Publication date: 27.08.2019
The publication was financed in the program of the MInister of Science and Higher Education under the name „National Program for the Development of the Humanities in the years 2017– 2019, number 3bH15017583
Licence:
CC BY-NC-ND
Arts & Cultural Studies Review, Issue 1 (39), 2019, pp. 1 - 14
https://doi.org/10.4467/20843860PK.19.001.10896Arts & Cultural Studies Review, Issue 1 (39), 2019, pp. 15 - 29
https://doi.org/10.4467/20843860PK.19.002.10897Arts & Cultural Studies Review, Issue 1 (39), 2019, pp. 30 - 50
https://doi.org/10.4467/20843860PK.19.003.10898Arts & Cultural Studies Review, Issue 1 (39), 2019, pp. 51 - 67
https://doi.org/10.4467/20843860PK.19.004.10899Arts & Cultural Studies Review, Issue 1 (39), 2019, pp. 68 - 80
https://doi.org/10.4467/20843860PK.19.005.10900Arts & Cultural Studies Review, Issue 1 (39), 2019, pp. 81 - 100
https://doi.org/10.4467/20843860PK.19.006.10901Arts & Cultural Studies Review, Issue 1 (39), 2019, pp. 101 - 108
Arts & Cultural Studies Review, Issue 1 (39), 2019, pp. 109 - 114
Arts & Cultural Studies Review, Issue 1 (39), 2019, pp. 115 - 121
Arts & Cultural Studies Review, Issue 1 (39), 2019, pp. 122 - 128
Arts & Cultural Studies Review, Issue 1 (39), 2019, pp. 129 - 134
Słowa kluczowe: image, softimage, postimage, hybrids, new media, photography, movie essay, memory, movement, Chris Marker, myth, ritual, subversion, identity, masque, music, streaming, vinyl, media, semiotics of popular music, air, wireless, unofficial culture, totalitarianism, resistance, new Russian dance, Heptachor, eugenics, blood, nation, race, Meiji, Japan, konketsuji