Panoptikum <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> pl-PL (dr Grażyna Świętochowska) (Agnieszka Kranich-Lamczyk) pon, 17 gru 2018 00:00:00 +0100 OJS 60 Wstęp Marta Kasprzak, Małgorzata Major Copyright (c) pon, 17 gru 2018 00:00:00 +0100 Platforma strumieniowa Netflix – domena VOD czy nowa forma telewizji jakościowej? Historia i sposoby dystrybucji <p>Nowadays streaming platforms are becoming more and more popular, enabling viewing of video materials in the format of Video on Demand. Currently, the most popular are platforms such as Amazon Prime Video, Showmax, which came to Poland at the beginning of 2017, HBO GO service belonging to a traditional television broadcaster, or finally the oldest of these – the Netflix platform. This article will be devoted to Netflix due to its long history and unquestionable clearing of routes in this area. The main purpose of this article is to analyze Netflix’s actions related to VoD services and its production of high-quality programs. Analysis is aimed at specifying solutions that have provided this platform with such popularity. In addition, an attempt will be made to determine whether Netflix is only a streaming platform or can be considered as an example of modern quality television.</p> Maciej Sztąberek Copyright (c) pon, 17 gru 2018 00:00:00 +0100 Serial internetowy – notatki o zjawisku <p>The article takes a closer look at web series which not only are distributed exclusively via world wide web (usually YouTube and Vimeo) but for which the hypertextuality, modularity or transmediality stand for their essential qualities. I have divided web series into three categories: 1) very cheap, short series and series of a few episodes amateurish in form ; 2) semi-professional series of a longer length, sometimes genre-oriented; 3) professional “extensions” (spin-off’s) of traditional TV series, 4) branded series considered to represent narrative commercials of minor and major brands. The author analyses the form and content of the above regarding both fictional and documentary works; elaborates on one of the most complex examples (“H+. The Digital Series” by Warner Bros.) and finishes with opportunities and disadvantages of such a film form.</p> Paweł Sołodki Copyright (c) pon, 17 gru 2018 00:00:00 +0100 „Pozdrawiam Fanki i Sułtanki”. Internetowe praktyki polskiego fandomu serialu "Wspaniałe stulecie" <p>The article discusses fan practices of Polish viewers of the Turkish TV series Magnificent Century (Muhteşem Yüzyıl, Wspaniałe stulecie). Using this example, the author analyzes the issue of cultural incorporation, recontextualization and reinterpretation of foreign narrative conventions. The article also describes how people digitally excluded join the fandom and get `infected` by the need for `drilling` down into their favorite text. As a result, they acquire new technological skills and build online knowledge communities described by Henry Jenkins.</p> Magdalena Kamińska Copyright (c) pon, 17 gru 2018 00:00:00 +0100 Rozkrajanie amerykańskiego snu skalpelem "Mitu Syzyfa". Egzystencjalizm i diagnoza amerykańskiego kryzysu w serialu "Fargo" <p>In my paper I focus on presenting the American crisis on the example of the series Fargo. The Coen brothers show different heroes in the role of contemporary Sisyphus. Drawing on the philosophy of Sartre and Kierkegaard, they analyze the existential condition of their characters and expose the American dream. They entangle the characters into economic, emotional and living crises in order to expose the illusion of emancipation in capitalism.</p> Pola Sobaś-Mikołajczyk Copyright (c) pon, 17 gru 2018 00:00:00 +0100 Rozwój złożonej narracyjności w amerykańskich serialach <p>Modern television series are a product of quality television and thus significantly differ from the models that have been deeply rooted in serial culture since the very beginning of the media’s existence. At that time, the dominating category constituted series with an episodic structure closed within one episode. Nowadays, the dominant format is the narrative continuity</p> <p>The text aims to show the series in which the creators used innovative solutions as a result of which a new narrative paradigm was formed, described as a „narrative complexity”. The article briefly analyzes various series genres: soap operas, sitcoms and postmodernist series. All the examples cited represent a different types of multi-threaded balance, that affects the evolution of narrative patterns</p> Artur Borowiecki Copyright (c) pon, 17 gru 2018 00:00:00 +0100 Mr. Robot czyli powrót paranoi <p>The aim of this paper is to show the functioning and the role of paranoid obsessions in television series Mr. Robot (2015-) and Thomas Pynchon’s novels. Although it seems that the novels of the American writer and the screenplay have little in common, both use a paranoid way of thinking as a creative response to societal experience.</p> Magdalena Bałaga Copyright (c) pon, 17 gru 2018 00:00:00 +0100 Jordskott. Las zaginionych, czyli przekraczanie granic Nordic noir <p>The TV crime drama is one of the most popular genres for European audiences and arguably also the most culturally sensitive and nuanced. The author in his article analyzes one of the Swedish examples of crime drama called <em>Jordskott</em>. Author interprets it through the prism of the <em>Nordic noir </em>aesthetics while characterizing this concept. In the course of analyzes, however, he notices that the <em>Jordskott </em>series escapes the genre framework and is located somewhere at the intersection of such film aesthetics as: <em>Nordic noir</em>, ecological thriller, horror or fairy tale.</p> Tomasz Adamski Copyright (c) pon, 17 gru 2018 00:00:00 +0100 Tele-saga jako narzędzie współtworzenia medialnych narracji: poprawa wizerunku homoseksualnych mężczyzn na przykładzie bohatera "M jak miłość" <p>In the second half of the first decade of the 21st century, affirmative images of homosexual men began to appear in both Polish cinema and drama series. Several factors contributed to this, including the “influence of the West” after Poland had joined the European Union. Driven by socio-political changes, the improvement of gay men’s media image can be observed on the example of the male character of the Polish soap opera M jak miłość (L for Love) – Grzegorz. In episodes produced in 2003, Grzegorz is an secondary, definitely negative character and represents a serious threat to the heteronormative social structure. Two years later, in 2005, Grzegorz appears in M jak miłość again, this time equipped with positive features: generosity, unselfishness, patience, sensitivity. He implements the “gay best friend” stereotype – is a friend of one of the female protagonists, also becomes a victim of a homophobic attack. However, same like the negative image of homosexual men, the positive image constructed in opposition to it is a sign of a social problem.</p> Anna Felskowska Copyright (c) pon, 17 gru 2018 00:00:00 +0100 Pozdrowienia z Krakowa. "Belle Epoque" kontra "Tabu" <p>Two series premiered in 2017: British-American <em>Taboo </em>and Polish <em>Belle Epoque</em>. The year is not the only similarity – based on the statements by Edward Miszczak, head of programming of the TVN channel, resemblance was sought and even intended. Similitude in the main character’s image as well as the starting point of the story lines proved to be misleading. A closer look at both shows reveals that the only feature that they have in common is their rootedness in popular (and vernacular) cultural traditions: in <em>Taboo </em>intentional and visible references to political fiction, film noir aesthetics, graphic novel and heist movie; in<em> Belle Epoque </em>(topical but also stylistic) resemblance to popular gutter circulation novels (dime novels) on Polish territory at the turn of 19th and 20th centuries.</p> Monika Rawska Copyright (c) pon, 17 gru 2018 00:00:00 +0100 "Artyści" – serial przełomu: tekst w kontekście produkcyjnym <p>The article discusses factors determining the production process of the TV series <em>Artists </em>by Monika Strzępka and Paweł Demirski. Using production culture methodology, the author of the article demonstrates how the production background can be used to understand the message of the series. The article shows that numerous factors influence this outcome message, including decisions within the production team, structural and organizational changes in Telewizja Polska, financial limitations, artistic compromises or even political changes in the country.</p> Artur Majer Copyright (c) pon, 17 gru 2018 00:00:00 +0100 The exceptionalism of Romanian socialist television and its implications <p>During recent years, the study of European televisions has rediscovered <em>socialist television</em>, and we have witnessed a rapid rise in scholarly interest in a new field of research: socialist television studies. On the whole, this recent body of literaturę presents two main new insights as compared to previous studies in the field of the history of Western television: on the one hand, it shows that European television during the Cold War was less heterogeneous than one may imagine when considering the political, economic and ideological split created by the Iron Curtain; on the other hand, it turns to and capitalizes on archives, mostly video, which have been inaccessible to the public. The interactions between Western and socialist mass culture are highlighted mainly with respect to the most popular TV programs: fiction and entertainment.</p> <p>The authors give us an extraordinary landscape of the Romanian socialist television. Unique in the Eastern part of Europe is the period of the early 1990s. Upon the fall of the communist regime, after almost 15 years of freezing, TVR found itself unable to move forward.</p> Alexandru Matei, Annemarie Sorescu- Marinković Copyright (c) pon, 17 gru 2018 00:00:00 +0100 "Na melinę" – zapomniane dzieło Stanisława Różewicza <p>The film by Stanisław Rożewicz <em>On the Hideout </em>(original title: <em>Na melinę</em>) was included in the series of television films <em>Day One, Last Day </em>(original title: <em>Dzień ostatni, dzień pierwszy</em>, 1965). For many reasons, however, it was detained by censorship, although it represented high artistic values. The article is an attempt to examine both the content of the film itself and its literary prototype, as well as the answer to the question why it has not been broadcast for over 15 years.</p> Jarosław Grzechowiak Copyright (c) pon, 17 gru 2018 00:00:00 +0100 Od "Twarzą w twarz" do "Kontraktu", czyli recepcja polskiej twórczości telewizyjnej Krzysztofa Zanussiego z okresu PRL <p>Above all, Krzysztof Zanussi is known to Polish viewers as the author of popular cinema films such as <em>The Structure of Crystal </em>(1969), <em>The Illumination </em>(1972) and <em>Camouflage </em>(1976). However, it should be remembered that the director has repeatedly cooperated with television – both domestic and foreign. Nowadays, television films that foreshadowed the movement called <em>cinema of moral concern</em>, produced in Poland at the time of the Polish People’s Republic, are poorly present within film discourse. The aim of this article is to recreate (and compare with each other) the former and contemporary reception of these films, discussed at different intervals in popular or professional periodicals and, what is an increasingly frequent phenomenon, referenced in the Krzysztof Zanussi’s monographs.</p> Marta Kasprzak Copyright (c) pon, 17 gru 2018 00:00:00 +0100 Audiowizualne widma Wschodu, filmowe cienie Rosji. Recenzja książki Anny Estery Mrozewicz pt. "Beyond Eastern Noir: Reimaging Russia and Eastern Europe in Nordic Cinemas" Sebastian Jakub Konefał Copyright (c) pon, 17 gru 2018 00:00:00 +0100