. The film shows the war after the war, and the struggle between the unequal forces: a powerful, efficient repressive apparatus of NKVD-MVD on one side, and a national resistance to Russian occupation inWestern Ukraine on the other. Vadym Illenko made everything to stay true to the harsh reality of that struggle. There are no open battles in the film; the armed struggle was not possible by 1947. The struggle was conducted as an underground terror, UPA warriors were destroying representatives of NKVD-MVD and their collaborators; and in the film this is shown from point of view of the latter. The film exposes slyness and perfidy of experienced captain Shytov, who is ready to sacrifice the local population and even his colleagues in the sake of his career.The last work on Vadym Illenko's filmography is an adaptation of the novel Helli and Nock by Olaksander Granin. Vadym Illenko turned to the work of romantic writer in the pragmatic time proving that the person with realistic and sober thinking was able to contain the trust in strong and pure hearts.For a long time Vadym Illenko stayed in the shadow of his brother, Yuri Illenko, an ambitious and successful director and cinematographer, a prizewinner of international festivals. Yet, Vadym Illenko also experienced a moment of success. It happened during the 1990s, the disadvantageous period for film production that almost halted in Ukraineand in the whole Post-Soviet space. During this time the comedy Chasing Two Hares, which Vadym Illenko shoot as a director of photography, became extremely popular.Vadym Illenko was highly prized for his professional qualities and reliability, which he proved from the very beginning of his career in the second half of 1950s. He successfully shot films in extreme circumstances, for example such films as Journey to Youth and Oleksa Dovbush. Vadym Illenko's cinematography exposes a wide pallet, yet his work is recognizable. He always inspires optimism with the help of visual means; he always tries to give chance to the characters to improve the drawbacks. When human impasse and repentance is shown, as in the film Nonsense based on Chekhov's story, there is a prospect for hope opened in the field of vision. Vadym Illenko didn't overaccentuate violence in the films which displayed cruelty; he was able to relate such episodes to the environment, which affirmed universals and eternity of existence. As a director Vadym Illenko tended to assert his trust in humanity, indestructability of goodness. Vadym Illenko affirmed eternal values even when he shot the ironic, sparkling comedy Chasing Two Hares. Vadym Illenko was considered as an authority, yet he was a humble person. He never flaunted his professional abilities preferring to prove them in his work. ; Постановочно-складні, експериментальні й жанрові фільми українського кіно радянських часів кінооператор Вадим Іллєнко знімав, маючи репутацію високого професіонала і людини, цілком відданої своїй справі, що і поєднувало все зняте ним. І якби він зняв усього два фільми — «За двома зайцями» та «Вечір на Івана Купала» — його ім'я увійшло б в історію українського кіно. Він же зняв дев'ятнадцять. А крім того, поставив шість картин як кінорежисер, серед яких пальма першості належить стрічці «Останній бункер». Аналіз операторського і режисерського спадку майстра і становить зміст статті.

The article provides an analysis of the development of Ukrainian historical cinema at the beginning of the XXI century through the prism of genre formation in the latest socio-economic and political conditions. The definition of historical cinema, its main features, the problem of identical reflection of real events in feature films are considered.The author summarizes and complements the definition of historical cinema as a genre of cinematography, defines its main features. A historical feature film has its own characteristics and one of the main is that it should not reflect the events of the past or present with full historical documentation, while maintaining the so-called «spirit of the era» through costumes, locations, props, language. The task of this genre is to show the heroes, or the hero against the background of the era, historical events through the worldview of individuals, which may be both real, and the result of director's imagination. A feature historical film looks like a work on a historical theme, in which there are real and fictional characters, the latter can be the main characters, and the real - supporting. This work is full not so much of attempts to screen events on the documentary basis, as to reconstruct certain historical events on the basis of documents, but with an author's-director's viewing.The article describes Ukrainian films based on historical events, considers the problem of reliability of historical processes reflected in Ukrainian cinema, the peculiarities of the formation of the image of a hero. Historical films are an indispensable element in the process of national-patriotic education, a reflection of historical events that have long been silenced by official historical science in Soviet times, a means of forming national identity and historical memory.

The purpose of the article is to investigate the system of functioning of the Ukrainian auteur cinematography in the 1960-80s, in the difficult Soviet times of the individuality and spirit oppression of the Ukrainian people as a nation in general and it is based on a comprehensive analysis and available scientific datas and sources. The relation of the auteur theory to the Ukrainian cinema of the Soviet period is going to be found out and also to investigate the development of prominent Ukrainian figures in the cinema and the peculiarities of their creative self-expression. Research Methodology. It is based on experiences caused by the problems and phenomena of modern screen art. To solve the set tasks, the following methods have been used: general scientific, analysis and synthesis, as well as philological, textological, structural and comparative, historical methods. The works of art history of the achievements in the Ukrainian and world cinema are being studied. The creative works of outstanding Ukrainian directors, screenwriters, cameramens and actors have been analyzed. The scientific novelty lies in the fact that the features and manifestations of the author's cinema of Ukraine in the 1960–1980s, completely unexplored materials, scientific works have a lot of evidence about the existence of authorship in Ukrainian cinema, therefore the specificity of the art of this period, as well as external factors affecting the directors during the creation of copyright works. The legal system of the period, and the peculiarities of copyright in Soviet times, are analyzed, the influence of political and juridical factors on the manifestation of the author's theory in Ukrainian cinema as a whole has been clarified. Conclsions. In the course of the study, the prerequisites and reasons for the emergence of the author's concept of its ethnic and national peculiarity, among the Soviet times traditional canons have been revealed. During the period of poetic cinema, a large number of Ukrainian literature works saw the light. ...

Violence was always a popular theme in movies. Nevertheless, through the history of cinema, we can track an everlasting critique of violent images. Since the beginning of the 20th century, violent cinema has been under constant political pressure, that required implementation of a strict censorship mechanism. That is why we can boldly state, that violent cinema is fundamentally connected to political questions of censorship and political order. By analyzing cinema violence, we raise questions about political concepts like fiction/reality, permitted/prohibited, moral/amoral and normal/abnormal. Usually, critics of violent cinema claim that violent films are a meaningless, but a dangerous product, that can transgress into reality. For example, violent movies can inspire the spectator to repeat the things that he saw on the screen. But such claims a priori deny the possibility that violent movies can become an original examination of violence itself. In this paper we claim that ultraviolent movies can raise an original discussion about the phenomenon of violence. This is where the problem of this paper arises. The goal of this paper is to critically analyze five ultraviolent movies made by Danish director Nicolas Winding Refn, and to examine how he creates his violent cinema. By investigating the relationship between narrative and violent images, we raise the question, do violent images inevitably become a meaningless and a dangerous object. The narratalogical analysis of five ultraviolent movies proves that movie violence can help the spectator raise important intellectual questions: who is responsible for viewing violent images, is the narrative and violence related and so on. This proves that cinema violence is more concerned with the cognitive processes of the creator or the spectator than with reality. And this gives ground for the criticism of mimetical theory of images and reality and the claim that movie violence is an insensible and dangerous product. This inquiry raises the question of the legitimacy of censorship of violent images. The originality of this paper comes in the methodological investigation of violent images, that is usually ignored by other researchers.

Violence was always a popular theme in movies. Nevertheless, through the history of cinema, we can track an everlasting critique of violent images. Since the beginning of the 20th century, violent cinema has been under constant political pressure, that required implementation of a strict censorship mechanism. That is why we can boldly state, that violent cinema is fundamentally connected to political questions of censorship and political order. By analyzing cinema violence, we raise questions about political concepts like fiction/reality, permitted/prohibited, moral/amoral and normal/abnormal. Usually, critics of violent cinema claim that violent films are a meaningless, but a dangerous product, that can transgress into reality. For example, violent movies can inspire the spectator to repeat the things that he saw on the screen. But such claims a priori deny the possibility that violent movies can become an original examination of violence itself. In this paper we claim that ultraviolent movies can raise an original discussion about the phenomenon of violence. This is where the problem of this paper arises. The goal of this paper is to critically analyze five ultraviolent movies made by Danish director Nicolas Winding Refn, and to examine how he creates his violent cinema. By investigating the relationship between narrative and violent images, we raise the question, do violent images inevitably become a meaningless and a dangerous object. The narratalogical analysis of five ultraviolent movies proves that movie violence can help the spectator raise important intellectual questions: who is responsible for viewing violent images, is the narrative and violence related and so on. This proves that cinema violence is more concerned with the cognitive processes of the creator or the spectator than with reality. And this gives ground for the criticism of mimetical theory of images and reality and the claim that movie violence is an insensible and dangerous product. This inquiry raises the question of the legitimacy of censorship of violent images. The originality of this paper comes in the methodological investigation of violent images, that is usually ignored by other researchers.

Violence was always a popular theme in movies. Nevertheless, through the history of cinema, we can track an everlasting critique of violent images. Since the beginning of the 20th century, violent cinema has been under constant political pressure, that required implementation of a strict censorship mechanism. That is why we can boldly state, that violent cinema is fundamentally connected to political questions of censorship and political order. By analyzing cinema violence, we raise questions about political concepts like fiction/reality, permitted/prohibited, moral/amoral and normal/abnormal. Usually, critics of violent cinema claim that violent films are a meaningless, but a dangerous product, that can transgress into reality. For example, violent movies can inspire the spectator to repeat the things that he saw on the screen. But such claims a priori deny the possibility that violent movies can become an original examination of violence itself. In this paper we claim that ultraviolent movies can raise an original discussion about the phenomenon of violence. This is where the problem of this paper arises. The goal of this paper is to critically analyze five ultraviolent movies made by Danish director Nicolas Winding Refn, and to examine how he creates his violent cinema. By investigating the relationship between narrative and violent images, we raise the question, do violent images inevitably become a meaningless and a dangerous object. The narratalogical analysis of five ultraviolent movies proves that movie violence can help the spectator raise important intellectual questions: who is responsible for viewing violent images, is the narrative and violence related and so on. This proves that cinema violence is more concerned with the cognitive processes of the creator or the spectator than with reality. And this gives ground for the criticism of mimetical theory of images and reality and the claim that movie violence is an insensible and dangerous product. This inquiry raises the question of the legitimacy of censorship of violent images. The originality of this paper comes in the methodological investigation of violent images, that is usually ignored by other researchers.

Violence was always a popular theme in movies. Nevertheless, through the history of cinema, we can track an everlasting critique of violent images. Since the beginning of the 20th century, violent cinema has been under constant political pressure, that required implementation of a strict censorship mechanism. That is why we can boldly state, that violent cinema is fundamentally connected to political questions of censorship and political order. By analyzing cinema violence, we raise questions about political concepts like fiction/reality, permitted/prohibited, moral/amoral and normal/abnormal. Usually, critics of violent cinema claim that violent films are a meaningless, but a dangerous product, that can transgress into reality. For example, violent movies can inspire the spectator to repeat the things that he saw on the screen. But such claims a priori deny the possibility that violent movies can become an original examination of violence itself. In this paper we claim that ultraviolent movies can raise an original discussion about the phenomenon of violence. This is where the problem of this paper arises. The goal of this paper is to critically analyze five ultraviolent movies made by Danish director Nicolas Winding Refn, and to examine how he creates his violent cinema. By investigating the relationship between narrative and violent images, we raise the question, do violent images inevitably become a meaningless and a dangerous object. The narratalogical analysis of five ultraviolent movies proves that movie violence can help the spectator raise important intellectual questions: who is responsible for viewing violent images, is the narrative and violence related and so on. This proves that cinema violence is more concerned with the cognitive processes of the creator or the spectator than with reality. And this gives ground for the criticism of mimetical theory of images and reality and the claim that movie violence is an insensible and dangerous product. This inquiry raises the question of the legitimacy of censorship of violent images. The originality of this paper comes in the methodological investigation of violent images, that is usually ignored by other researchers.