Mozgó fényképek. The scandal and debate around moving images in early Hungarian cinema

OUR first words must be to congratulate Prof. Vogel that he has recovered from the illness that has delayed for three years the completion of this section of the new edition of his “Handbuch der Photographie” The part now issued is the first part of the third volume, and deals with photographic studios and apparatus (excluding lenses, which are treated of in a previous volume) and the negative processes with collodion and with gelatine emulsions. The chief differences between this and the previous edition are that the practice of photography is now regarded from a general rather than from a merely “professional” point of view, portable apparatus and shutters being considered, and that chapters are given on the use of colour sensitised plates and film photography. Collodion, on account of its continued application in the reproduction processes, retains the premier position; gelatine following with about the same number of pages devoted to it. Considering the space given to the various branches of the subject, it is surprising that some of the most important advances made during the last ten years or so are not represented. We refer to advances of immediate practical importance, such as the methods of determining the exposure required, recent methods of determining the sensitiveness of plates, and the efficiency of shutters. Intensification also is dealt with in a very inadequate manner. But looking at the volume as a whole, it is a valuable addition to photographic literature, and the opinions and preferences of its distinguished author must always be of interest to English students.

Staging Depth: Eugene O’Neill and the Politics of Psychological Discourse

Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabled the portrayed person to be presented in a way that suited him or her best; e.g. raising their social status, being placed in a specific environment or in a different position than the person occupied in real life. This surely influenced the popularity of portraits made in the wet collodion technique by contemporary photographer Borut Peterlin. In this way, the photographer revitalised the importance of Pelikan’s backgrounds and renewed the interest in old analogue photography techniques as well as a comprehensive studio portrait experience, which today no longer holds a prominent place among photographic practices. Keywords: 20th century photograhy, background, Josip Pelikan, photographic backdrop, portraiture, skylight studio, Slovenian photography, studio photography

<p>В России сегодня много делается важного и значимого для ее будущего. Но вместе с тем официально признаны падение культурного уровня в условиях распространения массовой культуры, недостаточность культурного и символического капитала, незнание истории своей страны, ее достижений и тех распространенных в мире продуктов духовной и материальной культуры, авторство которых принадлежит России. Это относится не только к повседневности, к публичному пространству, но и к научной деятельности, в которой не осуществлена систематизация категориального аппарата исследований культуры.</p><p>Показывается, что наукой мало изучены способы исследования и методологии анализа культуры как ресурса развития. Дается анализ культурных ресурсов российского развития, выявленных на основании комплексного исследования и применения мало известных или недостаточно используемых категорий «прецедентные феномены культуры», «культурный и символический капитал», «российская идентичность и ее процессуальный характер», «коды культуры», «константы культуры», «мягкая мощь». В статье предпринята методологическая попытка исследования и систематизации этих категорий.</p><p>Подчеркивается, что проанализированные категории взаимосвязаны и позволяют найти меру соотношения конструктивистской переделки культуры и сохранения ее основополагающих основ. А значит, они могут рассматриваться как новый аппарат исследования культуры и работы с ней.</p>

Trends of developing relations in today’s society, spread of digital technologies and restrictions in movement during the last year showed a rising diffusion of society, split of opinions and weakening of the cultural code of the Russian population. The article studies sources of these changes and searches for solutions based on means of social and cultural activity. It is well known that cultural code is formed for decades and it is the social and cultural sphere that can concentrate this process and direct it to strengthening of national self-identification, rise in the rate of patriotism, education and wellbeing of the population. The process of shaping the civil society in the post-soviet period is based on pursuing cultural policy financed at the expense of the country budget, in contrast to western countries. This aspect makes us think about the necessity to change means and methods of social and cultural activity with due regard to processes of society digitalization. At the same time cultural policy acts as a significant section of the system of national security, as a way of shaping civil society, keeping cultural values and traditions. The research showed that non-linear interaction of such tensors, as sustainable development, corporate social responsibility, national security, digitalization, technologization of society can seriously affect the processes of diffusion of society integrity, destruction of its cultural code and sovereignty of state as it is. Preserving the cultural code as a foundation of national culture and overcoming problems of society diffusion are possible in case the state participation in reforming approaches to pursuing cultural policy is extended. A separate aspect is developing the HR potential of cultural institutions of the future oriented to advanced technologies, continuous learning the achievements of psychology as a science, which can create patriotic feelings in society promoting values of cultural inheritance as a foundation of national identification.

Based on ethnographic research in Cameroon, this article discusses recent developments in the field of African studio photography. It focuses first on how technical innovations have changed photographic practice and how this has affected studio photography in Cameroon. While new image-making professionals have emerged, most of the studios going back to the black-and-white era had closed down at the time of my research. Many of their photos were discarded or damaged. In the second part the article discusses how studio photography has been appropriated by the Western institutions of art and academia since the late 1980s, and how these ongoing activities contributed to the valorization and commodification of photographs outside their original contexts. As many photographs have either been destroyed, appropriated by the art market or have found their way into academic archives, I will conclude by arguing that these parallel developments have made the remaining studio photographs both precious and precarious.

1. The European Union and the public sphere: a communicative space in the making? John Erik Fossum and Philip Schlesinger PART I: Communicative practices and a European public sphere Philip Schlesinger and John Erik Fossum 2. Conceptualizing European public spheres: general, segmented and strong publics Erik Oddvar Eriksen 3. The public sphere and European democracy: mechanisms of democratization in the transnational situation Klaus Eder 4. A fragile cosmopolitanism: on the unresolved ambiguities of the European public sphere Philip Schlesinger PART II: Assessing Europe's general public(s) Philip Schlesinger and John Erik Fossum 5. 'Quo vadis Europe?' Quality newspapers struggling for European unity Hans-Jorg Trenz 6. Political communication, European integration and the transformation of national public spheres: a comparison of Britain and France Paul Statham 7. The European void: the democratic deficit as a cultural deficiency Abram de Swaan 8. Political integration in Europe and the need for a common political language Lars Chr. Blichner 9. EU enlargement, identity and the public sphere Maria Heller and Agnes Renyi 10. Religion and the European public sphere Francois Foret and Philip Schlesinger 11. The public sphere in European constitution-making John Erik Fossum and Hans-Jorg Trenz PART III: Institutional conditions and the European context John Erik Fossum and Philip Schlesinger 12. European commissioners and the prospects of a European public sphere: information, representation and legitimacy Andy Smith 13. Transparency, audiences and the evolving role of the EU Council of Ministers Deirdre Curtin 14. Transnationalising the public sphere? The European Parliament, promises and anticipations Ulrike Liebert 15. Conclusion Philip Schlesinger and John Erik Fossum Bibliography

в статье рассматриваются особенности культурной идентификации в условиях трансформации коммуникативного пространства современной цивилизации, происходящей под влиянием новых информационно‑коммуникативных технологий и разрушения тысячелетиями накапливаемых систем культурных кодов, выполняющих роль социальных механизмов закрепления и воспроизводства социокультурного опыта поколений. Культурные коды как механизмы организации образа жизни и регламентации коммуникативной среды этносов способствовали сохранению ведущих признаков национальных культур и этнокультурной идентичности, обеспечивая тем самым преемственность в историко‑культурном развитии общества. Трансформация коммуникативного пространства в эпоху глобализации видоизменяет системы культурных кодов в направлении появления новых символических форм закрепления и передачи информации и регламентации культурно‑коммуникативных процессов. Цифровые технологии и массовые информационные средства связи формируют пространство, наполненное многообразием новых смыслов и символов. Они встраиваются в повседневную жизнь современных людей, позволяя быстрее взаимодействовать, изменяя при этом роль информации в развитии общества и разрушая основы коллективной идентичности. В этих условиях содержание и направленность коммуникационных процессов также претерпевают существенные изменения, оказывая тем самым большое влияние на духовно‑нравственные устои человеческого бытия, размывание границ этнокультурной и личностной идентичности, формирование и восприятие современных образов мира. В условиях виртуализации социальных процессов происходит вытеснение традиционных этических эталонов и норм коммуникативного взаимодействия людей, в связи с чем современный человек сталкивается с проблемой несоответствия темпов технологического развития изменениям в коммуникативной среде и разрушением системы классических традиционных ценностных ориентаций. the article deals with the peculiarities of cultural identification in the context of the transformation of the communicative space of modern civilization that occurs under the influence of new information and communication technologies and the destruction of accumulated cultural code systems that serve as social mechanisms of securing and replicating socio‑cultural experience of generations. Cultural codes as mechanisms of organizing the way of life and regulation of the communicative environment of ethnic groups contributed to the preservation of the leading signs of national cultures and ethno‑cultural identity, thus ensuring continuity in the historical and cultural development of society. Transformation of the communicative space in the era of globalization modifies the system of cultural codes in the direction of the emergence of new symbolic forms of fixing and transferring information and regulating cultural and communicative processes. Digital technologies and mass information means of communication form a space filled with a variety of new meanings and symbols that are integrated into the everyday life of modern people, allowing them to interact quickly, changing the role of information in process of development of society and destroying the foundations of collective identity. In these conditions, the content and direction of the communication processes also undergo significant changes, thereby exerting great influence on the spiritual and moral foundations of human existence, blurring the boundaries of the ethno‑cultural and personal identity, the formation and perception of modern images of the world. In conditions of virtualization of social processes, traditional ethical standards and norms of people's communicative interaction now are being squeezed out, in connection with that modern man faces the problem of the discrepancy between the pace of technological development in changes in the communicative environment and the destruction of the system of classical traditional value orientations.

The construction of the wartime gaze in New Zealand during World War One was an exceptionally complex process. Technological advances, the surveillance needs of the military enterprise, the restoration of the wounded and the desire of the public to see war photography ensured that photography was used in diverse and contradictory ways for a number of wartime audiences. The purpose of this article is to examine one ‘forgotten’ photographic practice, the Dunedin Photographic Society lantern-slide initiative, part of an ambitious attempt to serve the living. If we widen our field of vision to include a range of overlooked photographic practices, and if we appraise the uses of photographic material between both the home front and the frontline, as well as the domestic and public spheres, we can pinpoint a pivotal intersection between the history of photography in New Zealand and the creation of wartime photographic memories. And yet the lantern-slide example and its subsequent disappearance points to the difficulties involved in researching and discussing vernacular photographies in material as well as theoretical terms. The historical dilemma is almost insuperable. As one technology supplants another, the technologies that underpinned older photographic practices are abandoned and almost impossible to retrieve.

This study investigates discourse and interaction in a broad scope: online public discourse. The challenge of studying public discourse of this nature is that there are two types of competing audience in such interactions. One is the immediate audience such as news reporters in this study. The other is the assumed audience of the wider world. This study shows the tension between the immediate audience (reporters) and the assumed audience (wide public audience) and the ways in which tension is manifested in the response pattern.

Scholars have established that cultural codes and styles of expression in civil society must be recognized as informal mechanisms of exclusion, calling into question the possibility of the Habermasian normative ideal of the public sphere. This article joins theoretical discussions of how to remedy this problem. Going beyond Alexander's model of “multicultural incorporation” and borrowing from Sewell's theory of the duality of structure, we develop a theoretical framework of code hybridization to conceptualize how civil society participants achieve civil solidarity amid multiple, potentially contradictory cultural legacies. Code hybridization is a process whereby social actors not only incorporate the cultural codes of subordinate groups into the public sphere, but in doing so also potentially transform dominant codes. We conceptualize code hybridization in terms of three analytic steps: enlargement of the terrains of signification; reinterpretation of codes; and mixing of schemas. The resulting hybridized schemas and frameworks are particularly useful cultural tools for developing visions of civil inclusiveness for young, unstable civil societies. Using a brief comparative study of the representation of women in political cartoons in Hong Kong and Taiwan, we offer a concrete example of code hybridization—a process linking the codes of liberty and caring while producing alternative and more inclusive narratives during moments of political agitation.

From the 1940s until 1974, the American curator, writer and editor Nancy Newhall was a pivotal and visionary figure in the emergence of the field of creative photography in the USA. Newhall’s collaborative work over these decades was foundational in establishing a framework for creative practice in photography – including exhibitions, institutions, publications and public discourse. Newhall’s personal correspondence, in particular, illuminates her bold advocacy in developing a constellation of opportunities to support the practise of and public audience for creative photography, while her published writing and collaborative creative work with photographers created a framework for text and image experiments.

This essay examines a particular way of imagining seeing that structured a range of photographic endeavours in the late nineteenth century. It tries to show that this approach established a common conceptual framework in which some of the leading photographers of the fi n-de-siecle operated, and by means of which they could think out crucial questions of image-making, from the depiction of types, to the representation of movement, to the production of characteristic likeness in portraiture. At the same time, it attempts to demonstrate how this way of imagining seeing, which centred on a certain model of serial imagery and sense-impression, helped guide the response to new forms of practice in instantaneous photography, those that rendered visible otherwise non-visible entities and events. In doing so, the essay means to address late nineteenth-century standards for understanding photography’s credibility and utility.

Over the past decade, particularly with the introduction of Web 2.0 technologies, we have seen an increase in the popularity of social media such as forums, weblogs and wikis and social media applications and services such as Facebook and YouTube along with the proliferation of open publishing initiatives and social news websites. This vibrant upsurge of participatory values and practices can be understood as a sign of a general cultural trend whereby audiences increasingly become active media producers. This participatory culture challenges the top-down model of journalism by allowing anyone to post and upload content without formal editorial moderation or filtering processes, while the boundaries between professional journalists and their audience begin to blur as audiences actively increase their control and involvement over their news consumption, becoming both consumers and creators of media content. Citizens are no longer passive receivers but rather are actively engaged in (re)creating, challenging, questioning, correcting, and personalizing news media. As a means of combating revenue loss and reconnecting with their audiences, mainstream news media throughout Western democracies have begun tapping into this digital media culture by increasingly adopting participatory forms of journalism. However, these new forms have yet to be study in any great detail. The empirical research that does exist focuses mostly on gauging the opinions, motives and perceptions of editors/journalists, mapping the current trends and forms, and ethnographic studies on newsroom practices. What is needed to take this body of research further is an analysis of the content. This chapter moves in this direction by addressing the question of whether user-generated content within mainstream news media today is improving the quality journalism, i.e. enhancing the public sphere. One of the most popular forms of user-generated content within mainstream news media is comment fields attached to news articles. Such spaces provide citizens the opportunity to react, debate, and comment on articles (or blogs) written by journalists. The focus of this chapter is on how people are engaging in these spaces. The aim is two fold. First, it is to see to what extent such spaces are facilitating deliberative communicative practices crucial to the public sphere. Are comment fields opening up spaces for citizen deliberation? Second, it is to see whether this type of user-generated content is improving the quality of journalism. Are citizens bringing new ideas, perspectives, facts, and sources to journalistic content? In order to address these questions, postings from comment fields were examined and assessed within the British online newspaper the Guardian. The sample consisted of 3,169 postings (comments) taken from all those articles/blogs (by Guardian journalists) on the UN Climate Change Summit in Copenhagen during a two week period in December 2009. A case study design with normative and descriptive characteristics was utilized. A content analysis was employed as the primary instrument for examination. The coding scheme focused first on gauging the type and level of interaction. Are participants engaging with the content, journalist, or fellow participants, and are such spaces hosting critical-reciprocal exchange between participants? Second, the analysis identified the purpose of the postings; i.e. are participants providing an opinion/argument, posing a question, providing information, calling for action, and/or degrading or acknowledging another? Finally, the analysis focused on the level to which such spaces bring new and alternative opinions, arguments, facts, and sources to the article, to journalism.

Abstract. Theory of mind, defined as attributing intentions, feelings, and thoughts to others, is a key capacity in building mental models of narratives. Shot scale, referring to the relative size of the figure on the screen, effectively regulates theory of mind relevant visual cues carried by faces. However, research into the effect of shot scale on theory of mind responses in a narrative is almost nonexistent. The aim of the present study was to investigate the extent to which shot scale influences theory of mind responding in film viewers. Four short animated movies were annotated for average shot scale and presented in a within-subject design. Employing mixed-method data collection, participants were asked to retell the story of the films and fill in questionnaires on narrative experience. Skin conductance was also measured during exposure. Story descriptions were content analyzed for theory of mind responses. In a Poisson regression model, average shot scale predicted theory of mind response indicating that increasing spatial proximity to the character triggered higher occurrence of mental state references in participants’ story descriptions. The findings elucidate how formal properties of character presentation affect an audience’s mental models of a story.