Journal articles: 'Roman Polanski'

1

Cejtlin, Michel. "Le pianistede roman Polanski." Les Temps Modernes 657, no. 1 (2010): 260. http://dx.doi.org/10.3917/ltm.657.0260.

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Etkind, Charlene. "Roman Polanski Interviews (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 37, no. 1 (2007): 101. http://dx.doi.org/10.1353/flm.2007.0012.

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Boccara, Paolo. "Roman Polanski: A Film Memoir." INTERAZIONI, no. 1 (September 2013): 127–29. http://dx.doi.org/10.3280/int2013-001010.

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Sáez-González, Jesús Miguel. "The Ghost Writer (Roman Polanski)." Vivat Academia, no. 111 (June 15, 2010): 108. http://dx.doi.org/10.15178/va.2010.111.108-109.

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Sáez-González, Jesús Miguel. "Un dios salvaje (Roman Polanski)." Vivat Academia, no. 117 (December 15, 2011): 160. http://dx.doi.org/10.15178/va.2011.117.160.

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Huvet, Chloé. "Le pianiste (2002) de Roman Polanski." Revue musicale OICRM 3, no. 2 (June 6, 2019): 135–56. http://dx.doi.org/10.7202/1060111ar.

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Dans Le pianiste (2002), Polanski présente une vision singulière de la musique et fait de l’engagement artistique le thème principal de son film, qui lui permet en filigrane d’interroger la manière dont l’individu peut faire face au Mal. Si l’utilisation de la musique au sein de ce film n’est pas un champ de recherche inexploré, aucune étude n’a cherché à montrer de façon approfondie comment l’analyse du Pianiste permet d’apporter un nouvel éclairage à la réflexion polanskienne sur le statut et le rôle de la musique, pourtant essentielle dans la filmographie du réalisateur. L’enjeu de notre article sera ainsi d’interroger de quelle manière et dans quelle mesure la musique apparaît pour le personnage principal comme un moyen de survivre et de résister face au processus de déshumanisation nazi. Nous montrerons aussi que la vision de la musique qu’offre Polanski, éloignée de tout angélisme naïf et candide, s’avère fondamentalement ambivalente.

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Misiak, Anna. "The Unstable Epistemological Territory of Roman Polanski's Cinema/Polanski and Perception: the Psychology of Seeing and the Cinema of Roman Polanski, by Davide Caputo." Studies in Eastern European Cinema 5, no. 2 (July 3, 2014): 211–13. http://dx.doi.org/10.1080/2040350x.2014.929315.

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Silva, Jonathan Raphael Bertassi da, and Lucília Maria Sousa Romão. "Procurado e desejado: olhares de/sobre Roman Polanski." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 26 (August 11, 2012): 202. http://dx.doi.org/10.22409/c-legenda.v0i26.26260.

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Com este artigo, interpretamos sob a luz do referencial teórico da Análise do Discurso francesa as regularidades e rupturas discursivas presentes no polêmico episódio envolvendo a condenação, prisão e fuga do cineasta Roman Polanski e os efeitos de sentido inscritos em um de seus filmes, Repulsa ao Sexo (1965). Interessa-nos compreender os sentidos sobre patriarcalismo, violência contra a mulher, liberdade sexual feminina e a memória que sustentam os dizeres do/sobre a polêmica com o cineasta e sobre sua obra. Para enriquecer as análises, mobilizaremos também recortes de blogs e trechos do documentário Roman Polanski: Procurado e Desejado (2008), abrindo assim o leque de interpretações possíveis sobre nosso corpus.

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9

Vidal-Hall, Judith. "Interview: Roman Polanski: A matter of perception." Index on Censorship 24, no. 6 (November 1995): 84–90. http://dx.doi.org/10.1080/03064229508535992.

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Pieterse, Annel. "Polanski and perception: the psychology of seeing and the cinema of Roman Polanski." South African Theatre Journal 27, no. 2 (April 3, 2014): 151–55. http://dx.doi.org/10.1080/10137548.2014.901646.

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Álvarez Gómez, Raúl. "La crisis de la modernidad en la narrativa de "Repulsión", de Roman Polanski." Área Abierta 20, no. 3 (September 29, 2020): 335–51. http://dx.doi.org/10.5209/arab.69465.

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Repulsión (Repulsion, Roman Polanski, 1965) es una de las películas más interesantes de la filmografía de su director por lo significativo de los temas tratados —la alienación del individuo en las sociedades modernas, fundamentalmente— y la narrativa audiovisual que se emplea para expresarlos. La bibliografía de referencia en los estudios sobre Polanski coincide en señalar que las películas del cineasta son representativas de la crisis de la modernidad que se debate en el pensamiento filosófico, particularmente en Francia, a mediados del siglo XX. Hay, sin embargo, pocos análisis que exploren la conexión entre esa cuestión y el lenguaje narrativo de Polanski. Este artículo estudia el modo en que el director emplea en Repulsión los cinco componentes fundamentales de la sintaxis cinematográfica —imagen, montaje, narración, sonido y puesta en escena— para expresar algunas ideas claves de la crisis de la modernidad, como la oposición entre libertad individual y vida en sociedad, objetivismo contra subjetivismo, y orden frente a caos.

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12

Pomostowski, Piotr. "Muzyczny eklektyzm w trzech etiudach Romana Polańskiego. Rozbijemy zabawę, Lampa i Gdy spadają anioły." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (March 15, 2017): 301–11. http://dx.doi.org/10.14746/i.2017.29.19.

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Author of the article, juxtaposing together three studies school of Roman Polanski, discusses the functions of music used in each of them. Due to the fact that the entire work the author of the Pianist’s is characterized by musical eclecticism – which is the main thesis of the article – it is proposed to look at the film music of early Polanski films, and to try to find a specific lineage of this eclecticism. Break Up the Dance, Lamp and When Angels Fall titles, which in the light filmic and musicological investigations differ from each other. Do not change the fact that each of these works “signs” that the director – the creator of not only the visual layer, but also (not forgetting the work of the composer) sound. In his early work Roman Polanski begins to create a kind of “range of methods” in relation to functions of music in the work of the film. The article is an attempt to systematize them and to find the film and the music key.

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González Sebastiá, Nurieta. ""Basada en hechos reales" (2017) de Roman Polanski." Clínica Contemporánea 9, no. 3 (2018): E27, 1–3. http://dx.doi.org/10.5093/cc2018a23.

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14

Davies, Rob. "Female Paranoia: The Psychological Horror of Roman Polanski." Film Matters 5, no. 2 (June 1, 2014): 18–23. http://dx.doi.org/10.1386/fm.5.2.18_1.

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15

Jim Welsh. "Roman Polanski: Wanted and Desired (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 39, no. 1 (2009): 69–71. http://dx.doi.org/10.1353/flm.0.0083.

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16

L’Archevêque, Alexandre. "The Pianist, de Roman Polanski : un stratagème pervers ?" Filigrane: Écoutes psychothérapiques 29, no. 2 (2020): 43. http://dx.doi.org/10.7202/1077170ar.

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17

Reichmann, B. T. "Bloody Heath and Bloody Chambers in Macbeth, by Roman Polanski." Revista Scripta Uniandrade, no. 7 (December 30, 2009): 195–202. http://dx.doi.org/10.18305/1679-5520/scripta.uniandrade.n7p195-202.

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18

Arboccó de los Heros, Manolo. "El bebé de Rosemary de Roman Polanski (psicopatología y cine)." Revista de Investigación en Psicología 14, no. 2 (March 3, 2014): 223. http://dx.doi.org/10.15381/rinvp.v14i2.2110.

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El siguiente artículo busca analizar una de las clásicas películas del cine de terror desde la óptica de la Psicología y en particular desde el psicoanálisis. La relación entre el cine y la Psicología es muy particular, así como antigua, y es en la pantalla donde se muestran muchas situaciones propias de las dinámicas más oscuras y extrañas del acontecer humano. La conducta proyecta al exterior lo que la mente privilegia dentro de uno y el cine proyecta en la pantalla, muchas veces, nuestro lado más inquietante, nuestros miedos, temores, deseos y parte de eso que se ha dado en llamar mente subconsciente. Intentaremos dar una lectura psicológica a la historia contada.

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19

Crnkovic, Gordana. ": Death and the Maiden . Roman Polanski, Thom Mount, Josh Kramer." Film Quarterly 50, no. 3 (April 1997): 39–45. http://dx.doi.org/10.1525/fq.1997.50.3.04a00050.

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20

Pessoa, Patrick. "Sísifo infeliz No intenso agora." Viso: Cadernos de estética aplicada 12, no. 23 (November 1, 2018): 334–44. http://dx.doi.org/10.22409/1981-4062/v23i/272.

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No intenso agora é uma meditação sobre o suicídio baseada em uma perspectiva anti-psicológica, de fortes tintas existencialistas. O mito de Sísifo, de Camus, é a obra filosófica com a qual o filme dialoga mais diretamente. Para defender esta tese, o filme de João Moreira Salles é inserido no contexto de um debate cinematográfico sobre as relações entre o suicídio e a política que inclui uma breve análise dos seguintes filmes: Trinta anos esta noite, de Louis Malle; O inquilino, de Roman Polanski; Os amantes constantes, de Phillipe Garrel; e Morrer aos trinta anos, de Romain Goupil, filme preferido de Salles sobre o período.

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21

Piro, Antonio, and Luca Bidogia. ""Quello che non so di lei" (di Roman Polanski, Francia, 2017)." IPNOSI, no. 1 (June 2018): 57–60. http://dx.doi.org/10.3280/ipn2018-001005.

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22

Andrade, Raquel de Matos. ""O pianista", de Wladyslaw Szpilman, e a literatura de testemunho." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 11, no. 21 (November 26, 2017): 186–97. http://dx.doi.org/10.17851/1982-3053.11.21.186-197.

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Este artigo analisa o livro de memórias O pianista, de Wladyslaw Szpilman, publicado em 1998, e que originou o filme homônimo de Roman Polanski, lançado em 2002, com outros autores que escreveram sobre a memória, a escrita de si e a literatura de testemunho. Lembrar é, no contexto deste trabalho, buscar a cura de mazelas, registrar o que houve e, talvez, por intermédio de algumas reflexões, impedir que atrocidades se repitam.

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23

Crnkovic, Gordana. "Review: Death and the Maiden by Roman Polanski, Thom Mount, Josh Kramer." Film Quarterly 50, no. 3 (1997): 39–45. http://dx.doi.org/10.2307/1213615.

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24

Jaehyung JUNG. "A Study on the Films of Roman Polanski -Centering on Three Viewpoints." Film Studies ll, no. 52 (June 2012): 313–36. http://dx.doi.org/10.17947/kfa..52.201206.012.

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25

Portuges, Catherine. "Reviews of Books:The Pianist Roman Polanski, Robert Benmussa, Alain Sarde, Ronald Harwood." American Historical Review 108, no. 2 (April 2003): 622–23. http://dx.doi.org/10.1086/533402.

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PADILLA DÍAZ, Alberto Román. "La poética claustrofóbica de los no-hogares en repulsión (Roman Polanski, 1965)." Fonseca, Journal of Communication 14, no. 14 (May 25, 2017): 147. http://dx.doi.org/10.14201/fjc201714147166.

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27

Goldstein, Thaís Seltzer. "Trauma, memória e justiça em "A Morte e a Donzela", de Roman Polanski." Psicologia USP 24, no. 3 (December 2013): 509–26. http://dx.doi.org/10.1590/s0103-65642013000300009.

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O presente artigo analisa um filme inspirado em uma peça teatral de Ariel Dorfman, traduzida para o português como "A Morte e a Donzela". A película, que leva o mesmo título, foi lançada em 1994 sob direção de Roman Polanski. Trata-se de um suspense psicológico que conta com a participação de apenas três personagens: Paulina, Miranda e Escobar, interpretados por Sigorney Weaver, Ben Kingsley e Stuart Wilson, respectivamente. Colocando em pauta discussões de grande relevância para a Psicologia - como a questão da memória de um trauma, da elaboração psíquica e do potencial restaurador da justiça - este filme, juntamente com algumas contribuições de teóricos da atualidade, suscita reflexões de grande valia ao enfrentamento de impasses ligados à rememoração de catástrofes sociais em âmbito intersubjetivo e comunitário.

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Eyrenci, Duygu. "Rosemary’s Baby (1968) USA Director Roman Polanski Runtime 136 minutes Blu-ray USA, 2012." Film Matters 4, no. 1 (March 1, 2013): 73. http://dx.doi.org/10.1386/fm.4.1.73_1.

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Tissera, Graciela. "Los castillos y la ficción: la cinematografía del espacio laberíntico." Diablotexto Digital 5 (June 8, 2019): 96. http://dx.doi.org/10.7203/diablotexto.5.13824.

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El presente trabajo tiene el propósito de analizar los espacios laberínticos de los castillos en la manera en que se presentan en las siguientes películas: Ojo del diablo (1966) de J. Lee Thompson (Inglaterra, 1914-2002), basada en la novela Día de la flecha (1964) de Philip Loraine (Inglaterra, 1920-2002), y La novena puerta (1999) de Roman Polanski (Francia, 1933), basada en la novela El Club Dumas (1993) de Arturo Pérez Reverte (España, 1951). En estas películas, las imágenes de castillos recrean simbólicamente los enigmas planteados en los conflictos de los personajes para proyectar una presencia elusiva y ubicua constituyendo un portal hacia lo desconocido.

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Añó Ayza, Ana, Carme Ferré-Pavia, María Ballester, and Júlia Corbinos. "La cobertura de los abusos sexuales en la prensa en la era Me Too: los casos Polanski, Weinstein y P. Domingo." Quaderns de Filologia - Estudis Lingüístics 26 (December 20, 2021): 19. http://dx.doi.org/10.7203/qf.0.21975.

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Este artículo analiza la cobertura mediática de los abusos sexuales a las mujeres entre 2015 y 2020, en el contexto de la aparición del movimiento MeToo, iniciado el 2017 en los Estados Unidos. La muestra la forman dos diarios generalistas españoles, El País y El Mundo, y se revisa cómo han informado de los casos del productor Harvey Weinstein, del director de cine Roman Polanski y del cantante Plácido Domingo. De 1.625 piezas periodísticas se hace un análisis cualitativo, con categorías periodísticas de protagonismo de víctima y victimario, descripción de personaje y sus acciones, fuentes aludidas, recurrencia a voces expertas y si se referencian o no las leyes contra el abuso sexual. Los tres ejemplos escogidos indican un cambio en los últimos tres años del tratamiento de los medios de los abusos sexuales en la llamada era Me Too, en dirección al empoderamiento de la víctima y a la pérdida de credibilidad del abusador. En el caso de Weinstein esto es más notable y claramente ha llevado el tema de los abusos sexuales a la agenda mundial; en el de Polanski se produjo un aumento del número de noticias sobre los abusos 43 años después de que sucedieran; por último, se duplicó el número de menciones a Plácido Domingo de un año para otro. Cualitativamente, incluso las noticias más estrictas enfatizan la gravedad de los hechos y las piezas de opinión hablan de forma negativa, en muchos casos situándolos en un contexto de lucha feminista a escala global, a pesar de que se detecta todavía la deificación del abusador artista.

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31

Klein, Michael L. "Chopin Fragments: Narrative Voice in the First Ballade." 19th-Century Music 42, no. 1 (2018): 30–52. http://dx.doi.org/10.1525/ncm.2018.42.1.30.

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This article considers the problem of narration in a collection of works gathered around Chopin's Ballade in G Minor, op. 23: Guillermo del Toro's Crimson Peak, Poe's “The Raven,” Mickiewicz's Konrad Wallenrod, Dickens's The Chimes, and Władysław Szpilman's The Pianist along with its cinematic adaptation by Roman Polanski. Chopin's Ballade is featured prominently in the two movies under consideration, while the remaining works are either influential for the composer (Konrad Wallenrod) or develop themes common to the Ballade. Study of narration in these works reveals that the narrator can be just as unstable in literary texts as in musical ones. The problems of narration that have been imputed to music are problems of narration itself. Regarding the era of Chopin's Ballade, these problems also point to unstable models of subjectivity, which the logic of narrative glosses over.

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32

Laks, Zoë Anne. "Derelict dolls and strange spaces: the horror of the uncanny valley in the films of Roman Polanski." Studies in Eastern European Cinema 6, no. 2 (May 12, 2015): 154–68. http://dx.doi.org/10.1080/2040350x.2015.1035093.

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33

Benyoucef, Djouher. "An Ecofeminist Reading of Thomas Hardy’s Tess of the D’urbervilles and its Movie Adaptation by Roman Polanski: A Comparative Study." Pakistan Journal of Women's Studies: Alam-e-Niswan 28, no. 1 (July 30, 2021): 61–71. http://dx.doi.org/10.46521/pjws.028.01.0089.

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Ecofeminist examination of audio-visual and textual narratives is the central concern of this article. At the core of my study is a comparative analysis of Thomas Hardy’s Tess of the d’Urbervilles (1891) and its movie adaptation by Roman Polanski (1979), with an aim to explore convergent and divergent ecofeminist imperatives. I argue that the novel highlights the intersection between the oppression of women and exploitation of nature. By contrast, the movie adopts an ambiguous stance that undermines the potential of an ethical ecofeminist critique. This is clearly reflected through scenes that represent the encounter between Alec and Tess as a pastoral romance taking place against the backdrop of nature, that ultimately serve to cast their association as the result of natural instinct rather than a crime. This reworking of the novel seems to suggest that the movie’s thrust as a whole is towards exonerating Alec, which undermines the novels’ ecofeminist overtones.

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Motta, Eduardo. "Espaço aberto: celebrity-obsessed artists." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 4, no. 8 (January 24, 2010): 29. http://dx.doi.org/10.26563/dobras.v4i8.224.

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Marcel Duchamp, artista que até hoje confunde os puristas do campo da arte, lançou, em 1921, um perfume falso, o Belle Haleine, com direito a frasco elegante, caixa de embalagem em forma de urna funerária e rótulo com a imagem dele travestido de Rrose Sélavy, personagem feminino que o artista eventualmente incorporava. Em 1996, foi a vez da dupla de estilistas holandeses Viktor Horsting e Rolf Snoeren, especializados em expandir a ideia do que é ou não moda. A simulação incluiu uma campanha e muito barulho para anunciar um perfume inexistente dentro de um frasco que nem podia ser aberto. Em 2009, o artista italiano Francesco Vezzoli1 lançou o seu Greed (Cobiça). O filme publicitário foi dirigido por Roman Polanski e estrelado pelas atrizes Natalie Portman e Michelle Willians que literalmente se engalfinham em uma disputa corporal pelo perfume. Oitenta e sete anos depois, Vezzoli pretende expor o desvario mass media em torno dos produtos de luxo requentando a ideia original de Duchamp (...)

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Monika, Lastry. "Kedaulatan Negara dan Subjek Homo Sacer dalam Film The Pianist Berdasarkan Perspektif Giorgio Agamben." Wanastra: Jurnal Bahasa dan Sastra 12, no. 2 (September 13, 2020): 181–90. http://dx.doi.org/10.31294/w.v12i2.8786.

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Penelitian ini bertujuan untuk menganalisis film The Pianist yang disutradarai oleh Roman Polanski pada tahun 2002. Analisis tersebut dilakukan berdasarkan sudut pandang filsafat politik yang dikemukakan oleh Giorgio Agamben. Analisis dalam penelitian ini ialah mengenai kondisi sosial ketika terjadinya invasi Polandia oleh Jerman Nazi yang totaliter pada tahun 1939 yang tervisualisasi dalam film The Pianist. Kondisi sosial yang dimaksud di antaranya berupa HAM masyarakat sipil yang menjadi suatu problematik bagi Polandia jika dilindungi atau tidak dilindungi dan kelompok-kelompok yang di-homo sacer-kan ketika terjadinya invasi. Hasil penelitian menunjukkan bahwa Polandia berada di luar hukum atau menangguhkan hukum untuk melindungi dirinya dari invasi Jerman Nazi. Oleh sebab itu, Polandia tidak memenuhi kewenangannya untuk memberi keamanan, keadilan, dan pelayanan sosial, terutama terhadap kelompok yang di-homo sacer-kan. Kelompok-kelompok yang di-homo sacer-kan dalam hal ini ialah Yahudi Polandia. Kelompok Yahudi Polandia mengalami penangguhan dan diskriminasi terhadap hak kewarganegaraan mereka. Penangguhan dan diskriminasi tersebut merupakan dampak dari kewenangan Polandia yang berada di luar hukum untuk melindungi kedaulatan negara atas invasi Jerman Nazi.

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Saunders, Edward. "Celebrity, Scriptedness and Alleged Sexual Violence in Ghost-Written Autobiographies by Julian Assange and Samantha Geimer." European Journal of Life Writing 4 (May 2, 2015): VC85—VC107. http://dx.doi.org/10.5463/ejlw.4.159.

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This article explores issues relating to the way scripts of sexual violence are employed or rejected in auto/biographical writing. It addresses ghost-written autobiographical responses to two famously unresolved cases of alleged male–female rape: those of Julian Assange and Roman Polanski. In both cases, the alleged perpetrator was a famous man and the allegation of rape has not conclusively been proven in court. The article looks at rape as a narratological problem beyond the definition or symbolic meaning of the crime, and contrasts the narration from the perspective of an alleged perpetrator (Assange) with that of a victim (Samantha Geimer), addressing the way the act of sexual violence becomes a point of orientation in the lives of both – perhaps disproportionately so. In both cases, the management of the autobiographical account through the use of ghost-writers focuses attention on the constructed nature of the life narrative. In cases relating to famous men, reflecting the impact of media reporting is a necessary counterpart to the consideration of the auto/biographical text. This article was submitted to the European Journal of Life Writing on 7 July 2014 and published on 2 May 2015.

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Pop-Curșeu, Ioan. "Actes sexuels, horreur et sorcellerie au cinéma. La copulation avec le Diable : une perspective psychanalytique." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (April 25, 2021): 109–33. http://dx.doi.org/10.24193/subbdrama.2021.1.07.

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"Sexual Acts, Horror and Witchcraft in Cinema. The Copulation with the Devil: a Psychoanalytical Perspective. This paper tries to approach, taking as a starting point a Romanian painting from the 18th century, a scene with a strong phantasmatic load: the sexual act of a woman, who is considered a witch, with the devil. Several films are analyzed: Häxan by Benjamin Christensen (1922), Rosemary’s Baby by Roman Polanski (1968), L’Anticristo by Alberto de Martino (1974), Angel above, Devil below by Dominic Bolla (1975). These films share some common features, important for the analytical process: the copulation with the devil, the presence of traumatized characters who are submitted to a psychological cure, the recycling of psychoanalytical vocabulary, especially “hysteria”, the problems with parental instances. In order to interpret these films, there is a coming back to Freud’s ideas on the Devil, as expressed in the letters to Wilhelm Fliess or in the study A Seventeenth-Century Demonological Neurosis (1923). The devil as an image of unconscious impulsions or as a substitute of the father are the main Freudian intuitions used here for an optimal interpretation of the chosen films. Keywords: sex, sexual act, horror, witchcraft, psychoanalysis, Freud, cinema. "

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Álvarez, Paula Talero. "Venus in Fur(s) – from the masochist text by Sacher-Masoch (1870) to the feminist celebratory adaptations by David Ives and Roman Polanski." Journal of Adaptation in Film & Performance 11, no. 2 (October 1, 2018): 127–40. http://dx.doi.org/10.1386/jafp.11.2.127_1.

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39

Laine, Tarja. "Imprisoned in Disgust: Roman Polanski's Repulsion." Film-Philosophy 15, no. 2 (October 2011): 36–50. http://dx.doi.org/10.3366/film.2011.0024.

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Isenberg, Noah, and Rob White. "Carnage and All: A Discussion." Film Quarterly 65, no. 3 (2012): 44–48. http://dx.doi.org/10.1525/fq.2012.65.3.44.

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De Cecco, Marcello. "Monetary Theory and Roman History." Journal of Economic History 45, no. 4 (December 1985): 809–22. http://dx.doi.org/10.1017/s0022050700035105.

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In the study of Roman money Theodore Mommsen remains 135 years after his work a towering figure, more pragmatic than theoretical in his economics, yet still sound. He saw the politics in monetary history, and especially its connection with the strength of the state. His view is more penetrating than MV = PT, fashionable in twentieth-century scholarship on Rome. And it is better economics than offered by the Polanyi School as the alternative line of analysis. The Polanyists infer an absence of a Roman monetary system from the failure of some part to be as sophisticated as the best. On the contrary, the Roman monetary system does not look so different from that of Europe since Mommsen wrote, uneven in its use of monetary devices, but sensibly so.

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Tüzün, Defne. "A Moebial Ride through Polanski’s Repulsion." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 426–56. http://dx.doi.org/10.5195/cinej.2020.323.

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This article examines Roman Polanski’s film Repulsion from a psychoanalytic perspective by attending Julia Kristeva’s notion of abjection. This paper deals primarily with two main focal points. First, it focuses on the film’s portrayal of the protagonist, Carole’s abjection, her problem of non-differentiation, as evidenced by her relation to the maternal body and to corporeality. Secondly, the article investigates how the film positions its viewers with regard to Carole. It questions how Repulsion impels its spectators to engage Carole with a similar non-differentiation by generating a complex web of ambiguities with regard to the differentiation between external/internal, objective/subjective and reality/fantasy.

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Popescu, Alice. "Bitter Moon. Brief Psychoanalytical Reflexions on a Detail." Romanian Journal of Psychoanalysis 12, no. 2 (December 1, 2019): 153–58. http://dx.doi.org/10.2478/rjp-2019-0023.

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Abstract The majority of book-to-film adaptations operate more or less important adjustments on the initial text. In this respect, the present article attempts to investigate the psychoanalytical relevance of such a textual intervention in Roman Polanski’s 1992 film, “Bitter Moon”, based on Pascal Bruckner’s novel, “Lunes de fiel” (1981). The analysis takes the Freudian theories on sadomasochism and death instinct as a starting point.

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Jazdon, Mikołaj. "The Annihilation of a City. Warsaw in Roman Polanski's The Pianist." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 12, no. 21 (January 13, 2013): 77. http://dx.doi.org/10.14746/i.2013.21.06.

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Hall, Martin R., and Claudia Alvares. "Roman Polanski’s treatment of mutable identity in his film, The Tenant (1976)." Cogent Social Sciences 3, no. 1 (January 1, 2017): 1299554. http://dx.doi.org/10.1080/23311886.2017.1299554.

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조성덕. "An comparative investigation into -Kurosawa Akira's 'Throne of Blood' and Roman Polanski's 'Macbeth'-." Film Studies ll, no. 48 (June 2011): 333–70. http://dx.doi.org/10.17947/kfa..48.201106.011.

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KangSeokJu. "Different Viewpoints of Film-making Macbeth: Orson Wells's Macbeth and Roman Polanski's Macbeth." Shakespeare Review 43, no. 1 (March 2007): 5–28. http://dx.doi.org/10.17009/shakes.2007.43.1.001.

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Marciniak, Katarzyna. "Cinematic Exile: Performing the Foreign Body on Screen in Roman Polanski's The Tenant." Camera Obscura: Feminism, Culture, and Media Studies 15, no. 1 (2000): 1–43. http://dx.doi.org/10.1215/02705346-15-1_43-1.

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Temin, Peter. "A Market Economy in the Early Roman Empire." Journal of Roman Studies 91 (November 2001): 169–81. http://dx.doi.org/10.2307/3184775.

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The economy of the early Roman Empire has been an object of study for at least the last century. The discussion has been marked by continuing debate, known sometimes as the primitivist/modern debate and at other times as the Finley debate, following his famous Sather lectures, The Ancient Economy. This paper is a contribution to this debate, written by an economist rather than an ancient historian. My purpose is to define the concept of a ‘market economy’, and to see if it fits the evidence we have for the early Roman Empire.Finley declared that, ‘ancient society did not have an economic system which was an enormous conglomeration of interdependent markets’. He drew implicitly on research by Polanyi to oppose the views of Rostovtzeff within the field of ancient history and those of Fogel and Engerman in economic history, but he did not explicitly join their conceptual apparatuses. Morris has summarized the debate fuelled by Finley's dramatic lectures in his foreword to the twenty-fifth anniversary edition and argued that the controversy is still vigorous today. I hope to clarify the issues in this debate and even resolve the debate for the period of the early Roman Empire.

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Yeo, Hyeonsuk. "The Survey of the Main Character in Roman Polanski’s Apartment Trilogy: through Urban Psychosis." British and American Language and Literature Association of Korea 142 (September 30, 2021): 93–116. http://dx.doi.org/10.21297/ballak.2021.142.93.

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Journal articles on the topic 'Roman Polanski'

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