Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Political Contexts and Their Visualizations in the Animated Films of Communist Yugoslavia
No full textIn the second half of the 20th century, Zagreb, Croatia, was one of the most important centres of film animation in Europe, and a key role in its development was played by the Zagreb Film Studio, which has been operating continuously since 1953. The creators associated with Zagreb Film Studio are often called the Zagreb School of Animation, a term referring to their unique style. The Studio became famous primarily for its short animations, which were distinctive due to an innovative approach in terms of both technique and narrative. Zagreb Film productions have won numerous festival awards and international recognition. An important context for the development of the Studio was the political situation in communist Yugoslavia, which influenced the themes and aesthetics of the films. This article analyses the political context of the Studio’s activity and how it was visualized in Yugoslavian animation.In the second half of the 20th century, Zagreb, Croatia, was one of the most important centres of film animation in Europe, and a key role in its development was played by the Zagreb Film Studio, which has been operating continuously since 1953. The creators associated with Zagreb Film Studio are often called the Zagreb School of Animation, a term referring to their unique style. The Studio became famous primarily for its short animations, which were distinctive due to an innovative approach in terms of both technique and narrative. Zagreb Film productions have won numerous festival awards and international recognition. An important context for the development of the Studio was the political situation in communist Yugoslavia, which influenced the themes and aesthetics of the films. This article analyses the political context of the Studio’s activity and how it was visualized in Yugoslavian animation
Głosy z przeszłości: mikrohistoryczne narracje Hou Hsiao-hsiena
No full textThe focus of the text is on the representation of Taiwanese history in two films by Hou Hsiao-hsien, City of Sadness (Beiqing chengshi, 1989) and Good Men, Good Women (Hao nan hao nu, 1995), which refer to the traumatic events of February and March 1947. Both works were conceived as a protest against the official version of history, and at the same time as a reminder of what the authorities tried to erase from the public sphere. The director did not intend to simply reconstruct the past, but to create an experimental narrative by reaching out to those whose testimonies were usually ignored. Hou Hsiao-hsien adopted a view typical of microhistory, in which it is important to consider an individual perspective, i.e., to present human lives and the everyday activities. His films convince us that the process of learning about history does not rely solely on the use of scientific methods, but occurs due to the work of imagination, because – as Ewa Domańska writes – “we believe in history in the same way as we believe in works of art which speak to us not through cold logic, but by influencing our aesthetic and emotional sensitivity.”The focus of the text is on the representation of Taiwanese history in two films by Hou Hsiao-hsien, City of Sadness (Beiqing chengshi, 1989) and Good Men, Good Women (Hao nan hao nu, 1995), which refer to the traumatic events of February and March 1947. Both works were conceived as a protest against the official version of history, and at the same time as a reminder of what the authorities tried to erase from the public sphere. The director did not intend to simply reconstruct the past, but to create an experimental narrative by reaching out to those whose testimonies were usually ignored. Hou Hsiao-hsien adopted a view typical of microhistory, in which it is important to consider an individual perspective, i.e., to present human lives and the everyday activities. His films convince us that the process of learning about history does not rely solely on the use of scientific methods, but occurs due to the work of imagination, because – as Ewa Domańska writes – “we believe in history in the same way as we believe in works of art which speak to us not through cold logic, but by influencing our aesthetic and emotional sensitivity.
Mityczna historia. Czas w Podróży komediantów i Spojrzeniu Odyseusza Teo Angelopulosa
No full textThe article centres on two films by Theo Angelopoulos, The Travelling Players and Ulysses’ Gaze, which are analysed with respect to time and with a particular emphasis on the issue of mythical and historical time. Crucial to the presentation of the temporal structure of the films are techniques such as the “editing of time” and foregrounding of duration through the use of long takes. Mythical time is analysed with reference to the theories of myth developed by Mircea Eliade and Claude Lévi-Strauss, which help to show how Angelopoulos melds together the two seemingly mutually exclusive times. Historical time is examined with reference to Krzysztof Pomian’s theory of time. Interpretative conclusions derived from that theory relate to the differences between the two films’ approach to representing history, with The Travelling Players using hindsight for a historiosophical synthesis of Greek history and Ulysses’ Gaze portraying an inability of such synthesis without hindsigh.The article centres on two films by Theo Angelopoulos, The Travelling Players and Ulysses’ Gaze, which are analysed with respect to time and with a particular emphasis on the issue of mythical and historical time. Crucial to the presentation of the temporal structure of the films are techniques such as the “editing of time” and foregrounding of duration through the use of long takes. Mythical time is analysed with reference to the theories of myth developed by Mircea Eliade and Claude Lévi-Strauss, which help to show how Angelopoulos melds together the two seemingly mutually exclusive times. Historical time is examined with reference to Krzysztof Pomian’s theory of time. Interpretative conclusions derived from that theory relate to the differences between the two films’ approach to representing history, with The Travelling Players using hindsight for a historiosophical synthesis of Greek history and Ulysses’ Gaze portraying an inability of such synthesis without hindsigh
Narratywizowanie przeszłości w cyfrowym ego-dokumencie na przykładzie gry autobiograficznej Cosmic Top Secret
No full textThe article addresses the problem of narrativizing the past in a digital ego-documentary using the example of the game Cosmic Top Secret (Klassefilm, 2018), directed by Trine Laier. The analysis combines a game studies perspective with the methodology of history, focusing on how an autobiographical game can serve as a vehicle for reflection on memory, identity, and historical experience. The central focus of the text is the game as a form of digital ego-document that emphasizes the subjective dimension of individual history (closely based on Laier’s personal experiences), situated within the broader context of the Cold War and historical culture (analysed in relation to Danish collective memory). The author analyses Laier’s design and narrative strategy, highlighting the use of historical sources, gameplay structures, and collage aesthetics. Cosmic Top Secret is presented as an example of a new form of autobiographical storytelling, in which interactivity fosters both personal engagement with the past and critical reflections on history.The article addresses the problem of narrativizing the past in a digital ego-documentary using the example of the game Cosmic Top Secret (Klassefilm, 2018), directed by Trine Laier. The analysis combines a game studies perspective with the methodology of history, focusing on how an autobiographical game can serve as a vehicle for reflection on memory, identity, and historical experience. The central focus of the text is the game as a form of digital ego-document that emphasizes the subjective dimension of individual history (closely based on Laier’s personal experiences), situated within the broader context of the Cold War and historical culture (analysed in relation to Danish collective memory). The author analyses Laier’s design and narrative strategy, highlighting the use of historical sources, gameplay structures, and collage aesthetics. Cosmic Top Secret is presented as an example of a new form of autobiographical storytelling, in which interactivity fosters both personal engagement with the past and critical reflections on history
Średniowieczne uniwersum strachu jako metafora współczesności w parabolicznej opowieści o zniewoleniu przez system (Ciemności kryją ziemię Stanislava Barabáša według Jerzego Andrzejewskiego, 1989)
No full textInspired by researchers investigating the relationship between cinema and history, namely, Marc Ferro (noting the possibility that presenting ancient societies allows for a better understanding of contemporary ones) and Dorota Skotarczak (pointing out the importance of visualizing the past), the author proposes a case of a film (of literary provenance) in which a historical “costume” is a mask allowing for a substitute representation of contemporary reality and providing an excuse to universalize the message. Darkness Covers the Earth (Torquemada, dir. Stanislav Barabáš, 1989) is an example of a film in which the dark pages of ancient history (the Spanish Inquisition in the 15th century) function as a prefiguration of the totalitarian systems of the 20th century. It is also a kind of parable set in historical realities, prompting reflection on the essence of history. It exemplifies the path from historical staffage to historiosophy. The historiosophical tone of Barabáš’s film was encoded in three confessional situations.Inspired by researchers investigating the relationship between cinema and history, namely, Marc Ferro (noting the possibility that presenting ancient societies allows for a better understanding of contemporary ones) and Dorota Skotarczak (pointing out the importance of visualizing the past), the author proposes a case of a film (of literary provenance) in which a historical “costume” is a mask allowing for a substitute representation of contemporary reality and providing an excuse to universalize the message. Darkness Covers the Earth (Torquemada, dir. Stanislav Barabáš, 1989) is an example of a film in which the dark pages of ancient history (the Spanish Inquisition in the 15th century) function as a prefiguration of the totalitarian systems of the 20th century. It is also a kind of parable set in historical realities, prompting reflection on the essence of history. It exemplifies the path from historical staffage to historiosophy. The historiosophical tone of Barabáš’s film was encoded in three confessional situations
Polskie kino w zwierciadle francuskich archiwów audiowizualnych INA: między obrazem narodowym a estetyką polityczną
No full textThis text is the result of archival research conducted at the Institut national de l’audiovisuel (INA) in Paris. An analysis of the INA archives from the perspective of a Polish film scholar facilitates not only a mapping of the media presence of Polish cinema in French television and radio between 1945 and 1989 but also critical reflections on how an external observer – as represented by the French media – constructed an image of Polish culture, identity, and history. This perspective is particularly significant in the context of a state and a national cinema that operated for decades under conditions of political dependency, restricted access to free markets, and censorship. Research conducted within INA’s archival databases allows for the reconstruction of the evolving French perception of Polish cinema during this period. Moreover, it sheds new light on the function of film as a medium of social communication and as a tool of political semiotics. In this sense, INA emerges not only as a repository of audiovisual resources but also as a mirror reflecting the shifting image of Poland and Polish cinema within the Western media discourse. The text also provides numerous previously unexplored insights for Polish film scholars, particularly regarding Polish filmmakers and their appearances in the French media landscape. This text is the result of archival research conducted at the Institut national de l’audiovisuel (INA) in Paris. An analysis of the INA archives from the perspective of a Polish film scholar facilitates not only a mapping of the media presence of Polish cinema in French television and radio between 1945 and 1989 but also critical reflections on how an external observer – as represented by the French media – constructed an image of Polish culture, identity, and history. This perspective is particularly significant in the context of a state and a national cinema that operated for decades under conditions of political dependency, restricted access to free markets, and censorship. Research conducted within INA’s archival databases allows for the reconstruction of the evolving French perception of Polish cinema during this period. Moreover, it sheds new light on the function of film as a medium of social communication and as a tool of political semiotics. In this sense, INA emerges not only as a repository of audiovisual resources but also as a mirror reflecting the shifting image of Poland and Polish cinema within the Western media discourse. The text also provides numerous previously unexplored insights for Polish film scholars, particularly regarding Polish filmmakers and their appearances in the French media landscape. 
Zigzag: Daniel Libeskind’s Jewish Museum in Berlin
No full textIn The Meaning of Asymmetry in Jewish Art, Avigdor Poseq notes a historical tendency in Jewish art to depict Temple-related ritual objects asymmetrically, symbolizing their dislocation after the Temple’s destruction and the continued wait for the Messiah. Symmetry represents divine order and perfection, while asymmetry implies disruption and impermanence. This idea underpins Daniel Libeskind’s design of the Jewish Museum in Berlin (2000), with its fractured, zigzag structure evoking an incomplete process and broken continuity. The building becomes a metaphor for messianic hope, covenant renewal, and tikkun olam – the restoration of the world – interpreted through the lens of the Jewish Kabbalah.In The Meaning of Asymmetry in Jewish Art, Avigdor Poseq notes a historical tendency in Jewish art to depict Temple-related ritual objects asymmetrically, symbolizing their dislocation after the Temple’s destruction and the continued wait for the Messiah. Symmetry represents divine order and perfection, while asymmetry implies disruption and impermanence. This idea underpins Daniel Libeskind’s design of the Jewish Museum in Berlin (2000), with its fractured, zigzag structure evoking an incomplete process and broken continuity. The building becomes a metaphor for messianic hope, covenant renewal, and tikkun olam – the restoration of the world – interpreted through the lens of the Jewish Kabbalah
Wprowadzenie
No full textNa okładce niniejszego numeru „Images”, który oddajemy w ręce Czytelników, znajduje się kadr z reportażu autorstwa Bolesława Matuszewskiego, jednego z pionierów światowej kinematografii, teoretyka i praktyka filmowego medium.Prezentowane zdjęcie zapobiegło wybuchowi skandalu dyplomatycznego w 1897 r., ponieważ dowodziło, że ówczesny prezydent Francji Félix Faure (1841–1899) nie uchybił protokołowi dyplomatycznemu i zdjął nakrycie głowy, kiedy oddawał należną cześć wojskowemu sztandarowi.
Spoglądając na zdjęcie Matuszewskiego z dzisiejszej perspektywy, po blisko 130 latach od wydarzenia upamiętnionego na fotografii, można stwierdzić, że jest ona doskonałym przykładem artefaktu należącego do kategorii historii wizualnej. Sam kadr, bez znajomości kontekstu sytuacji, wydaje się dość typowy dla swoich czasów – ukazuje moment oficjalnych uroczystości w przestrzeni publicznej. Gdy jednak weźmiemy pod uwagę liczne konteksty, które towarzyszą zdjęciu autora kanonicznych tekstów Nowe źródło historii oraz Nowe źródło historii. Ożywiona fotografia. Czym jest, czym być powinna, widać, jak ogromne znaczenie może zawierać pojedynczy artefakt wizualny.Na okładce niniejszego numeru „Images”, który oddajemy w ręce Czytelników, znajduje się kadr z reportażu autorstwa Bolesława Matuszewskiego, jednego z pionierów światowej kinematografii, teoretyka i praktyka filmowego medium.Prezentowane zdjęcie zapobiegło wybuchowi skandalu dyplomatycznego w 1897 r., ponieważ dowodziło, że ówczesny prezydent Francji Félix Faure (1841–1899) nie uchybił protokołowi dyplomatycznemu i zdjął nakrycie głowy, kiedy oddawał należną cześć wojskowemu sztandarowi.
Spoglądając na zdjęcie Matuszewskiego z dzisiejszej perspektywy, po blisko 130 latach od wydarzenia upamiętnionego na fotografii, można stwierdzić, że jest ona doskonałym przykładem artefaktu należącego do kategorii historii wizualnej. Sam kadr, bez znajomości kontekstu sytuacji, wydaje się dość typowy dla swoich czasów – ukazuje moment oficjalnych uroczystości w przestrzeni publicznej. Gdy jednak weźmiemy pod uwagę liczne konteksty, które towarzyszą zdjęciu autora kanonicznych tekstów Nowe źródło historii oraz Nowe źródło historii. Ożywiona fotografia. Czym jest, czym być powinna, widać, jak ogromne znaczenie może zawierać pojedynczy artefakt wizualny
Mikrohistorie, mikrometraże i mikrodokumenty. O skomplikowanych relacjach historii i form lapidarnych w audiowizualnej kulturze cyfrowej
No full textThis article uses the categories of microhistory, microshort and microdocumentary, for which the context is contemporary digital environments, with a particular emphasis on social media. As microhistory as a research method and microshort and microdocumentary as concise audiovisual forms are underrepresented categories in contemporary historiography and film studies, the author juxtaposes them in the text, examining the points of intersection between them and the resulting phenomena. The aim of the article is to answer the following questions: (1) To what extent is it possible to analyse microdocumentaries using micro-historical tools?; (2) To what extent is it possible to integrate microdocumentaries into the scope of micro-historical research?; (3) How can this juxtaposition broaden the realisation and research scope of both microshorts and microhistory?This article uses the categories of microhistory, microshort and microdocumentary, for which the context is contemporary digital environments, with a particular emphasis on social media. As microhistory as a research method and microshort and microdocumentary as concise audiovisual forms are underrepresented categories in contemporary historiography and film studies, the author juxtaposes them in the text, examining the points of intersection between them and the resulting phenomena. The aim of the article is to answer the following questions: (1) To what extent is it possible to analyse microdocumentaries using micro-historical tools?; (2) To what extent is it possible to integrate microdocumentaries into the scope of micro-historical research?; (3) How can this juxtaposition broaden the realisation and research scope of both microshorts and microhistory