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When we invited interested authors to contribute to the special issue titled “Waste in Films – Waste after Films,” we expected papers about waste shown in fictional films and in the real world, and in every potential “transitional” discursive form. In our call for papers, we suggested that waste is not only a metaphor, not only a sign and symbol in cinematic text, but also a material impact of film production. Waste is the visible consequence of film production, although its causes are often less visible. Waste is often treated as a political and economic challenge, but its role as the source of ecological disaster can be overlooked.

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The article presents the theoretical views and, to a lesser extent, artistic practices of Joanna Zylinska, who in her artistic activity combines epistemological strategies of a researcher and theorist with her activities in the field of art. She develops in different manners an original project of philosophy as photography, or photography as a form of philosophizing. Posthumanist and post-anthropocentric inspirations and the inclusion of her reflections in a wider circle of a nonhuman turn constitute an epistemological framework of numerous statements devoted to the “photographic condition” in the age of dominance of digital technologies. The author argues that, in fact, photography has been a nonhuman practice since its beginnings, which is developed in her book Nonhuman Photography, preceded by the concepts of mediation and photomediation. In her latest proposals addressing the issues of the functioning of art in the era of algorithmic systems, the author develops the concept of undigital photography, which constitutes an extension of thinking about those manifestations of photography that are not of/by/for the human. The idea of “vision machines” (once proposed by Paul Virilio) takes the form of a holistic view of photography as a “medium of life,” which, unlike modernist descriptions of it as a “medium of death” (Roland Barthes), makes a significant contribution to both the theory and the history of photography. The synthetic presentation of Zylinska’s concepts is an attempt to describe and interpret the contemporary state of theoretical and methodological awareness in the field of contemporary image studies. It stems from the need to constantly reinterpret the canon of thinking about the medium of photography in the epoch of cooperation between human and non-human agencies in the area of pictorial production of images addressed to both people and machines.

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The article examines the ways in which the slowly evolving and invisible processes of the ongoing ecological crisis can be represented in the format of a contemporary serial television drama. The author argues that despite heavy reliance on spectacular and captivating character-born plots, the long-form storytelling of new television narratives can be well suited to representing the complex and unspectacular temporalities of the ecological crisis. With the Swedish-French Arctic noir TV series Midnight Sun as a case study, the analysis shows how a highly spectacular criminal plot is developed to reveal the invisible temporal action and nonhuman agency of a special kind of waste paradigmatic of the era of the Anthropocene, defined by Timothy Morton as a hyperobject (2013). This idea is established in Midnight Sun not only by placing radioactive waste at the center of the narrative but also by gradually foregrounding its nonhuman agency behind the events. The aim of the analysis is to demonstrate that by both using and reimagining the conventions of the television crime drama (Arctic noir), Midnight Sun translates into quotidian terms the unspectacular and long-term aspects of human-induced ecological destruction, which surpass the individual human scale and evade our cognition. An important strategy adopted in Midnight Sun is bringing together two levels of criticism: ecocritical and postcolonial. The slow ecological violence (R. Nixon, 2011) and nuclear colonialism (G. Schwab, 2020) exerted by the powerful against regions and people who are globally less visible are depicted as a continuation of the history of colonization, and more specifically, the systemic and longstanding ill-treatment of the indigenous Sámi people in Sweden.

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The paper provides an analysis of the documentary Polluting Paradise (2012) by Fatih Akın within the context of eco-trauma cinema. The movie depicts ecological contamination as a social problem and mutual catastrophe, exactly as the theory of eco-trauma cinema suggests. Through a careful observational mode of filmmaking that characterize Polluting Paradise, the mechanisms that are responsible for environmental pollution are being scrutinized. The author argues that the movie combines documentary techniques with melodramatic structures for the sake of the audience’s emotional involvement. The article concludes with a reflection on the cinematic rhetoric used by Akın to affect the viewers.

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The author analyzes the mutual determinants of the ecological and social crisis. The starting point is Zygmunt Bauman’s concept of wasted lives and the concept of expulsions proposed by Saskia Sassen, referring both to activities destroying specific areas and the communities inhabiting them. This frame includes films showing various scenarios of a dystopian future in which individual characters or entire groups have been consumed and expelled by the aggressive Capithalocene and doomed to live in the dustbin of contemporary civilization. The article focuses on the production Beasts of the Southern Wild directed by Benh Zeitlin. The author looks at the reality and, at the same time, the symbolism of the film’s wall/dam; communities living on both sides of it, relationships between nature and culture, or rather (in posthumanist terms it is written as one word – natureculture); the methods and consequences of excluding and expelling human and non-human beings used by the mechanisms of late capitalism.

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Człowiek z kamerą jedną ręką tworzy rzeczy niezwykłej wartości, drugą bez kamery – lekkomyślnie niszczy, unicestwia i obraca wniwecz to, co sam stworzył. Kultura filmowa i szerzej audiowizualna, jak wszelkie inne odmiany kultury, jest rodzajem „uprawy”: wrażliwej na wszelkie zmiany i wymagającej ciągłej pieczy i starania...

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W poniższym artykule przyjrzę się dynamice edukacyjnej aktywistów i systemowi produkcji filmowej Stowarzyszenia Otwarte Klatki (SOK/Stowarzyszenie). To organizacja, która walczy oprawa zwierząt tzw. hodowlanych i wykazuje się jednym z wyższych wskaźników efektywności w działalności spośród wszystkich organizacji prozwierzęcych na świecie.

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Chyba nikt nie ma wątpliwości, że określenie „pchli targ” (franc. marché aux puces, ang. "ea market, niem. Flohmarkt, wł. mercato delle pulci, hiszp. mercade de pulgas) ma związek z ilością odwiedzających targowisko ludzi. To wersja elegancka, eufemistyczna. W XVII wieku w Paryżu, w którym powstały pierwsze tego rodzaju bazary sprzedające stare, zużyte rzeczy, od początku miało to związek ze stopniem „zużycia” kanap, foteli, pluszowych poduszek...

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Stworzone przez studio noio Cloud Gardens to gra logiczna, w której zadaniem gracza jest kontrolowanie ukazanego na ekranie procesu zarastania obszarów i obiektów porzuconych przez człowieka. Aby zrealizować cel, użytkownik musi wykorzystywać udostępnione mu zasoby, na które składają się śmieci oraz nasiona roślin...

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This paper analyses the movie Fight Club (1999) from the philosophical point of view. We reflect on the split personality of the protagonist, showing how the former represents the subject of the modern society, who, unable to find completion in ceaseless consumerism, embarks upon a personal journey towards the annihilation of every value of his world. This process of annihilation, which at first takes the form of a closed group of people, evolves into an expansive way of annihilation. The latter symbolizes modern society’s evolved subject’s will to destroy the foundations of capitalist society.

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W niniejszym artykule badam, czym w kontekście kształtowania filmowego obrazu była dawna era studyjna i jaką rolę odgrywało w niej studio, rozumiane nie jako przedsiębiorstwo, ale jako atelier...

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The article discusses animated works by Wojciech Bąkowski and the broader context of their origins addressing Jean-Luc Nancy’s philosophy of division of voices and its hermeneutical implications. Making explicit reference to these theoretical considerations, the author analyzes “Speaking Movies” by Bąkowski and his new productions for art galleries, employing digital tools to reinvestigate their meaning and interpret his autotelic recitation. The analysis follows several distinctive examples that highlight, via different experimental techniques, the interplay between verbal articulations, echo-like effects, and reverberations in the production of a differentiated audiovisual landscape.

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Polityka Polski Ludowej wobec filmu zagranicznego uwikłana była przez cały okres jej istnienia w rozmaite konteksty polityczne, społeczne i ekonomiczne. Było to szczególnie widoczne w burzliwej pierwszej dekadzie po II wojnie światowej, gdy partia komunistyczna najpierw, do 1948 roku, zachowywała pozory uczestnictwa w demokratycznej grze, by następnie zmonopolizować życie społeczne i wprowadzić państwo totalitarne na wzór stalinowskiego Związku Sowieckiego. Włoski neorealizm należał do tych zjawisk powojennego kina zachodnioeuropejskiego, które system politycznej kontroli nad kulturą filmową w Polsce Ludowej dopuścił do obiegu w formie stosunkowo pełnej...

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Musical jako gatunek filmowy funkcjonuje w kinie od prawie stu lat. Pojawił się wraz z przełomem dźwiękowym i cieszył się dużą popularnością w latach 30. XX wieku podczas kryzysu gospodarczego. Przez kolejne dekady przeżywał wzloty i upadki, ogłaszano jego „śmierć”, by kilka lat później powracał do łask publiczności i krytyków...

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Archiwa Telewizji Polskiej S.A., ze względu na swój rozmach i zakres tematyczny, stanowią dla badaczy z różnorodnych dziedzin nauki (filmoznawców, medioznawców, historyków telewizji czy teoretyków przestrzeni archiwalnych) wyzwanie...

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Part of the works presented here are related to the situation in the east of the country and beyond: it is an attempt to find an outlet foremotions accumulated for a long time. The second part is a collection of works referring to city labyrinths and the final triumph of nature over human “concrete” structures.