Ewa Mazierska – författare

Popular Polish Electronic Music, 1970–2020 offers a cultural history of popular Polish electronic music, from its beginning in the late 1960s/early 1970s up to the present day, in the context of Polish economic, social and political history, and the history of popular music in this country.

From the perspective of production, scene, industry and consumption, the volume considers the issue of access to electronic instruments in the 1970s and 1980s, and the variety of inspirations, such as progressive rock and folk music, that have contributed to the development of Polish electronic music as it is known today. The widespread contribution of Polish electronic music to film is also considered.

This is a valuable resource for scholars and researchers of electronic music, popular music and (Eastern) European music and culture.

Popular Polish Electronic Music, 1970–2020 offers a cultural history of popular Polish electronic music, from its beginning in the late 1960s/early 1970s up to the present day, in the context of Polish economic, social and political history, and the history of popular music in this country.

From the perspective of production, scene, industry and consumption, the volume considers the issue of access to electronic instruments in the 1970s and 1980s, and the variety of inspirations, such as progressive rock and folk music, that have contributed to the development of Polish electronic music as it is known today. The widespread contribution of Polish electronic music to film is also considered.

This is a valuable resource for scholars and researchers of electronic music, popular music and (Eastern) European music and culture.

Explores the intersections of science fiction cinema and Marxism.

In Red Alert: Marxist Approaches to Science Fiction Cinema, editors Ewa Mazierska and Alfredo Suppia argue that Marxist philosophy, science fiction, and film share important connections concerning imaginings of the future. Contributors look at themes across a wide variety of films, including many international co-productions to explore individualism versus collectivism, technological obstacles to travel through time and space, the accumulation of capital and colonization, struggles of oppressed groups, the dangers of false ideologies, and the extension of the concept of labor due to technological advances.

Red Alert considers a wide swath of contemporary international films, from the rarely studied to mainstream science fiction blockbusters like The Matrix. Contributors explore early Czechoslovak science fiction, the Polish-Estonian co-productions of director Marek Piestrak, and science fiction elements in 1970s American blaxploitation films. The collection includes analyses of recent films like Transfer(Damir Lukacevic), Avalon (Mamoru Oshii), Gamer (Mark Neveldine and Brian Taylor), and District 9 and Elysium (Neill Blomkamp), along with more obscure films like Alex Rivera’s materialist science fiction works and the Latin American zombie films of Pablo Parés, Hernán Sáez, and Alejandro Brugués. Contributors show that the ambivalence and inner contradictions highlighted by the films illustrate both the richness of Marx’s legacy and the heterogeneity and complexity of the science fiction genre.

This collection challenges the perception that science fiction cinema is a Western or specifically American genre, showing that a broader, transnational approach is necessary to fully understand its scope. Scholars and students of film, science fiction, and Marxist culture will enjoyRed Alert.

Polish estrada music dominated Polish popular music throughout the state socialist period but gained little attention from popular music scholars because it was regarded as being of low quality and politically conformist. Ewa Mazierska carefully examines these assumptions, considering those institutions which catered for the needs of estrada artists and their fans, the presence of estrada in different media and the careers and styles of the leading stars, such as Mieczysław Fogg, Irena Santor, Violetta Villas, Anna German, Jerzy Połomski, Maryla Rodowicz, Zdzisława Sośnicka, Zbigniew Wodecki and Izabela Trojanowska. Mazierska also discusses the memory and legacy of estrada music in the postcommunist period. The book draws on Poland’s cultural and political history and the history of Polish popular music and media, including television and radio. Mazierska engages with concepts such as genre, stardom and authenticity in order to capture the essence of Polish estrada music and to provide a comparison with popular music produced in other countries.

Polish estrada music dominated Polish popular music throughout the state socialist period but gained little attention from popular music scholars because it was regarded as being of low quality and politically conformist. Ewa Mazierska carefully examines these assumptions, considering those institutions which catered for the needs of estrada artists and their fans, the presence of estrada in different media and the careers and styles of the leading stars, such as Mieczysław Fogg, Irena Santor, Violetta Villas, Anna German, Jerzy Połomski, Maryla Rodowicz, Zdzisława Sośnicka, Zbigniew Wodecki and Izabela Trojanowska. Mazierska also discusses the memory and legacy of estrada music in the postcommunist period. The book draws on Poland’s cultural and political history and the history of Polish popular music and media, including television and radio. Mazierska engages with concepts such as genre, stardom and authenticity in order to capture the essence of Polish estrada music and to provide a comparison with popular music produced in other countries.

In this edited collection, an international ensemble of scholars examine what contemporary cinema tells us about neoliberal capitalism and cinema, exploring whether filmmakers are able to imagine progressive alternatives under capitalist conditions. Individual contributions discuss filmmaking practices, film distribution, textual characteristics and the reception of films made in different parts of the world. They engage with topics such as class struggle, debt, multiculturalism and the effect of neoliberalism on love and sexual behaviour. Written in accessible, jargon-free language, Contemporary Cinema and Neoliberal Ideology is an essential text for those interested in political filmmaking and the political meanings of films.

In this edited collection, an international ensemble of scholars examine what contemporary cinema tells us about neoliberal capitalism and cinema, exploring whether filmmakers are able to imagine progressive alternatives under capitalist conditions. Individual contributions discuss filmmaking practices, film distribution, textual characteristics and the reception of films made in different parts of the world. They engage with topics such as class struggle, debt, multiculturalism and the effect of neoliberalism on love and sexual behaviour. Written in accessible, jargon-free language, Contemporary Cinema and Neoliberal Ideology is an essential text for those interested in political filmmaking and the political meanings of films.

The author presents a cultural history of popular Viennese electronic music from 1990 to 2015, from the perspectives of production, scene and national and international reception. To illustrate this history in depth, a number of case studies of the most successful and distinguished musicians are explored, such as Kruder and Dorfmeister, Patrick Pulsinger, Tosca, Electric Indigo and Sofa Surfers. The author draws on research about electronic music, the relationship between music and the urban environment, the history of Austria and Vienna, music scenes and fandom, the digital shift , stardom in popular music (especially electronic music), as well as theories of postmodernism.

Chapters 4 and 8 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

The author presents a cultural history of popular Viennese electronic music from 1990 to 2015, from the perspectives of production, scene and national and international reception. To illustrate this history in depth, a number of case studies of the most successful and distinguished musicians are explored, such as Kruder and Dorfmeister, Patrick Pulsinger, Tosca, Electric Indigo and Sofa Surfers. The author draws on research about electronic music, the relationship between music and the urban environment, the history of Austria and Vienna, music scenes and fandom, the digital shift , stardom in popular music (especially electronic music), as well as theories of postmodernism.

Chapters 4 and 8 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.