Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Święty Witold Pilecki wobec bezczelnego Tadeusza „Kosa” Kościuszki. Medialne dyskusje o filmach Kos i Raport Pileckiego z perspektywy politycznej i artystycznej recepcji
No full textThe article describes media discussions about the films Scarborn (2023) by Paweł Maślona and Pilecki’s Report (2023) by Krzysztof Łukaszewicz. A review of the reception of both films is used to illustrate several reception threads of contemporary biographical and historical cinema, with an emphasis on the political and artistic disputes taking place in discussions about films devoted to the heroes of the Polish past – Tadeusz Kościuszko (1746–1817) and Witold Pilecki (1901–1948).The article describes media discussions about the films Scarborn (2023) by Paweł Maślona and Pilecki’s Report (2023) by Krzysztof Łukaszewicz. A review of the reception of both films is used to illustrate several reception threads of contemporary biographical and historical cinema, with an emphasis on the political and artistic disputes taking place in discussions about films devoted to the heroes of the Polish past – Tadeusz Kościuszko (1746–1817) and Witold Pilecki (1901–1948)
Exploring the Immersive Potential of Accessibility Options for Deaf and Hard-of-Hearing Players
No full textThis study examines the implementation and effectiveness of accessibility options in digital games, focusing on their role in shaping immersive experiences for deaf and hard-of-hearing players. Using a mixed-methods approach, this research combines game design analysis and qualitative interviews with deaf and hard-of-hearing users, focusing particularly on Polish video games. The findings reveal that text transcription, visual indicators, and haptic feedback significantly influence player engagement, yet their inconsistent implementation often disrupts immersion. By addressing the challenges faced by hard-of-hearing players, this study contributes to the broader discourse on inclusive game design and the artistic potential of accessibility solutions.This study examines the implementation and effectiveness of accessibility options in digital games, focusing on their role in shaping immersive experiences for deaf and hard-of-hearing players. Using a mixed-methods approach, this research combines game design analysis and qualitative interviews with deaf and hard-of-hearing users, focusing particularly on Polish video games. The findings reveal that text transcription, visual indicators, and haptic feedback significantly influence player engagement, yet their inconsistent implementation often disrupts immersion. By addressing the challenges faced by hard-of-hearing players, this study contributes to the broader discourse on inclusive game design and the artistic potential of accessibility solutions
Kilka uwag o realizmie filmowym i jego społecznym wymiarze
No full textThis text explores the concept of realism in the context of cinema on various levels. It examines the relationship between film and reality, compares realism with classic narration and art film, explores film techniques that aim to authentically depict reality on screen, and considers the social aspect of realism. Regarding the latter term, an attempt is made to identify the characteristics that best capture its essence. The text aims to present different contexts related to the concept of realism, but it does not provide a comprehensive and in-depth analysis of this phenomenon.This text explores the concept of realism in the context of cinema on various levels. It examines the relationship between film and reality, compares realism with classic narration and art film, explores film techniques that aim to authentically depict reality on screen, and considers the social aspect of realism. Regarding the latter term, an attempt is made to identify the characteristics that best capture its essence. The text aims to present different contexts related to the concept of realism, but it does not provide a comprehensive and in-depth analysis of this phenomenon
„Posągi nie umierają”. Filmowa dokumentacja sztuki afrykańskiej jako forma dekolonizacji
No full textThe text analyses the documentary Mati Diop Dahomey (2023, Dahomey) and Isaac Julien’s installation and film Once Again… (Statues never die) (2022; 2025) to show how these works present various stages in the history of African art – from colonial looting to the complicated process of restitution, its changing status and ways of exposition. Diop and Julien’s works can be seen as various forms of decolonization, perceived as an emancipatory process, related to liberating the colonized population from domination and political, economic, social and intellectual dependence. Postcolonial scholars suggest that decolonization should be seen as activities aimed at both analysing colonialism and creating decolonized epistemologies. Diop and Julien undertake this kind of decolonization in the field of cinema, creating a discourse in opposition to institutional narratives and traditions of colonial imagery.The text analyses the documentary Mati Diop Dahomey (2023, Dahomey) and Isaac Julien’s installation and film Once Again… (Statues never die) (2022; 2025) to show how these works present various stages in the history of African art – from colonial looting to the complicated process of restitution, its changing status and ways of exposition. Diop and Julien’s works can be seen as various forms of decolonization, perceived as an emancipatory process, related to liberating the colonized population from domination and political, economic, social and intellectual dependence. Postcolonial scholars suggest that decolonization should be seen as activities aimed at both analysing colonialism and creating decolonized epistemologies. Diop and Julien undertake this kind of decolonization in the field of cinema, creating a discourse in opposition to institutional narratives and traditions of colonial imagery
„We wspólnym piekle”. Transnarodowość i nowy sposób prezentowania historii w czeskim kinie na przykładzie Malowanego ptaka Václava Marhoula
No full textThe subject of this article is two aspects related to the film The Painted Bird (2019) by Czech director Václav Marhoul: the way history is depicted (in a way that is different from other Czech films after 1989), and the issue of transnationalism (because the film was made in this perspective). Marhoul’s film is set in the context of historical cinema, Czech cinematography after the Second World War and present-day foreign film circulation. Critical reception and interviews with the director are important to me: in order to fully explain how the film is received, and to which works of European art cinema it is compared in order to fully confirm the thesis of its transnationalism. In my article, I cite the theories and features of the concept of transnationalism developed by many other scholars to demonstrate the specificity of The Painted Bird.The subject of this article is two aspects related to the film The Painted Bird (2019) by Czech director Václav Marhoul: the way history is depicted (in a way that is different from other Czech films after 1989), and the issue of transnationalism (because the film was made in this perspective). Marhoul’s film is set in the context of historical cinema, Czech cinematography after the Second World War and present-day foreign film circulation. Critical reception and interviews with the director are important to me: in order to fully explain how the film is received, and to which works of European art cinema it is compared in order to fully confirm the thesis of its transnationalism. In my article, I cite the theories and features of the concept of transnationalism developed by many other scholars to demonstrate the specificity of The Painted Bird
Persuasion or Story? Historical Spots Bridging Film and Advertising
No full textHistorical spots published on YouTube accompany upcoming historical anniversaries. They are a transmedia genre, possessing the features of advertising, while at the same time adapting the experience of historical film in the process of discussion about a specific “product”, namely, a historical anniversary. Combining the techniques of two different genres, advertising and film, strengthens the basic function of the spot, which is to attract viewers’ attention through the formula of a film narrative, engaging in the story and encouraging discussion. The aim of this article is to recognize how advertising and film techniques, used in parallel, increase the chance of constructing an engaging message in the difficult area of historical memory.Historical spots published on YouTube accompany upcoming historical anniversaries. They are a transmedia genre, possessing the features of advertising, while at the same time adapting the experience of historical film in the process of discussion about a specific “product”, namely, a historical anniversary. Combining the techniques of two different genres, advertising and film, strengthens the basic function of the spot, which is to attract viewers’ attention through the formula of a film narrative, engaging in the story and encouraging discussion. The aim of this article is to recognize how advertising and film techniques, used in parallel, increase the chance of constructing an engaging message in the difficult area of historical memory
Tryb fotograficzny jako narzędzie historyczno-kulturowej interpretacji. Kinofilskie spojrzenie na świat Ghost of Tsushima przez pryzmat trybu Kurosawy
No full textThis gallery features a selection of authorial compositions created within the photo mode of Ghost of Tsushima (Sucker Punch, 2020), employing the so-called ‘Kurosawa Mode’ – a visual and auditory stylization inspired by Japanese samurai cinema of the 1950s. The filter draws on the cinematic language of Akira Kurosawa and Masaki Kobayashi, manifesting not only in the visual layer (black-and-white imagery, film grain effect, emphasized gusts of wind), but also in the sound design, enriched with audio effects characteristic of Kurosawa’s works from that period. The dramatic light and shadow contrasts, landscape-driven storytelling, isolated characters, and carefully crafted framings in the scenes I have composed evoke not only the aesthetics of mid-20th-century Japanese cinema, but also prompt reflections on how the past is represented. Although the game is set in 13th-century Japan, many of its core elements – from the samurai ethos to motifs of high culture (such as haiku) – are reinterpretations of ideas from later historical periods, often shaped by simplifications or cultural myths. Kurosawa Mode thus functions not merely as an aesthetic device but as a tool of reinterpretation, or even as a litmus test of how genre cinema continues to shape historical imagination. Within the framework of contemporary digital culture, the ability to compose images autonomously within an interactive game world further highlights the space for cinephilic co-authorship. The player – in this case, myself – not only explores the developer-crafted representation of Japanese heritage, but also actively reshapes and reinterprets it, imbuing it with new cultural and aesthetic meaning.Prezentowana galeria stanowi wybór autorskich kadrów wykonanych w trybie fotograficznym gry Ghost of Tsushima (Sucker Punch, 2020) z wykorzystaniem tzw. Kurosawa mode – stylizacji inspirowanej japońskim kinem samurajskim lat 50. XX wieku. Filtr ten odwołuje się do języka filmowego Akiry Kurosawy i Masakiego Kobayashiego, manifestując się nie tylko w warstwie wizualnej (czarno-biała kolorystyka, efekt ziarna, wyraźniejsze manifestowanie podmuchów wiatru), ale również w ścieżce dźwiękowej (wzbogaconej o efekty audialne charakterystyczne dla ówczesnych dzieł Kurosawy). W zaaranżowanych przeze mnie scenach dramatyczne kontrasty światłocieniowe, narracja budowana poprzez pejzaż, samotność postaci i wyraźnie komponowane ujęcia przywołują estetykę japońskiego kina połowy XX wieku, jak również skłaniają do refleksji nad sposobami obrazowania przeszłości. Chociaż akcja gry osadzona jest w XIII-wiecznej Japonii, wiele jej elementów – od znaczenia samurajskiego etosu po motywy kultury wysokiej (m.in. haiku) – stanowi przetworzenie dorobku późniejszych epok (a także związanych z nimi uproszczeń). Tryb Kurosawy okazuje się tu więc zarówno estetycznym zabiegiem, jak i narzędziem reinterpretacji – a nawet papierkiem lakmusowym – wpływu kina gatunkowego na kształtowanie wyobrażeń historycznych. W perspektywie współczesnej kultury cyfrowej możliwość samodzielnego komponowania obrazów w interaktywnym świecie gry jeszcze mocniej akcentuje przestrzeń dla kinofilskiego współuczestnictwa. Gracz – w tym wypadku reprezentowany przeze mnie – nie tylko eksploruje zaprojektowaną przez twórców reprezentację japońskiego dziedzictwa, lecz także aktywnie ją przekształca i interpretuje, nadając jej nowy kulturowy i estetyczny wymiar
Mit i dwoistość spojrzenia. Opozycje sacrum i profanum jako pozorna dysharmonia (na przykładzie wybranych filmów Jana Jakuba Kolskiego)
No full textThe seemingly disharmonious image of the world presented in selected films by Jan Jakub Kolski is, in fact, fully ordered, coherent and internally consistent. This vision is structured by a broad interpretation of myth, particularly in its ontological and anthropological dimensions, as well as by the categories of the sacred and the profane – both in the Eliadean sense (sacred places and ritual objects) and in line with post-secular thought, which emphasizes the glorification of nature, the human body, and material objects. In the mythical reality constructed by the director, divine and pagan elements coexist on an equal footing, governed by proximity and parity.The seemingly disharmonious image of the world presented in selected films by Jan Jakub Kolski is, in fact, fully ordered, coherent and internally consistent. This vision is structured by a broad interpretation of myth, particularly in its ontological and anthropological dimensions, as well as by the categories of the sacred and the profane – both in the Eliadean sense (sacred places and ritual objects) and in line with post-secular thought, which emphasizes the glorification of nature, the human body, and material objects. In the mythical reality constructed by the director, divine and pagan elements coexist on an equal footing, governed by proximity and parity