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Mimetic set and match: Around Shaffer’s “Sleuth”
No full textAnthony Shaffer’s mystery thriller, Sleuth, and subsequent film version, provide a blueprint for the crushing influence of imitation and monstrous doubling as outlined by French-American anthropologist, René Girard. The relationship between crime writer Andrew Wyke and his wife’s lover reveals itself to be one of negative reciprocity built upon envy, leading to a lethal dénouement. Yet Milo’s final renunciation of mediated desire and further games-playing breaks the cycle of symmetry. Throughout both the script and screenplay, Shaffer offers an acute social commentary on the concepts of difference and non-belonging, while also addressing the drive towards assimilation which risks fomenting resentment among in-groups and out-groups
Zdisneifikowana wizja magicznego realizmu i inspiracje kulturą kolumbijską w animacji „Nasze magiczne Encanto”
No full textMainstream animated movies draw inspiration from a variety of sources. In Walt Disney Animation Studios’ animated film Encanto (2021), which is the main object of the study, one can see attempts to weave elements of a literary trend called magical realism into the film’s plot, narrative and structure. Taking inspiration from the Colombian-embedded trend meant that the original principles of magical realism had to undergo a number of changes and simplifications in order to fit the mold of a mainstream animated film, especially one distributed by Disney
Zbrodniarz Franciszek Kłos (z projektu filmu Stanisława Lenartowicza)
No full textThis article is devoted to film adaptation of Stanisław Rembek’s novel Wyrok na Franciszka Kłosa (The Judgement on Franciszek Kłos), which was unrealised in 1963. The main character of this project, set in Poland during the Second World War, is a Polish policeman serving in the German police who murders civilians—including Jews in hiding—and fights against the Polish independence underground. An analysis of the elements of the film project which determined that Stanisław Lenartowicz could not obtain permission from the authorities of the People’s Republic of Poland to make the film, seeks to determine what it would have been for the collective memory to raise the subject of betrayal and collaboration. Indeed, the script (and the novel) does not show the scale of the actual involvement of policemen in, for example, the Holocaust, and the main character, a degenerate, is shown as a special individual. Yet the very showing of such a traitor would strike at the fundalmental common myth of the unity of Polish society during the German occupation
„Kompozycje przestrzenne Katarzyny Kobro”. Historia produkcyjna filmu Józefa Robakowskiego
No full textThe author reconstructs the production history of the documentary film Kompozycje przestrzenne Katarzyny Kobro [Spatial Compositions of Katarzyna Kobro], directed by Józef Robakowski (1971), analyzing its place within the activities of the Se-ma-for studio. Drawing on archival materials and interviews, she examines the filmmaking process, its avant-garde form, as well as production challenges and the vicissitudes of the approval process. Departing from conventional art documentaries, the film received mixed reviews—praised for its innovativeness yet criticized for its hermetic nature. Despite the controversies, it was ultimately distributed and won the audience award at the Zakopane Art Film Review. The article contributes to a broader reflection on the mechanisms of documentary film evaluation in the Polish People’s Republic and the role of the avant-garde within the institutional film production system
Animizm kinematograficzny. O naturze w twórczości Jeana Epsteina
No full textJean Epstein’s work seamlessly integrates theoretical reflections on the essence of cinema (photogenia, animism, lyrosophy) with film practice. Epstein’s work can be situated within the so-called “Breton School” of cinema (Renoir, Vigo), a movement characterized by a particular interest in exploring the elemental forces of the sea and ocean, often accompanied by a profound reverence for water. For Epstein, film inherently serves as an ideal medium for capturing reality, and his depiction of natural landscapes in cinematic imagery exhibits characteristics that, from a contemporary perspective, align with broader discourses on the role of the environment and its transformation. The aesthetic and cinematic qualities of his work inextricably linked with nature, reflecting the philosophical ideals he sought promote
Bericht über die internationale Konferenz „Manche mögen Poesie … – die internationale Rezeption des Werks von Wisława Szymborska“, Frankfurt a.O. / Słubice, 15.–17.11.2023
No full textEvidence evaluation: Case study
No full textHandwriting analysis does not involve uncertain analytical data or probability. Therefore, before analysing handwriting, it is essential to understand the type of documents, the source of provider, reasons for dispute, purpose of examination, and other factors that may affect the credibility of the document.1 By logically confirming and excluding reasons that could influence the results, not only does it help clarify disputed issues, but it also significantly impacts the subsequent analysis, method selection, and result interpretation of handwriting. While there is a lot of research on simulated handwriting, it is crucial to rule out imitation and deem that the handwriting is written by the same person based on the reasons listed below. Wrong logic not only leads to judges’ erroneous references and judgments but also reveals serious problems with the theoretical basis and analytical logic provided by examiners, especially when it happens repeatedly between different examiners in different cases. Therefore, to explore the issue through this article and give second thoughts if someone has the same logic is my purpose
Autometafory, skrypty i strategie tranzytywne w poezji i teorii Joanny Ślósarskiej
No full textBuilding on the assumption that a set of metaphors as structural and thematic repetitions in a poem can share epistemic features with a theoretical text, the author discusses The Overexposed Films of New Grange (Łodź 2010), a poetry collection by culture and literature theoretician Joanna Ślósarska, as exemplifying this idea. Her metaphor of fotofonia [photo-sound] provides a starting point for comparing the poetic and theoretical modes of expression. The author argues that this metaphor is the factor that influences the semantic-aesthetic and cultural relations of Ślósarska’s collection. The concept has its evident equivalents in the references to photo-graph(y), as prefigured in the title of the volume and then recurring in the negation in the title of the poem („this is not a photomontage”) that features fotofonia. Both these thematic manifestations are discussed in terms of the encounter of the realism of photographic images, the myth of photography (the motif of light and Plato’s cave) and the poetic metaphors of the collection. The author explores the volume’s dominant metaphoric images in conjunction with the theoretical issues Ślósarska addresses in her research, including self-metaphor, the concept of transitivity and scripts as the ways in which the subject can take an active stance vis-à-vis cultural tradition. In conclusion, the model of the subject and the background of their activity are shown as resulting from the revaluation of culture and creative reflection, which are both part of art and theory alike.W prowadzonych rozważaniach autor przyjmuje założenie, że zbiór metafor, tworzących kompozycyjne i tematyczne powtórzenia wypowiedzi poetyckiej, może wykazywać podobne cechy poznawcze, jak tekst teoretyczny. Przykładem jest tom poetycki Prześwietlone klisze z New Grange (Łódź 2010) Joanny Ślósarskiej, teoretyczki kultury i literaturoznawczyni. Punktem wyjścia porównania wspomnianego tomu poetyckiego i koncepcji teoretycznych autorki jest metafora fotofonii . Autor prezentuje tę metaforę jako czynnik organizujący sieć relacji semantyczno-estetycznych i kulturowych omawianego zbioru. Pojęcie to posiada widoczne odpowiedniki w postaci aluzji do foto-grafii zapowiedzianej w tytule całego zbioru oraz powtórzonej jako tytułowe zaprzeczenie („to nie jest fotomontaż”) utworu o fotofonii. Oba te sygnały tematyczne są omawiane jako problem konfrontacji realizmu obrazu fotograficznego, mitu fotografii (motyw światła, jaskini Platona) i metafor poetyckich obecnych w całym zbiorze. Próba omówienia dominujących obrazów metaforycznych zostaje w pracy zestawiona z problemami teoretycznymi obecnymi w pracach J. Ślósarskiej: autometaforą, kategorią tranzytywności i skryptem jako sposobami przejawiania się aktywności podmiotu wobec tradycji kultury. Model podmiotu wraz z tłem jego aktywności, które wyłaniają się z proponowanej analizy, zostają przedstawione jako wynik kulturowego przewartościowania i twórczego namysłu wspólnego sztuce i nauce
Udręki fatum
No full textThis article is an in-depth review of Tomasz Stawiszyński’s journalistic book Powrót fatum (Kraków 2024), which attempts to capture the state of contemporary Western culture. The paper critically presents Stawiszyński’s theses in the book and disputes its main components: both the accounts Stawiszyński proposes and his manner of argumentation. It is argued that the book does not deliver what it promises as Stawiszyński’s historical overviews (therein of the religious history of Europe) are not reliable, and his description of culture is distorted, both by what he one-sidedly exaggerates and by what he systematically omits or minimises (in particular, the dynamics of capitalism).Artykuł jest pogłębioną recenzją publicystycznej książki Tomasza Stawiszyńskiego Powrót fatum (Kraków 2024), która próbuje zdiagnozować stan współczesnej kultury Zachodu. Krytycznie przedstawia tezy książki i polemizuje z jej głównymi elementami — proponowanymi przez autora rekonstrukcjami, ale również sposobem argumentacji. Twierdzi się, że książka nie oferuje tego, co obiecuje: rekonstrukcje historyczne (w tym religijnej historii Europy) nie są rzetelne, a diagnoza kultury jest zniekształcona, również poprzez to, co jednostronnie wyolbrzymia albo systematycznie pomija czy minimalizuje (w szczególności problem dynamiki kapitalizmu)
