Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Not a member yet
688 research outputs found
Sort by
Poza antystalinowskim misterium. Kłopoty ze Sceną Faktu TVP (2006–2010)
No full textAn article deals with those productions of TVP’s Scena Faktu (2006–2010) that refer to the Stalinist era. It complements a text previously published in “Images”, entitled Images of Stalinism in the hardcore and on the fringe: The trouble with the TVP’s Fact Stage (2006–2010). It presents that part of the performances that do not fit into the basic aesthetic formula of the Fact Stage, which was outlined in the previous publication. It therefore essentially constitutes an interpretation of the exceptions, a penetration of the very elaborate peripheries that the series has produced. The diversity of representations and the difficulty of building a common denominator for the images of Stalinism presented in Scena Faktu are thus demonstrated.An article deals with those productions of TVP’s Scena Faktu (2006–2010) that refer to the Stalinist era. It complements a text previously published in “Images”, entitled Images of Stalinism in the hardcore and on the fringe: The trouble with the TVP’s Fact Stage (2006–2010). It presents that part of the performances that do not fit into the basic aesthetic formula of the Fact Stage, which was outlined in the previous publication. It therefore essentially constitutes an interpretation of the exceptions, a penetration of the very elaborate peripheries that the series has produced. The diversity of representations and the difficulty of building a common denominator for the images of Stalinism presented in Scena Faktu are thus demonstrated
Polska krytyka filmowa kina dokumentalnego w czasopismach branżowych. Od końca II wojny światowej do przełomu cyfrowego. Rekonesans badawczy
No full textThe subject of this paper is Polish film criticism of documentary cinema present in the Polish trade magazines from the end of the Second World War (1945) to the digital turn (circa 2000). The starting point for undertaking this topic was two library searches at the Library of the Polish National Film Archive in Warsaw. As a result, the author compiled an atlas of critical texts on film (which were created in the indicated time period and published in the selected trade magazines), presented their genological division and pointed out the most important places of their publication. Then looking at this map, he highlighted several names of publicists, some of which caught his special attention. The final aim of this analysis involves the wish to inspire other researchers to show interest in the topic indicated above. The atlas offered in this work is intended to serve film, cultural and media scholars as an inspiration to undertake further research on documentary cinema journalism in Poland.The subject of this paper is Polish film criticism of documentary cinema present in the Polish trade magazines from the end of the Second World War (1945) to the digital turn (circa 2000). The starting point for undertaking this topic was two library searches at the Library of the Polish National Film Archive in Warsaw. As a result, the author compiled an atlas of critical texts on film (which were created in the indicated time period and published in the selected trade magazines), presented their genological division and pointed out the most important places of their publication. Then looking at this map, he highlighted several names of publicists, some of which caught his special attention. The final aim of this analysis involves the wish to inspire other researchers to show interest in the topic indicated above. The atlas offered in this work is intended to serve film, cultural and media scholars as an inspiration to undertake further research on documentary cinema journalism in Poland
Cinema at the 5th World Festival of Youth and Students in Warsaw (1955)
No full textThe article examines the cinematic aspects of the 5th World Festival of Youth and Students, held in Warsaw in 1955. It discusses initiatives related to the presence of filmmakers hosted in Poland, film events accompanying the Festival, the repertoire and screenings, as well as the logistical challenges associated with cinema infrastructure during the event. The study is based on an extensive collection of archival materials, primarily from the Archives of Modern Records (Archiwum Akt Nowych) in Warsaw. Among the analysed documents are correspondence, plans, and reports from the bodies responsible for organising the Festival’s cinematic components, which shed light on planning processes, the organisers’ ambitions, and the outcomes of their efforts. The corpus is complemented by press materials, enriching the analysis with additional contexts not available in the archival documentation.The article examines the cinematic aspects of the 5th World Festival of Youth and Students, held in Warsaw in 1955. It discusses initiatives related to the presence of filmmakers hosted in Poland, film events accompanying the Festival, the repertoire and screenings, as well as the logistical challenges associated with cinema infrastructure during the event. The study is based on an extensive collection of archival materials, primarily from the Archives of Modern Records (Archiwum Akt Nowych) in Warsaw. Among the analysed documents are correspondence, plans, and reports from the bodies responsible for organising the Festival’s cinematic components, which shed light on planning processes, the organisers’ ambitions, and the outcomes of their efforts. The corpus is complemented by press materials, enriching the analysis with additional contexts not available in the archival documentation
Epitafium odchodzącym w ciemność. O liryczności filmu Żołnierki Valeria Zurliniego
No full textBased on Ugo Pirro’s novel Le soldatesse (1956), Valerio Zurlini’s 1965 film of the same title, translated as The Camp Followers, is a story using the director’s characteristic lyrical modus, which radically distinguishes it from its prose literary source. This is evidenced, in addition to the choice of theme and main problem, by the narrative solutions used in the work: in composition, plot development, character modeling, the handling of off-camera commentary, original music and, finally, imagery, including intertextual references to masterpieces of poetry (Eugenio Montale, La bufera, 1943) and painting (Jacopo Pontormo, Il Trasporto di Cristo, 1525/26–1528). The dramaturgical analysis of the work, firstly, leads to reflections on the possibilities of film in general to transpose lyricism, understood – following Andrzej Stoff – primarily as “a phenomenon in the field of man’s relation to the world”. Secondly, it leads to the question of the significance of the lyrical reworking of the plot, which acquaints us with the story of a group of young women during the Italian occupation of Greece in 1942.Based on Ugo Pirro’s novel Le soldatesse (1956), Valerio Zurlini’s 1965 film of the same title, translated as The Camp Followers, is a story using the director’s characteristic lyrical modus, which radically distinguishes it from its prose literary source. This is evidenced, in addition to the choice of theme and main problem, by the narrative solutions used in the work: in composition, plot development, character modeling, the handling of off-camera commentary, original music and, finally, imagery, including intertextual references to masterpieces of poetry (Eugenio Montale, La bufera, 1943) and painting (Jacopo Pontormo, Il Trasporto di Cristo, 1525/26–1528). The dramaturgical analysis of the work, firstly, leads to reflections on the possibilities of film in general to transpose lyricism, understood – following Andrzej Stoff – primarily as “a phenomenon in the field of man’s relation to the world”. Secondly, it leads to the question of the significance of the lyrical reworking of the plot, which acquaints us with the story of a group of young women during the Italian occupation of Greece in 1942
Dysonans ludonarracyjny w światocentrycznych grach wideo
No full textThe author explores the issue of “ludonarrative dissonance”, a term developed by the game designer C. Hocking in his critique of the game BioShock. The author explains Hocking’s arguments and then expands on the term, disagreeing with Hocking. In the case of BioShock, the author interprets the dissonance not as a design flaw but as a deliberate narrative strategy that momentarily distances the player from the game’s fiction to emphasize its metanarrative dimension. The author argues that ludonarrative dissonance is itself part of videogame poetics, thus echoing the works of F. Seraphine and P. Grabarczyk & B.W. Kampmann. The author then examines how ludonarrative dissonance may appear in vast, nonlinear open-world cRPGs. An analysis of examples from The Elder Scrolls: Skyrim, Fallout 3, and Fallout 4 reveals various instances of unintended dissonance. Finally, the author compares these games to Fallout: New Vegas, presenting it as an example of harmonizing the narrative – the main motifs and story – with the narrativity of gameplay, including rules, mechanics, and vast player agency.The author explores the issue of “ludonarrative dissonance”, a term developed by the game designer C. Hocking in his critique of the game BioShock. The author explains Hocking’s arguments and then expands on the term, disagreeing with Hocking. In the case of BioShock, the author interprets the dissonance not as a design flaw but as a deliberate narrative strategy that momentarily distances the player from the game’s fiction to emphasize its metanarrative dimension. The author argues that ludonarrative dissonance is itself part of videogame poetics, thus echoing the works of F. Seraphine and P. Grabarczyk & B.W. Kampmann. The author then examines how ludonarrative dissonance may appear in vast, nonlinear open-world cRPGs. An analysis of examples from The Elder Scrolls: Skyrim, Fallout 3, and Fallout 4 reveals various instances of unintended dissonance. Finally, the author compares these games to Fallout: New Vegas, presenting it as an example of harmonizing the narrative – the main motifs and story – with the narrativity of gameplay, including rules, mechanics, and vast player agency
Symulacja kapitalistycznej gospodarki-świata: Europa Universalis IV
No full textGrand strategy wargames and 4X productions are often viewed as educational tools that develop logical thinking skills. In reality, however, they undermine the user’s critical thinking. They pursue contemporary political agendas under the guise of historical education. Grand strategy wargames promote narratives that benefit big capital, while their “historicity” reinforces current economic activities. An analysis of Europa Universalis IV, using the theoretical framework proposed by Immanuel Wallerstein, reveals how the development of capitalism is naturalized, social inequalities are normalized and violence is legitimized. Underneath the narrative of four centuries of history, the creators from the Paradox Development Studio are hiding the interests of the contemporary beneficiaries of capitalism.Grand strategy wargames and 4X productions are often viewed as educational tools that develop logical thinking skills. In reality, however, they undermine the user’s critical thinking. They pursue contemporary political agendas under the guise of historical education. Grand strategy wargames promote narratives that benefit big capital, while their “historicity” reinforces current economic activities. An analysis of Europa Universalis IV, using the theoretical framework proposed by Immanuel Wallerstein, reveals how the development of capitalism is naturalized, social inequalities are normalized and violence is legitimized. Underneath the narrative of four centuries of history, the creators from the Paradox Development Studio are hiding the interests of the contemporary beneficiaries of capitalism
The Myth of Pandora in Colm McCarthy’s The Girl with All the Gifts (2016) and Alex Garland’s Annihilation (2018)
No full textThis article examines the myth of Pandora as a narrative structure within contemporary science-fiction cinema. While traditionally seen as the source of chaos and misfortune, Pandora has also been interpreted as a figure of nature and transformation. Drawing on Jane Ellen Harrison’s early 20th-century critique of Hesiod’s dominant version of the myth, the paper explores how science-fiction films revisit and reimagine this ambiguous figure. Focusing on The Girl with All the Gifts (2016) and Annihilation (2018), the analysis investigates how the Pandora myth – seen through the lens of feminist theory and ecocritical perspectives – resonates in portrayals of female protagonists who confront biological catastrophe and ecological mutation. The article introduces the concept of the “Pandora theme” as cultural DNA consisting of three core traits: pioneering femininity, transgression, and alignment with nature. These traits serve as a framework for interpreting mythic continuity in cinematic storytelling.This article examines the myth of Pandora as a narrative structure within contemporary science-fiction cinema. While traditionally seen as the source of chaos and misfortune, Pandora has also been interpreted as a figure of nature and transformation. Drawing on Jane Ellen Harrison’s early 20th-century critique of Hesiod’s dominant version of the myth, the paper explores how science-fiction films revisit and reimagine this ambiguous figure. Focusing on The Girl with All the Gifts (2016) and Annihilation (2018), the analysis investigates how the Pandora myth – seen through the lens of feminist theory and ecocritical perspectives – resonates in portrayals of female protagonists who confront biological catastrophe and ecological mutation. The article introduces the concept of the “Pandora theme” as cultural DNA consisting of three core traits: pioneering femininity, transgression, and alignment with nature. These traits serve as a framework for interpreting mythic continuity in cinematic storytelling
Bo we mnie jest dybuk: Yocheved Weinfeld i pamięć pramatek
No full textThis year marks the 50th anniversary of Yocheved Weinfeld’s groundbreaking exhibition at the Debel Gallery in Jerusalem, where she presented works strongly rooted in the body art trend and the second wave of feminism. Born in 1947 in Legnica, Poland, this Israeli artist is today considered a pioneer of feminine art, conceptual art which remains critical of the patriarchal system in Israel. Her early work proved crucial for understanding the language and conception of her work, which in the coming years would also explore women’s experiences in relation to their ancestors. The death of her mother, who survived the Holocaust and emigrated to Israel with her family, set in motion a network of themes that, through strong emotional involvement and the consistency of their exploration, clearly affect the artist’s oeuvre. The main purpose of the article is therefore to present and interpret the work of Yocheved Weinfeld. The tool used to expand the analysis is the figure of the dybbuk, which appears in various contexts in the Jewish tradition.This year marks the 50th anniversary of Yocheved Weinfeld’s groundbreaking exhibition at the Debel Gallery in Jerusalem, where she presented works strongly rooted in the body art trend and the second wave of feminism. Born in 1947 in Legnica, Poland, this Israeli artist is today considered a pioneer of feminine art, conceptual art which remains critical of the patriarchal system in Israel. Her early work proved crucial for understanding the language and conception of her work, which in the coming years would also explore women’s experiences in relation to their ancestors. The death of her mother, who survived the Holocaust and emigrated to Israel with her family, set in motion a network of themes that, through strong emotional involvement and the consistency of their exploration, clearly affect the artist’s oeuvre. The main purpose of the article is therefore to present and interpret the work of Yocheved Weinfeld. The tool used to expand the analysis is the figure of the dybbuk, which appears in various contexts in the Jewish tradition
Body and Conflict: The Interplay of Genre, Gender, and Lebanese Realities in Nadine Labaki’s Cinema
No full textThe article presents the work of Lebanese filmmaker Nadine Labaki in the context of a woman’s vision of a world filled with dichotomies. In all three films discussed – Caramel (2007), Where Do We Go Now? (2011) and Capernaum (2018) – she shares a specific tension, balancing between tenderness and cruelty, between the everyday beauty of life and its unbearable burden. In genre formulas, often seemingly light-hearted, rich in slapstick gags and musical elements, she tells stories from the perspective of mothers, daughters or lovers, presenting their vision of how to maintain hope amid the absolute terror of the outside world. Labaki brings out of this disharmony stories full of empathy, humour and pain, which draw the viewer into an intricate and morally ambiguous world of emotion and reflection. In the article, I will look at the extent to which the director’s feminine, subtle sensibility allows her to create cinema that is both commercially acceptable and deeply artistic, and at what points she uses elements of genre cinema (humour, sexuality, eroticism) to speak of the chaos of the world and its injustice.The article presents the work of Lebanese filmmaker Nadine Labaki in the context of a woman’s vision of a world filled with dichotomies. In all three films discussed – Caramel (2007), Where Do We Go Now? (2011) and Capernaum (2018) – she shares a specific tension, balancing between tenderness and cruelty, between the everyday beauty of life and its unbearable burden. In genre formulas, often seemingly light-hearted, rich in slapstick gags and musical elements, she tells stories from the perspective of mothers, daughters or lovers, presenting their vision of how to maintain hope amid the absolute terror of the outside world. Labaki brings out of this disharmony stories full of empathy, humour and pain, which draw the viewer into an intricate and morally ambiguous world of emotion and reflection. In the article, I will look at the extent to which the director’s feminine, subtle sensibility allows her to create cinema that is both commercially acceptable and deeply artistic, and at what points she uses elements of genre cinema (humour, sexuality, eroticism) to speak of the chaos of the world and its injustice
Social Attitudes Towards Historical Films in Contemporary Poland
No full textSocial research indicates that feature films are invariably among the most common sources for acquiring knowledge about the past. Therefore, films are a crucial element of public history and collective memory. However, quantitative social research usually does not focus on how audiences perceive films about history. This article attempts to fill this gap, using the results of a qualitative study involving eight focus group interviews conducted among Polish viewers of historical films. The article answers the questions of how audiences define the historical film genre (paying particular attention to temporal, historical truth and subject criteria), what functions they ascribe to it (educational, emotionalizing, entertaining, political) and what relevance contemporary viewing practices (such as fragmentation of viewing practices, popular interest in series) have for public history and collective memory.Social research indicates that feature films are invariably among the most common sources for acquiring knowledge about the past. Therefore, films are a crucial element of public history and collective memory. However, quantitative social research usually does not focus on how audiences perceive films about history. This article attempts to fill this gap, using the results of a qualitative study involving eight focus group interviews conducted among Polish viewers of historical films. The article answers the questions of how audiences define the historical film genre (paying particular attention to temporal, historical truth and subject criteria), what functions they ascribe to it (educational, emotionalizing, entertaining, political) and what relevance contemporary viewing practices (such as fragmentation of viewing practices, popular interest in series) have for public history and collective memory