http://hdl.handle.net/11716/6852 Thu, 09 Apr 2026 13:21:41 GMT 2026-04-09T13:21:41Z http://hdl.handle.net/11716/9705 Plakat filmowy jako forma komunikacji marketingowej Smyczyńska, Aleksandra The aim of the article is to investigate a film poster as a marketing message in 1990–2010. 1990 marks a borderline in Polish culture. However, after years of monopoly, Polish films disappeared from cinemas. Thus, there has been a necessity to face the competitors i.e. US films. The point is not only in quality of the film art itself, attractive topics, better technical quality, but also – considering the ruthless laws of the market – in more intensive endeavors to promote Polish films. The poster is the most common advertising form of the film art and an important part of its marketing strategy. The paper is an attempt to present how the film poster has been functioning since 1990s, how it has played its marketing mission, what instruments have been used and how it has presented the film content. Contemporary film posters function like advertisements of products and services related to free time. They offer experience. Through the schemes applied they relate to emotions, which is justified from the marketing point of view. Poster representation of the film is an iconographic abbreviation of emotions that it offers. A potential viewer can usually read without major problems the author’s intensions and while watching the advertisement she/he chooses the emotions that she/he would like to experience. The promise of the experience is constructed and offered by means of pictures and words in a particular style. The author shows that although the poster is a complex phenomenon it is also standardized, which is helpful in creating a clear advertising message. A successful poster arises desire to buy goods or services. It follows the basic AIDA marketing principles. With the help of iconographic layer of picture and typography, the designer constructs a defined image directed at the target audience. At present, the poster is mostly rather an advertisement. Just like a commercial related to the brand it advertises, the film poster is consistent with the type of film. Thus, the film poster implies what the viewer can expect. Dokument cyfrowy wytworzony, opracowany, opublikowany oraz finansowany w ramach programu "Społeczna Odpowiedzialność Nauki" - modułu "Wsparcie dla bibliotek naukowych" przez Ministerstwo Nauki i Szkolnictwa Wyższego w projekcie nr rej. SONB/SP/465103/2020 pt. "Organizacja kolekcji czasopism naukowych w Repozytorium UP wraz z wykonaniem rekordów analitycznych". Sat, 01 Jan 2011 00:00:00 GMT http://hdl.handle.net/11716/9705 2011-01-01T00:00:00Z http://hdl.handle.net/11716/9704 Fotografia i jej filmowe reprezentacje Skowronek, Bogusław In the article the author discusses the way of showing photography in films. Photography is defined here: as a single picture, an act of taking a photo and as a specific way of expressing and discovering reality. The ways of showing photography in particular films were amounted to one main aspect. The author, using the example of 25 films, proves that photography in the cinema is still – despite contemporary awareness of picture ontology – used as a source of cognition, medium of truth and lie, visual form of testifying to material reality. Dokument cyfrowy wytworzony, opracowany, opublikowany oraz finansowany w ramach programu "Społeczna Odpowiedzialność Nauki" - modułu "Wsparcie dla bibliotek naukowych" przez Ministerstwo Nauki i Szkolnictwa Wyższego w projekcie nr rej. SONB/SP/465103/2020 pt. "Organizacja kolekcji czasopism naukowych w Repozytorium UP wraz z wykonaniem rekordów analitycznych". Sat, 01 Jan 2011 00:00:00 GMT http://hdl.handle.net/11716/9704 2011-01-01T00:00:00Z http://hdl.handle.net/11716/9703 Fotografik w kostnicy – o ukazaniu osoby zmarłej w sztuce współczesnej Milczanowska, Anna What is death in contemporary world? “Faked”, multiplied by movies and games, it becomes standard, it doesn’t frighten. In contemporary world the second type of death is taboo. It is pushed out of consciousness. Man striving for immortality, striving for eternal youth doesn’t want to remember it. Death was always connected to art. Artists tried to depict the deceased. The idealistic paintings of the dead or preserving their bodies in best possible condition was a gateway to the afterlife. Masks and coffin portraits were heirlooms, they replaced the body of the deceased family member. The mediaeval tombstones called transi played a different role – they depicted rotting corpse eaten by vermin. They reminded of inherent death and of death’s mundane meaning. Contemporary photographers’ work (e.g. Jeffrey Silverthorne’s or Andreas Serrano’s) appeal to these mediaval examples. They show massacred human bodies photographed in a specific, almost excluded from our consciousness setting – the morgue. One should contemplate whether the art depicts a man or a corpse identified with litter. What is the purpose of depicting dead bodies that were secretly photographed in a morgue or were prepared, immersed in formalin and exhibited at an art gallery? The fascination of body and its secrets influenced the way of showing the dead. Bodies of anonymous people seen in the photos are treated by contemporary people as waste. By the means of camera the photographed deceased are depersonalized twice. Once by the camera that is killing them, the second time by abjecting them. Dokument cyfrowy wytworzony, opracowany, opublikowany oraz finansowany w ramach programu "Społeczna Odpowiedzialność Nauki" - modułu "Wsparcie dla bibliotek naukowych" przez Ministerstwo Nauki i Szkolnictwa Wyższego w projekcie nr rej. SONB/SP/465103/2020 pt. "Organizacja kolekcji czasopism naukowych w Repozytorium UP wraz z wykonaniem rekordów analitycznych". Sat, 01 Jan 2011 00:00:00 GMT http://hdl.handle.net/11716/9703 2011-01-01T00:00:00Z http://hdl.handle.net/11716/9702 Współczesny świat w obiektywie Marcina Maciejowskiego: realizm medialny Ogonowska, Agnieszka The article deals with the works of Marcin Maciejowski in the perspective of intermedia connections of his works with photography, film and painting. The author of the article is particularly interested in tracing the intertextual and intermedia games in the space of culture as well as their informative, cognitive and ludic functions. A separate section of the article is devoted to the description of media realism. Dokument cyfrowy wytworzony, opracowany, opublikowany oraz finansowany w ramach programu "Społeczna Odpowiedzialność Nauki" - modułu "Wsparcie dla bibliotek naukowych" przez Ministerstwo Nauki i Szkolnictwa Wyższego w projekcie nr rej. SONB/SP/465103/2020 pt. "Organizacja kolekcji czasopism naukowych w Repozytorium UP wraz z wykonaniem rekordów analitycznych". Sat, 01 Jan 2011 00:00:00 GMT http://hdl.handle.net/11716/9702 2011-01-01T00:00:00Z