“I do not think, but then I am”: the brain, mind and the heart of the film zombie character in the context of post humanist paradigm

The article presents the character of the zombie popular in the contemporary audio-visual culture by placing it in the context of post humanist paradigm. He concentrates on the brain symbolism representative for the character, which, in the classical understanding of the living dead, due to dissimilar functioning, makes it different from humans and their brain-like traits: the mind and heart. Analysing the recent films such as Warm Bodies and The Girl with All the Gifts, he demonstrates the present inadequacy of such a division. Unlike the classical Night of the Living Dead, they are in line with post anthropocentric and new materialism philosophy, by differently symbolically depicting the role and place of the human in the world. It is presently tantamount to the place of non-humans: animals, objects, artefacts and monsters including the living dead. The change of the cultural and film paradigm observed in zombie horrors indicates a deeper strategy of authors of those popular films.The article presents the character of the zombie popular in the contemporary audio-visual culture by placing it in the context of post humanist paradigm. He concentrates on the brain symbolism representative for the character, which, in the classical understanding of the living dead, due to dissimilar functioning, makes it different from humans and their brain-like traits: the mind and heart. Analysing the recent films such as Warm Bodies and The Girl with All the Gifts, he demonstrates the present inadequacy of such a division. Unlike the classical Night of the Living Dead, they are in line with post anthropocentric and new materialism philosophy, by differently symbolically depicting the role and place of the human in the world. It is presently tantamount to the place of non-humans: animals, objects, artefacts and monsters including the living dead. The change of the cultural and film paradigm observed in zombie horrors indicates a deeper strategy of authors of those popular films

Time-Resolved Phase-Sensitive Second Harmonic Generation Spectroscopy of the Hydrated Electron at the Water/Air Interface

The hydrated electron attracts attention since its discovery over fifty years ago. Being one of the products of the ionization of water, hydrated electrons, which are free electrons in water, play significant roles in biological damage, atmospheric chemistry, nuclear chemistry, etc.. However, despite its importance and the large number of studies on the hydrated electron many aspects of it are still not resolved. One of these concern its existence and behaviour at the water surface, which is of great interest since many of the processes it is involved in take place at interfaces. In this work, a technique is developed, that is based on the second harmonic generation (SHG) and enables the study dynamics of the hydrated electron at the water/air interface. By introducing a local oscillator, which interferes with obtained SHG from the water surface, a signal directly proportional to the sample concentration is obtained, in contrast to the quadratic dependence from conventional SHG. Moreover, the technique allows phase information to be obtained, which enables the determination of the real and imaginary parts of the 2nd order non-linear susceptibility. In addition to this, the technique uses a lock-in measurement, removing large constant offset from the interference. The technique yields high quality data on adsorbates with low surface concentration and has been extended to the time domain which provides insight into the dynamics of hydrated electrons at the water/air interface. In this experiment, the electron was generated using the charge-transfer-to-solvent transition of iodide and probed primarily over the first few picoseconds. This probes the initial solvation of the electron at the interface. Our results suggest that the dynamics are similar to the dynamics observed in the bulk, although the added phase-sensitivity provides new information about early solvation dynamics

We władzy Peruna. Mitologia i wierzenia dawnych Słowian i ich współczesnych wcieleń w filmie polskim

The article describes and analyses the screen image of the Slavs in Polish cinematography in the context of Slavic beliefs and mythology, mostly juxtaposed with the Christianisation of the Polish lands. In most works, filmmakers have tried to combine a legendary, fantastic perspective with historical events and realities. This is the case off Jerzy Hoffman’s adaptation of the novel by I. Kraszewski entitled Stara baśń [The Old Tale], as well as in the films Gniazdo [The Nest] (where the issue of ideology of the so-called People’s Poland was important) and Krew Boga [God’s Blood] (a movie shot in modern times, without the need to pay any tribute to the authorities). In works dealing with contemporary fate of ancient mythology we can differentiate two models. One of them is hiding Slavic beliefs under the naive, folk version of the dominant Catholic religiousness that has not completely eradicated the ancient faith (as in Jan Jakub Kolski’s films from the Jańcioland universe). In contrast, in Allegro’s Polish Legends and in Krakow Monsters TV series made for Netflix we deal with contemporary incarnations of Slavic and specifically Polish myths and legends. Allegro’s production relied on pastiche and ludic storytelling, while the series made for the streaming platform Netflix attempted to speak in earnest about the presence of the deities in question in the modern metropolis. Both ways produced artistically imperfect results, but in terms of genre and story, they point to the direction that future realisations of the theme may take.Artykuł opisuje i analizuje ekranowy wizerunek Słowian obecny w rodzimym filmie w kontekście ich wierzeń i mitologii, przeważnie zderzonych z chrystianizacją ziem polskich. Filmowcy w większości utworów starali się łączyć perspektywę legendarną, fantastyczną z wydarzeniami i realiami historycznymi. Tak jest w adaptacji powieści I. Kraszewskiego Stara baśń dokonanej przez J. Hoffmana oraz filmach Gniazdo (gdzie ważna była kwestia ideologii państwa tzw. Polski Ludowej) i Krew Boga (w czasach współczesnych, bez trybutu płaconego władzy). W utworach, w których mowa o współczesnych losach dawnej mitologii spotykamy dwa modele. Niekiedy (w filmach Jana Jakuba Kolskiego z uniwersum Jańciolandu) słowiańskie wierzenia są ukryte pod dominującą religijnością katolicką, naiwną, ludową, która nie wyrugowała do końca dawnej wiary. Z kolei w cyklach telewizyjnych Legendy Polskie Allegro oraz Krakowskie potwory dla Netfliksa mamy do czynienia ze współczesnymi wcieleniami mitów i legend słowiańskich i ściśle polskich. W produkcji Allegro postawiono na pastisz i ludyczny charakter opowiadania, w serialu platformy streamingowej Netflix próbowano mówić językiem poważnym o obecności danych bóstw we współczesnej metropolii. Oba sposoby dały niedoskonałe artystycznie rezultaty, ale gatunkowo i fabularnie wskazują na kierunek, jakim podążyć mogą kolejne realizacje tematu

Od teatru okrucieństwa do Grand Guignolu. Śmierć w kinie Andrzeja Żuławskiego

This essay shows the motif of death in the film works of Andrzej Żuławski in the perspective of the theatre of horror. Starting with Trzecia część nocy (The Third Part of the Night) (1971) until his late work Szamanka (The Shaman Woman) (1996), this film work is shown as evolving from the patronage of the conception of art of Antonin Artaud, serving the transformation of man up to its peculiar autoparody, which is closer to Grand Guignol. The author proves that escalation of cruelty in his works gradually loses its artistic pretext (justification) ceases to be artistically justified (no longer find artistic justification).This essay shows the motif of death in the film works of Andrzej Żuławski in the perspective of the theatre of horror. Starting with Trzecia część nocy (The Third Part of the Night) (1971) until his late work Szamanka (The Shaman Woman) (1996), this film work is shown as evolving from the patronage of the conception of art of Antonin Artaud, serving the transformation of man up to its peculiar autoparody, which is closer to Grand Guignol. The author proves that escalation of cruelty in his works gradually loses its artistic pretext (justification) ceases to be artistically justified (no longer find artistic justification)

Dybbuks in Movies: from a Jewish Legend to a Polish Nightmare

The article discusses several screen adaptations of the drama Dybbuk or Between Two Worlds  by Szymon An-ski. Written on the basis of an old Jewish legend, An-ski’s play has provided inspiration for many movies. The four analysed works represent different cultural traditions and film genres and come from different decades of the cinema history. Diverse as they are, these four works emphasize different issues. They are: Dybbuk by M. Waszyński – the best Polish movie in Yiddish exploring the Jewish folklore; A Serious Man  by the Coen brothers, with a ‘dybbuk’ prologue that redefines their art towards the Judaic tradition, as well as two other works that are strongly characteristic of the film genres that they represent: The Possession  by O. Bornedal, using the poetics of religious horror, and the Polish thriller The Demon  by M. Wrona, drawing from the tradition of the national drama as defined by Wesele  [The Wedding ] by S. Wyspiański and its screen adaptations and travestations.The article discusses several screen adaptations of the drama Dybbuk or Between Two Worlds  by Szymon An-ski. Written on the basis of an old Jewish legend, An-ski’s play has provided inspiration for many movies. The four analysed works represent different cultural traditions and film genres and come from different decades of the cinema history. Diverse as they are, these four works emphasize different issues. They are: Dybbuk by M. Waszyński – the best Polish movie in Yiddish exploring the Jewish folklore; A Serious Man  by the Coen brothers, with a ‘dybbuk’ prologue that redefines their art towards the Judaic tradition, as well as two other works that are strongly characteristic of the film genres that they represent: The Possession  by O. Bornedal, using the poetics of religious horror, and the Polish thriller The Demon  by M. Wrona, drawing from the tradition of the national drama as defined by Wesele  [The Wedding ] by S. Wyspiański and its screen adaptations and travestations

Dialog z tradycją malarską w literackiej i filmowej twórczości Lecha Majewskiego

This article presents Lech Majewski's works in the context of the intersemiotic translation: how the world painting functions in the literature and films of this author. Majewski attempts to make dreams of the modern synthesis of arts come true and in this he reminds of the activities of his Renaissance master, Leonardo da Vinci. This Polish artist by means of the painting tradition (both works as well as fragments of painters' biographies), set in the context of other media (literature, theatre, film) wants to create a modern, intermediate garden of arts whose central topic is the vision of paradise. It can be understood as a place of existence of heroes of his works and - metaphorically - the language of art which the art uses freely uses various materials and media.This article presents Lech Majewski's works in the context of the intersemiotic translation: how the world painting functions in the literature and films of this author. Majewski attempts to make dreams of the modern synthesis of arts come true and in this he reminds of the activities of his Renaissance master, Leonardo da Vinci. This Polish artist by means of the painting tradition (both works as well as fragments of painters' biographies), set in the context of other media (literature, theatre, film) wants to create a modern, intermediate garden of arts whose central topic is the vision of paradise. It can be understood as a place of existence of heroes of his works and - metaphorically - the language of art which the art uses freely uses various materials and media

Gombrowicz a polski film fabularny

This article presents the influence that Witold Gombrowicz’s work has had on Polish cinema. It covers several generations of directors, for example, Andrzej Munk (born in the 1920s), Roman Polański and Jerzy Skolimowski (born in the 1930) as well as Agnieszka Holland, Piotr Szulkin and Marek Koterski (born in the 1940s and 1950s), and discusses the topic of film adaptations of his books (Jerzy Skolimowski’s Ferdydurke and Jan Jakub Kolski’s Pornografia [Pornography]). The article shows that Polish cinema uses Gombrowicz’s works most of all by taking up the issue of life’s authenticity and inauthenticity as well as to demythologize Polish tradition and history. As for esthetics, it employs Gombrowicz’s favorite style, i.e. the grotesque.This article presents the influence that Witold Gombrowicz’s work has had on Polish cinema. It covers several generations of directors, for example, Andrzej Munk (born in the 1920s), Roman Polański and Jerzy Skolimowski (born in the 1930) as well as Agnieszka Holland, Piotr Szulkin and Marek Koterski (born in the 1940s and 1950s), and discusses the topic of film adaptations of his books (Jerzy Skolimowski’s Ferdydurke and Jan Jakub Kolski’s Pornografia [Pornography]). The article shows that Polish cinema uses Gombrowicz’s works most of all by taking up the issue of life’s authenticity and inauthenticity as well as to demythologize Polish tradition and history. As for esthetics, it employs Gombrowicz’s favorite style, i.e. the grotesque

Oficerowie wciąż czerwoni? Filmowy wizerunek postkomunistycznych służb specjalnych na przykładzie Psów oraz Czerwonego Kapitana

Artykuł jest analizą porównawczą dwóch filmów mających za bohatera pracownika dawnych, komunistycznych służb specjalnych, który w nowych okolicznościach geopolitycznych zostaje policjantem. Polskie Psy (1992) oraz słowacko-czeski Czerwony Kapitan (2016), mimo że zrealizowane w różnym okresie, przedstawiają protagonistę w momencie przełomu ustrojowego. Ich zestawienie, koncentrujące się na opisie trzech elementów ich poetyki – przestrzeni, wykorzystywanym gatunku oraz bohaterze, pozwala ujrzeć ich specyfikę, związaną z odwołaniami do filmu policyjnego (Psy) oraz literatury i kina noir (Czerwony Kapitan), a także różne powody, dla których filmy te powstały

Berlin i Niemcy w dwóch adaptacjach filmowych powieści Alfreda Döblina Berlin Alexanderplatz

The subject of this paper is the image of Berlin and Germany that emerges from two film adaptations of the novel Berlin Alexanderplatz. The first one, a 1980 TV series by Rainer Werner Fassbinder, closely follows the letter and spirit of the original 1929 novel; we see a faithful recreation of the material world and the mindset of German society in the final years of the Weimar Republic. In the second one, a 2021 cinema production by Burhan Qurbani, the plot is modernised. The main context of the film is the plight of refugees and economic migrants in contemporary Germany and the problems portrayed are linked to issues of race and post-colonialism.The subject of this paper is the image of Berlin and Germany that emerges from two film adaptations of the novel Berlin Alexanderplatz. The first one, a 1980 TV series by Rainer Werner Fassbinder, closely follows the letter and spirit of the original 1929 novel; we see a faithful recreation of the material world and the mindset of German society in the final years of the Weimar Republic. In the second one, a 2021 cinema production by Burhan Qurbani, the plot is modernised. The main context of the film is the plight of refugees and economic migrants in contemporary Germany and the problems portrayed are linked to issues of race and post-colonialism

ZASTOSOWANIE RACHUNKU RÓŻNICZKOWEGO NIECAŁKOWITEGO RZĘDU DO MODELOWANIA PRZEPŁYWÓW DWUFAZOWYCH GAZ/CIECZ

In recent years the use of fractional calculus in control system identification is becoming popular and it has found new applications. The paper presents application of fractional calculus for modelling of two-phase gas/liquid flows in a test rig. The installation consists of three horizontal and vertical measuring segments with different diameters, which allow to investigate flows in a wide range of parameters. Flow components supply is measured/controlled by NI PXI system and a set of flow meters/controllers. The paper presents model of the two-phase flow in the above described installation, which leads to precise and accurate flow mathematical model. The main goal of the flow model is to describe steady flow parameters, especially the flow fractions, or type of the flow. The model describes flows more accurately, that classical second order system model.W ostatnich latach wykorzystanie rachunku różniczkowego niecałkowitego rzędu staje się coraz bardziej popularne i znajduje nowe obszary zastosowań. W pracy przedstawiono zastosowanie powyższego rachunku różniczkowego do modelowania przepływów dwufazowych gaz / ciecz. Instalacja badawcza składa się z trzech poziomych i pionowych odcinków pomiarowych o różnych średnicach, które umożliwiają badanie przepływu w szerokim zakresie parametrów. Przepływ komponentów mieszaniny jest mierzony / sterowany przez system NI PXI oraz zestaw przepływomierzy i sterowników. W artykule przedstawiono modelowanie przepływu dwufazowego w wyżej opisanej instalacji, które prowadzi do określenia precyzyjnego modelu matematycznego przepływu. Opracowany model opisuje przepływy dwufazowe dokładniej w porównaniu z klasycznym model opisanym równaniami różniczkowymi drugiego rzędu