https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/issue/feedPanoptikum2024-01-03T09:49:17+00:00dr Grażyna Świętochowskagraz@panoptikum.plOpen Journal Systems<p>„Panoptikum” to wydawany przez Uniwersytet Gdański półrocznik poświęcony kulturze audiowizualnej. Na jego łamach publikowane są zarówno oryginalne artykuły w zainicjowanym przez redakcję monograficznym kluczu tematycznym, jak i wiodące tłumaczenia z zakresu filmoznawstwa, nowych mediów oraz sztuk wizualnych.</p>https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/10194The Manaki Brothers. The Chroniclers of the “Third” Europe 2024-01-03T07:05:37+00:00Maša Guštin<p>At the time of the birth of cinema at the turn of the 19th and 20th centuries, one more area was created on the cultural map of Europe, next to the West and the East. In the heart of this “third” Europe, under the rule of the Ottoman Empire, worked famous photographers of Wallachian origin, Janaki and Milton Manaki, their film work made them famous in the early 20th century as pioneers of “Balkan cinema”. Most of the films that have survived to this day were made in the Ottoman period. They are a testimony of everyday life as well as important events that influenced the course of the history of the region. The study of the life and work of the Manaki brothers seems to be dominated by the least important aspect, that is, the question of their origin and nationality. Their films are included in many national cinema discourses in the Balkans, from North Macedonia, through Greece, Romania, to Albania and Turkey. This article, representing a synthesis of brighter research, is, on the one hand, an attempt to organize (objective) knowledge about the lives and works of the Manaki brothers, and on the other hand, an in-depth introduction to their film work.</p>2023-12-28T00:00:00+00:00Prawa autorskie (c) 2024 https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/10195The Land of the Sad Songs: Belarusian National Identity through Polish Documentary films in the 1930s2024-01-03T07:12:43+00:00Volha Dashuk<p>Belarusian national identity is a taboo subject in Belarus nowadays, unless identity is understood in a Soviet/Lukashenko way. So for Belarusians, who have gone through national destruction more than once, this issue is not just a usual research topic but a crucial question that can contribute to national survival. <br>In the 1920s-30s a part of Belarusian lands belonged to Poland and Polish filmmakers shot some documentaries there, which turned out to be the sole materials since whatever was taken in Soviet Belarus at this time, got burned later. This research aims to determine what these visual materials communicate, how they can add to the Belarusian identity and why it is important for modern Belarus and its cinema.</p>2023-12-28T00:00:00+00:00Prawa autorskie (c) 2024 https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/10196Microhistories of the Crossroad Street films2024-01-03T07:24:37+00:00Zane Balčus<p>Crossroad Street (Šķērsiela in Latvian) is an 800 m long street in the suburbs of the capital of Latvia – Riga. The street and its inhabitants have been documented in three films by Latvian director Ivars Seleckis over more than two decades. They represent microhistories of people’s lives, which reflect the political and socioeconomic situation in the country over more than two decades (the films were released between 1988 and 2013). The political transformations of the country’s present and past weave through individual destinies, reflecting the deportations of the 1940s, Soviet oppressive politics, the period of perestroika and the awakening of independence, as well as the consequences of joining the European Union, and transiting through the economic crisis in the first decade of the 2000s. <br>The article looks at the characters’ lives where the individual is in constant negotiation of the normative reality as described by Giovanni Levi, and explore their representation in the framework of longitudinal documentaries. Longitudinal documentaries involve revisitations – incorporation of the previously filmed material within a new film, which present an incremental form of narrative (Kilborn), where characters’ lives become “infra-ordinary” (Miller Skillander, Fowler). <br>With each subsequent film, Ivars Seleckis deepens the understanding of the complexity of everyday life in the country in a specific historic period, and presents a multi-layered narrative evolving at the specific location.</p>2023-12-28T00:00:00+00:00Prawa autorskie (c) 2024 https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/10197Documentary Films About Polish Transformation from State Socialism to Capitalism2024-01-03T07:34:29+00:00Ewa Mazierska<p>This article discusses Polish documentary films made after the fall of the Iron Curtain in 1989, till 2005. I focus on films concerning class issues, not least because the changes which happened in 1989 were as political as they were economic in their character, leading to creating a distinct class stratification: winners and losers. I examine here films made in the 1990s till the mid-2000s, as it can be argued that after this period, the transformation was completed. I focus on films concerning labour and labour relations, as this was the part of life which changed most after the fall of state socialism and affected ordinary people most profoundly, and class issues, more broadly. I am particularly interested in how the changes of the 1990s affected individual and group identities of Poles, especially identities pertaining to age, education and place of living.</p>2023-12-28T00:00:00+00:00Prawa autorskie (c) 2024 https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/10198A Future Archive of Identity. Stories and Tropes of Contemporary Slovak Nonfiction Cinema2024-01-03T07:48:40+00:00Katarína Mišíková<p>The study focuses on cinematic reflection of the post-1989 history of Slovakia as the most recent layer of communicative memory closely related to the formation of the country’s modern identity. Its aim is to explore what image nonfiction films create for the future of the present reality. Therefore, it examines what rhetorical and narrative tropes documentary filmmakers use to construct knowledge about the socio-political reality.</p>2023-12-28T00:00:00+00:00Prawa autorskie (c) 2024 https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/10199Engaged Documentary Cinema in Independent Slovenia2024-01-03T08:05:37+00:00Andrej Šprah<p>The essay discusses engaged documentary cinema in independent Slovenia. It focuses on the aspects of political engagement that address the deprived, underprivileged or oppressed communities and groups in contemporary Slovenian society. In the most unenviable position among them are members of the Roma community, the administratively erased inhabitants stripped of all their civil rights, exploited seasonal workers, representatives of the LGBTQIA+ community and the like. The discussion devotes its main attention to the operation of the informal collective Newsreel Front and its latest project “If the Forests Could Talk, They Would Dry Up with Sadness”, which documents the tragic situation of the refugees on the so-called “Balkan route” and their attempts at crossing the border between Croatia and Slovenia, fenced off with a razor wire.</p>2023-12-28T00:00:00+00:00Prawa autorskie (c) 2024 https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/10200History in Lithuanian Women’s Creative Documentaries: Critical and Personal Approach 2024-01-03T09:43:07+00:00Renata Šukaitytė<p>Over the last two decades, documentary has become an important tool of communication for Lithuanian women filmmakers since their number and visibility on national and international screens has grown significantly. Better gender balance in documentary-filmmaking noticeably increased the exposure to greater stylistic and thematic diversity, as well as paved the way for the new cinematic approaches to national and world history, politics, warfare, collective identity, and other issues traditionally assigned to men. This article examines creative documentaries directed by Giedrė Žickytė, Jūratė Samulionytė and Vilma Samulionytė, Martina Jablonskytė and Ramunė Rakauskaitė. First, it investigates how these films combine subjective, analytical, and critical approaches to examine and mediate complex phenomena in Lithuanian history. Second, it discusses how these women documentarists engage with the past and in what ways their approaches and languages differ from conventional historical documentaries.</p>2023-12-28T00:00:00+00:00Prawa autorskie (c) 2024 https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/10192Editorial2024-01-03T07:00:05+00:00Mirosław Przylipiak2023-12-28T00:00:00+00:00Prawa autorskie (c) 2024 https://czasopisma.bg.ug.edu.pl/index.php/panoptikum/article/view/10201Longue durée filmu dokumentalnego: początki,formacje, genealogie2024-01-03T09:49:17+00:00Charles Musser2023-12-28T00:00:00+00:00Prawa autorskie (c) 2024