Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Rozmowa z Krzysztofem Zanussim
Get PDFAn interview with the Polish film director Krzysztof Zanussi was conducted on 12 July 2022 at his home on the outskirts of Warsaw. The filmmaker has collaborated with Ukrainian artists, traveled extensively in Ukraine, supported Ukrainians during the war and even sheltered Ukrainian refugees in his home. The conversation focused on his collaborations with Ukrainian artists, in particular the prominent Ukrainian actor Bohdan Stupka (1941–2012). He played the lead role in Krzysztof Zanussi’s film And a Warm Heart (2008), for which he received the Best Actor award at the Third Rome International Film Festival for the first time in the history of Ukrainian cinema. The conversation also touched on the director’s personal ties with Ukraine, his views on the problems of the development of Ukrainian culture, his memories of creative contacts, including those during the Soviet period, and his experience of working with Russian artists. The filmmaker shared his thoughts on the war in Ukraine and its possible consequences, including those for the development of art.An interview with the Polish film director Krzysztof Zanussi was conducted on 12 July 2022 at his home on the outskirts of Warsaw. The filmmaker has collaborated with Ukrainian artists, traveled extensively in Ukraine, supported Ukrainians during the war and even sheltered Ukrainian refugees in his home. The conversation focused on his collaborations with Ukrainian artists, in particular the prominent Ukrainian actor Bohdan Stupka (1941–2012). He played the lead role in Krzysztof Zanussi’s film And a Warm Heart (2008), for which he received the Best Actor award at the Third Rome International Film Festival for the first time in the history of Ukrainian cinema. The conversation also touched on the director’s personal ties with Ukraine, his views on the problems of the development of Ukrainian culture, his memories of creative contacts, including those during the Soviet period, and his experience of working with Russian artists. The filmmaker shared his thoughts on the war in Ukraine and its possible consequences, including those for the development of art
Filmowość Marii Antoniego Malczewskiego
Get PDFThe aim of this article is to analyse the poetics of Antoni Malczewski’s Maria in terms of its cinematic qualities. The author uses various film theories, including those formulated by Siegfried Kracauer, Béla Balázs and Jean Mitry, in order to approximate the meaning of a text being cinematic and to find tools for the analysis of a literary text through this lens. Six features are distinguished: (1) fragmentariness of the plot structure, (2) editing within scenes, (3) a focus on movement, (4) transcending the limitations of human perception, (5) quasi-reproduction of reality and (6) giving images meaning as parts of a larger composition. These can be found in different passages from Maria, the analysis of which leads the author to conclude that the key to the cinematic qualities in Malczewski’s novel is the quasi-impersonal reproduction of reality achieved thanks to the withdrawn narrative perspective, the descriptions of empirical reality and the behavioural characteristics of the characters. In the summary, the cinematic qualities of Maria are put within a context of the history of literature and linked to the break with classicistic poetics and the move towards Romanticism.The aim of this article is to analyse the poetics of Antoni Malczewski’s Maria in terms of its cinematic qualities. The author uses various film theories, including those formulated by Siegfried Kracauer, Béla Balázs and Jean Mitry, in order to approximate the meaning of a text being cinematic and to find tools for the analysis of a literary text through this lens. Six features are distinguished: (1) fragmentariness of the plot structure, (2) editing within scenes, (3) a focus on movement, (4) transcending the limitations of human perception, (5) quasi-reproduction of reality and (6) giving images meaning as parts of a larger composition. These can be found in different passages from Maria, the analysis of which leads the author to conclude that the key to the cinematic qualities in Malczewski’s novel is the quasi-impersonal reproduction of reality achieved thanks to the withdrawn narrative perspective, the descriptions of empirical reality and the behavioural characteristics of the characters. In the summary, the cinematic qualities of Maria are put within a context of the history of literature and linked to the break with classicistic poetics and the move towards Romanticism
Elektroniczny łowca: postać cyborga w kinie science fiction głównego nurtu
Get PDFThe aim of this text is to analyze the cyborg motif in mainstream American science fiction films, as represented by the Terminator and RoboCop film series. The cyborg characters presented in these films are focused mainly on violence and destruction, which emphasizes the technophobic attitude of the culture within which these films were made. The only redemption of their otherness is showing their humanity. For a cyborg, its technological provenance is a burden and results in its sense of guilt. In this manner, American science fiction films support anthropocentrism and the conservative status quo.The aim of this text is to analyze the cyborg motif in mainstream American science fiction films, as represented by the Terminator and RoboCop film series. The cyborg characters presented in these films are focused mainly on violence and destruction, which emphasizes the technophobic attitude of the culture within which these films were made. The only redemption of their otherness is showing their humanity. For a cyborg, its technological provenance is a burden and results in its sense of guilt. In this manner, American science fiction films support anthropocentrism and the conservative status quo
Of bees, birds, trees, and women: iconography, superstition and victimization of female characters in Yugoslav New Film
Get PDFThis study investigates how the directors of two selected case study films criticise the real-life remnants of patriarchy in the family sphere, in nominally gender-equal Yugoslavia. I argue that they do this by transposing their stories from socialist Yugoslavia to the pre-socialist times: during Ottoman rule and monarchist Yugoslavia. The selected period films Breza/The Birch Tree (Ante Babaja, 1967, Yugoslavia) and Roj/The Beehive aka The Swarm (Miodrag ‘Mića’ Popović, 1966, Yugoslavia), both belonging to the Yugoslav novi film (New Film) movement (1961-1972), refract the workings of the vestiges of patriarchy in a family domain of Yugoslav socialist society. In these two costume dramas, patriarchy is portrayed to its fullest extent, due to their stories being set in the past, ostensibly unrelated to contemporary Yugoslav society and thus uninhibited by the drive to cater to the official discourse of female emancipation.
Applying a critical film feminist perspective, by formal analysis via close readings of these two selected films, this article examines the iconography linked to fictional depictions of heroines and delves into the representation of victimisation of women. I investigate whether the depiction of the female sorceress(es) embody the primitiveness, ignorance, and/or poverty of economically disadvantaged and historically oppressed pre-socialist village. In order to peruse not only the individual portrayal of female protagonists but the dynamics of their interaction, the Bechdel test is applied and complemented with concepts such as the ‘reversed masquerade’ and ‘cryptomatriarchy’, which sheds light on the relationship between women and the presence or absence of female solidarity.This study investigates how the directors of two selected case study films criticise the real-life remnants of patriarchy in the family sphere, in nominally gender-equal Yugoslavia. I argue that they do this by transposing their stories from socialist Yugoslavia to the pre-socialist times: during Ottoman rule and monarchist Yugoslavia. The selected period films Breza/The Birch Tree (Ante Babaja, 1967, Yugoslavia) and Roj/The Beehive aka The Swarm (Miodrag ‘Mića’ Popović, 1966, Yugoslavia), both belonging to the Yugoslav novi film (New Film) movement (1961-1972), refract the workings of the vestiges of patriarchy in a family domain of Yugoslav socialist society. In these two costume dramas, patriarchy is portrayed to its fullest extent, due to their stories being set in the past, ostensibly unrelated to contemporary Yugoslav society and thus uninhibited by the drive to cater to the official discourse of female emancipation.
Applying a critical film feminist perspective, by formal analysis via close readings of these two selected films, this article examines the iconography linked to fictional depictions of heroines and delves into the representation of victimisation of women. I investigate whether the depiction of the female sorceress(es) embody the primitiveness, ignorance, and/or poverty of economically disadvantaged and historically oppressed pre-socialist village. In order to peruse not only the individual portrayal of female protagonists but the dynamics of their interaction, the Bechdel test is applied and complemented with concepts such as the ‘reversed masquerade’ and ‘cryptomatriarchy’, which sheds light on the relationship between women and the presence or absence of female solidarity
Image spaces. Digital visual media in the context of baroque mural painting in architecture
Get PDFIn the art of the 20th century, space became the basic material. Today, digital media and VR and AR technologies are used to cross the visual and space barriers, but always at the expense of experiencing reality. The spatial turn in culture results from the post-avant-garde ideas of art that cuts itself off from ancient art. Using the example of the fresco by Andrea del Pozzo from the Sant’Ignazio church in Rome, we will show analogies between baroque illusionist painting and digital visual media. It turns out that contemporary art arrives at the space issues that have been practiced in architecture and art since antiquity. The space created by painting illusion as a total work of art exhibits many features of contemporary art and the phenomena of VR and AR such as intermediality, immersion, interactivity. Spatial turn arguments can be used to enhance the potential of classic painting language in architecture.In the art of the 20th century, space became the basic material. Today, digital media and VR and AR technologies are used to cross the visual and space barriers, but always at the expense of experiencing reality. The spatial turn in culture results from the post-avant-garde ideas of art that cuts itself off from ancient art. Using the example of the fresco by Andrea del Pozzo from the Sant’Ignazio church in Rome, we will show analogies between baroque illusionist painting and digital visual media. It turns out that contemporary art arrives at the space issues that have been practiced in architecture and art since antiquity. The space created by painting illusion as a total work of art exhibits many features of contemporary art and the phenomena of VR and AR such as intermediality, immersion, interactivity. Spatial turn arguments can be used to enhance the potential of classic painting language in architecture
Dlaczego nie ma taśm z powstania wielkopolskiego?
Get PDFThe article is a monographic study of the moving picture of Wielkopolska Uprising 1918–1919. The author indicates the reasons of a lack of film archives concerning Posnanian War.The article is a monographic study of the moving picture of Wielkopolska Uprising 1918–1919. The author indicates the reasons of a lack of film archives concerning Posnanian War
Andrey Zvyagintsev’s Loveless as the remediation of Mikhail Bulgakov’s The heart of a dog. Towards the question of cultural memory
Get PDFThe article aims to examine the relationship between two texts: Loveless (Нелюбовь, 2017), the latest of Andrey Zvyagintsev’s feature films, and The Heart of a Dog (Собачье сердце, 1925), one of Mikhail Bulgakov’s most popular short stories. The studies are focused on finding the parallels showing the work of cultural memory, which is understood – following Aleida Assmann’s and Astrid Erll’s findings – as the process of continuous remediation, retranscription and negotiation of essential ideas in the space of culture. Consequently, the author is not interested in treating Zvyagintsev’s text as the illustration of Bulgakov’s plot, but rather in discussing certain topics which are deposited in Russian literature and constantly reused and reinterpreted, creating the framework for communication across ‘the abyss of time’. The analogies between the selected texts are sought in the area of their structure, some thematic overlapping, the authors’ approach to the issue of the authoritarian ideology and the role of technology as well as in exploring the function of space as one of the narrative mechanisms, in particular in the context of the category of home and anti-home.The article aims to examine the relationship between two texts: Loveless (Нелюбовь, 2017), the latest of Andrey Zvyagintsev’s feature films, and The Heart of a Dog (Собачье сердце, 1925), one of Mikhail Bulgakov’s most popular short stories. The studies are focused on finding the parallels showing the work of cultural memory, which is understood – following Aleida Assmann’s and Astrid Erll’s findings – as the process of continuous remediation, retranscription and negotiation of essential ideas in the space of culture. Consequently, the author is not interested in treating Zvyagintsev’s text as the illustration of Bulgakov’s plot, but rather in discussing certain topics which are deposited in Russian literature and constantly reused and reinterpreted, creating the framework for communication across ‘the abyss of time’. The analogies between the selected texts are sought in the area of their structure, some thematic overlapping, the authors’ approach to the issue of the authoritarian ideology and the role of technology as well as in exploring the function of space as one of the narrative mechanisms, in particular in the context of the category of home and anti-home
Transfiguracja – Piękna złośnica Jacques’a Rivette’a w świetle mimo-sekularnej myśli o filmie i mediach światłowodowych
Get PDFThe essay is an interpretation of the film by Jacques Rivette La Belle Noiseuse (1991) within the context of post-secular studies. The sketch is inspired primarily by the writings of Martin Heidegger and Jean-Luc Nancy, and it also corresponds with the Bible and biblical studies. The author describes the creative process shown in the film as an act of salvation which occurs between the painter and his model. The hiding of the resulting image is understood here in relation to the passion, cross and burial of Jesus which brings the hope for a liberated life and “the new creation”. The film is made in a very consistent way, which opens up the perspective of crossing the world of images, paintings and classical films (the world of stage), towards the art of mutual respect (the world of interface). Rivette’s work contains a multitude of relevant observations and indications regarding psychology, religion and culture, but it also reveals the possibility of a new way of thinking about film and the media, close to Nancy’s post-metaphysical thought.The essay is an interpretation of the film by Jacques Rivette La Belle Noiseuse (1991) within the context of post-secular studies. The sketch is inspired primarily by the writings of Martin Heidegger and Jean-Luc Nancy, and it also corresponds with the Bible and biblical studies. The author describes the creative process shown in the film as an act of salvation which occurs between the painter and his model. The hiding of the resulting image is understood here in relation to the passion, cross and burial of Jesus which brings the hope for a liberated life and “the new creation”. The film is made in a very consistent way, which opens up the perspective of crossing the world of images, paintings and classical films (the world of stage), towards the art of mutual respect (the world of interface). Rivette’s work contains a multitude of relevant observations and indications regarding psychology, religion and culture, but it also reveals the possibility of a new way of thinking about film and the media, close to Nancy’s post-metaphysical thought
Zabił, nie zabił i kto kogo zabił? O filmie Zabicie ciotki Grzegorza Królikiewicza
Get PDFThe subject of this article is an analysis of the film Killing Auntie (Zabicie ciotki, 1984) by Grzegorz Krolikiewicz. The author reconstructs the history of the film’s making, recalls the memories of actor Robert Herubin, cinematographer Krzysztof Ptak, and director Grzegorz Krolikiewicz. The author reads Killing Auntie through the prism of Andrzej Bursa’s prose, refers to the heritage of surrealism and the way the director refers to it. According to the author it is important to answer the question of whether Killing Auntie is a specific kind of performance. The article concludes with a reflection on the moral dimension of Killing Auntie and an attempt to answer the questions: did the murder in Killing Auntie really happen and could any of us commit it?The subject of this article is an analysis of the film Killing Auntie (Zabicie ciotki, 1984) by Grzegorz Krolikiewicz. The author reconstructs the history of the film’s making, recalls the memories of actor Robert Herubin, cinematographer Krzysztof Ptak, and director Grzegorz Krolikiewicz. The author reads Killing Auntie through the prism of Andrzej Bursa’s prose, refers to the heritage of surrealism and the way the director refers to it. According to the author it is important to answer the question of whether Killing Auntie is a specific kind of performance. The article concludes with a reflection on the moral dimension of Killing Auntie and an attempt to answer the questions: did the murder in Killing Auntie really happen and could any of us commit it