Martin Kudlac
I am a passionate and driven Independent Scholar, Freelance Journalist and film critic based in Europe, currently Cineuropa's correspondent and ScreenAnarchy's - "Leading Voices in Global Cinema" - contributing writer.
As an experienced writer and journalist, I’ve been actively publishing in various international media outlets such as TwitchFilm, Cineuropa, Film International, De Filmkrant, Nisimazine and others. My writings have appeared in MUBI´s Notebook, Senses of Cinema, Film International, Film a Doba, Cinepur, De Filmkrant among other printed and online publications.
Throughout my career, I’ve had the opportunity to participate at 68th Venice Film Festival residency as a member of 27 Times Cinema initiative, at Talent Press FIPRESCI Project in Warsaw, culture journalism residency Unpack the Arts at Edinburgh Festival Fringe and IFFR Trainee Project for Young Critics nourishing journalistic talents.
★Key Highlights:
• MA in Marketing Communication, BA in Aesthetics and PhD. in Aesthetics.
• Member of Editorial board of The scholarly Magazine Art Communication and Popculture.
• Led cinema-related courses at university and currently an independent scholar, lecturer and researcher.
• Co-author of the upcoming book titled "Images of Hero in the Cultural Memory"
For more on my work, visit my website! www.muckrack.com/martin_kudlac or
Find me on Twitter @martykudlac
Lets get in touch!
Always keen on expanding my professional network and opportunities please connect with me directly via LinkedIn or through: kudlac.martin@gmail.com
As an experienced writer and journalist, I’ve been actively publishing in various international media outlets such as TwitchFilm, Cineuropa, Film International, De Filmkrant, Nisimazine and others. My writings have appeared in MUBI´s Notebook, Senses of Cinema, Film International, Film a Doba, Cinepur, De Filmkrant among other printed and online publications.
Throughout my career, I’ve had the opportunity to participate at 68th Venice Film Festival residency as a member of 27 Times Cinema initiative, at Talent Press FIPRESCI Project in Warsaw, culture journalism residency Unpack the Arts at Edinburgh Festival Fringe and IFFR Trainee Project for Young Critics nourishing journalistic talents.
★Key Highlights:
• MA in Marketing Communication, BA in Aesthetics and PhD. in Aesthetics.
• Member of Editorial board of The scholarly Magazine Art Communication and Popculture.
• Led cinema-related courses at university and currently an independent scholar, lecturer and researcher.
• Co-author of the upcoming book titled "Images of Hero in the Cultural Memory"
For more on my work, visit my website! www.muckrack.com/martin_kudlac or
Find me on Twitter @martykudlac
Lets get in touch!
Always keen on expanding my professional network and opportunities please connect with me directly via LinkedIn or through: kudlac.martin@gmail.com
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Papers by Martin Kudlac
over time. Currently, this is characterized by a cross-media bridge formed in the
popular culture of the twentieth century. Contemporary narratives now serve as an
intertextual, transmedia, anchor while formerly autonomous media become attached
under the umbrella of a single narrative. This phenomenon is one of the prime characteristics of one of the youngest media, video games. The usually diadic model of
internal (intrinsic/inherent) seriality and external seriality stemming from substance
(a string of stand-alone games genetically related by a narrative as prequels, sequels,
midquels, spin-off, mash-up etc.) and form (several versions of the same game as
enhanced version, collectors version, modded version, reboot, port etc.) has been
transformed into a triad after transmedia storytelling became established due to a
technological, economic, and social paradigm shift and the development of convergence culture. This chapter investigates both paradigm shifts of convergence and
synergy and their effect on the expansion of storytelling forms that have been adapted
not only by popular culture but also by the art world, marking the transformation
process from seriality to a single hybrid supertext (narrative/storytelling) form.
She ponders the concept of deeply rooted patriarchy and disturbed masculine entitlement in Cock, cock.. Who’s There?, and in Craigslist Allstars the effort additionally bundles a question of (self-)representation extended beyond macho narcissism. Furthermore, her work gains more relevancy as a product of altermodern, seamlessly stitching fiction and documentary strategies into a coherent narrative generating a dilemma of caricature (inherent comicality of subjects who think are conscious and in control of the creation of their identity), although the outcome has the opposite effect.
However, Elagoz does not cast any moral judgements, she proceeds from one encounter to another as a social scientist and engineer eschewing outward mockery. Craiglist Allstars does not revolve around solely sexual, gender and social archeology but also tests formal limits of docu-reality setup and performance art.
hero figure is diecious by genre; it belongs to a mythic narrative
as well as to a novel one, thus, the research after potentially clarifying
| 169 |
relations unspools beyond the tradition of heroic epic. We identify carnivalesque
discourse as a relevant model of relativisation and ambiguity
of the hero throughout the centuries, with an emphasis on literary
tradition, beginning with Mennipean Satire, and the point in the world
of serialized television dramedy. The examined figures do not function
as cultural images of heroes; on the contrary, the developmental
dynamic of the story shapes them as antiheroes. However, their
transgressive, subverting character cooperates on a long-term basis
in undermining their unambiguous interpretation of heroism and the
existence of a priori moral conditions defining the actual image of the
hero.
Drafts by Martin Kudlac
Film festivals, the hubs of nurturing, forming, and showcasing the latest of the cinematic oeuvres, made headlines as the organization of venerated institutions turned into the survival of the most adaptable. Bearing a mark of the times of evolution in the tech-riddled world amid not solely the worst public health crisis since the Spanish flu, but an epoch of digital transformation (and intelligent automation). The reasonable choices on the table seemed obvious; the ultimate decisions and festival business models not so much.
twosome. Unsurprisingly, the return of the trailblazing and seminal U.S. show that matured into a cult benchmark over the years, Twin Peaks, is an obvious pick. The show marries the ongoing retro-mania frenzy and the formula of quality TV to the grandeur of filmmaker genius of mythical proportions, David Lynch, to create eighteen captivating
hours of a film nobody would ever fund.
over time. Currently, this is characterized by a cross-media bridge formed in the
popular culture of the twentieth century. Contemporary narratives now serve as an
intertextual, transmedia, anchor while formerly autonomous media become attached
under the umbrella of a single narrative. This phenomenon is one of the prime characteristics of one of the youngest media, video games. The usually diadic model of
internal (intrinsic/inherent) seriality and external seriality stemming from substance
(a string of stand-alone games genetically related by a narrative as prequels, sequels,
midquels, spin-off, mash-up etc.) and form (several versions of the same game as
enhanced version, collectors version, modded version, reboot, port etc.) has been
transformed into a triad after transmedia storytelling became established due to a
technological, economic, and social paradigm shift and the development of convergence culture. This chapter investigates both paradigm shifts of convergence and
synergy and their effect on the expansion of storytelling forms that have been adapted
not only by popular culture but also by the art world, marking the transformation
process from seriality to a single hybrid supertext (narrative/storytelling) form.
She ponders the concept of deeply rooted patriarchy and disturbed masculine entitlement in Cock, cock.. Who’s There?, and in Craigslist Allstars the effort additionally bundles a question of (self-)representation extended beyond macho narcissism. Furthermore, her work gains more relevancy as a product of altermodern, seamlessly stitching fiction and documentary strategies into a coherent narrative generating a dilemma of caricature (inherent comicality of subjects who think are conscious and in control of the creation of their identity), although the outcome has the opposite effect.
However, Elagoz does not cast any moral judgements, she proceeds from one encounter to another as a social scientist and engineer eschewing outward mockery. Craiglist Allstars does not revolve around solely sexual, gender and social archeology but also tests formal limits of docu-reality setup and performance art.
hero figure is diecious by genre; it belongs to a mythic narrative
as well as to a novel one, thus, the research after potentially clarifying
| 169 |
relations unspools beyond the tradition of heroic epic. We identify carnivalesque
discourse as a relevant model of relativisation and ambiguity
of the hero throughout the centuries, with an emphasis on literary
tradition, beginning with Mennipean Satire, and the point in the world
of serialized television dramedy. The examined figures do not function
as cultural images of heroes; on the contrary, the developmental
dynamic of the story shapes them as antiheroes. However, their
transgressive, subverting character cooperates on a long-term basis
in undermining their unambiguous interpretation of heroism and the
existence of a priori moral conditions defining the actual image of the
hero.
Film festivals, the hubs of nurturing, forming, and showcasing the latest of the cinematic oeuvres, made headlines as the organization of venerated institutions turned into the survival of the most adaptable. Bearing a mark of the times of evolution in the tech-riddled world amid not solely the worst public health crisis since the Spanish flu, but an epoch of digital transformation (and intelligent automation). The reasonable choices on the table seemed obvious; the ultimate decisions and festival business models not so much.
twosome. Unsurprisingly, the return of the trailblazing and seminal U.S. show that matured into a cult benchmark over the years, Twin Peaks, is an obvious pick. The show marries the ongoing retro-mania frenzy and the formula of quality TV to the grandeur of filmmaker genius of mythical proportions, David Lynch, to create eighteen captivating
hours of a film nobody would ever fund.