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Please use this identifier to cite or link to this item: http://hdl.handle.net/20.500.12128/19688
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dc.contributor.authorKisiel, Michał-
dc.date.accessioned2021-03-26T12:32:20Z-
dc.date.available2021-03-26T12:32:20Z-
dc.date.issued2020-
dc.identifier.citation"Review of International American Studies", Vol. 13, no. 1, 2020, s. 183-196pl_PL
dc.identifier.issn1991-2773-
dc.identifier.urihttp://hdl.handle.net/20.500.12128/19688-
dc.description.abstractAmong the various norms that contemporary mainstream cinema has been eagerly transgressing, the limits of violence - either justified or not - happen to be challenged more intensely than ever before. Perhaps no other artistic medium has managed to deploy so profoundly the dogma which psychoanalysis stubbornly refers to: a subject’s pursuit of excessive and Thanatic pleasure we know as jouissance. Yet, mainstream cinema rarely conspires with desires or the real and its traumatic experiences of emptiness; Hollywood, as a construct, cautiously trudges across the realms of fantasies instead. If violence is eagerly cherished and exercised there, then it is mostly because the films themselves refrain from inflicting violence on spectators, preserving their bloodthirsty images in impermeable bubbles [...].pl_PL
dc.language.isoenpl_PL
dc.rightsUznanie autorstwa-Użycie niekomercyjne-Na tych samych warunkach 3.0 Polska*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-sa/3.0/pl/*
dc.subjectviolencepl_PL
dc.subjectpostmodern cinemapl_PL
dc.subjectMichael Hanekepl_PL
dc.titleViolence Hates Games? Revolting (against) Violence in Michael Haneke’s Funny Games U.S.pl_PL
dc.typeinfo:eu-repo/semantics/articlepl_PL
dc.identifier.doi10.31261/rias.7412-
Appears in Collections:Artykuły (W.Hum.)

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