Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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„Zamknij drzwi”, czyli wykorzystanie przestrzeni filmowej do uobecnienia sacrum na przykładzie filmu Sieranevada Cristi Puiu
Get PDFThe article analyzes how the main representative of the Romanian New Wave – Cristi Puiu – uses the visual space of an apartment for staging and presenting the visible and hidden spheres of reality. His film Sieranevada, focusing on a family meeting on the occasion of religious ceremonies commemorating recently deceased senior family member, shows the possibilities of using the language of realism to appeal to the spirituality present in everyday life and to unveil Transcendence.The article analyzes how the main representative of the Romanian New Wave – Cristi Puiu – uses the visual space of an apartment for staging and presenting the visible and hidden spheres of reality. His film Sieranevada, focusing on a family meeting on the occasion of religious ceremonies commemorating recently deceased senior family member, shows the possibilities of using the language of realism to appeal to the spirituality present in everyday life and to unveil Transcendence
Destrukcja jako tworzywo. Ikonografia ruin Warszawy w polskim kinie dokumentalnym po II wojnie światowej
Get PDFThe image of Warsaw in ruins after World War II is an important motif in Polish documentary and feature cinema in the years 1944–1956. In the text, I discuss the images of the city captured by the first chroniclers as ‘basic’, which then became archetypical icons of the city’s destruction. I point out that the aesthetics of destruction, recorded in Andrzej Panufnik’s early film Ballada f-moll [Ballade in f minor], Jerzy Bossak’s Most [Bridge] and Tadeusz Makarczyński’s Suita warszawska [Warsaw Suite] proved to be exemplary for other artists. I show that the destruction of urban and architectural structures was inspiring for directors: it served as a documentary record, a basis forconstructing scripts, and dominant aesthetic, often providing a persuasive argument and serving to shape emotions. References to the resentments of the audience and the anatomy of the ruins were among the elements that shaped the ideological attitudes of various parts of Polish society. For some directors it was also a catharsis after the trauma of the Holocaust.The image of Warsaw in ruins after World War II is an important motif in Polish documentary and feature cinema in the years 1944–1956. In the text, I discuss the images of the city captured by the first chroniclers as ‘basic’, which then became archetypical icons of the city’s destruction. I point out that the aesthetics of destruction, recorded in Andrzej Panufnik’s early film Ballada f-moll [Ballade in f minor], Jerzy Bossak’s Most [Bridge] and Tadeusz Makarczyński’s Suita warszawska [Warsaw Suite] proved to be exemplary for other artists. I show that the destruction of urban and architectural structures was inspiring for directors: it served as a documentary record, a basis forconstructing scripts, and dominant aesthetic, often providing a persuasive argument and serving to shape emotions. References to the resentments of the audience and the anatomy of the ruins were among the elements that shaped the ideological attitudes of various parts of Polish society. For some directors it was also a catharsis after the trauma of the Holocaust
Marsjanie. Borowczyk i Lenica na Międzynarodowym Konkursie Filmu Eksperymentalnego w Brukseli
Get PDFThe text describes the backstage of the legendary International Experimental Film Competition in Brussels, which accompanied the Expo-58 Exhibition at a turning point of the political thaw in Eastern and Central Europe. The most important representatives of avant-garde cinema and auteur animation of three generations took part in this event. The Grand Prix was awarded to The House of Walerian Borowczyk and Jan Lenica. The prize became the ticket to a European career for these two young filmmakers. The competition was also remembered as a symbolic beginning of the “Polish school of animation” (or the so-called “Polish school of experimental film”) on the global film market. The author of the article also writes about a difficult return to Poland, about a cash prize that caused many problems, about the successes of Polish films in Brussels, and about the reception of The House in Poland and abroad. Finally, he tries to demonstrate why this bleak and difficult to understand film, which builds opposition to the optimism of Expo Exhibitions, won the main prize, beating over 300 competitors from around the world.The text describes the backstage of the legendary International Experimental Film Competition in Brussels, which accompanied the Expo-58 Exhibition at a turning point of the political thaw in Eastern and Central Europe. The most important representatives of avant-garde cinema and auteur animation of three generations took part in this event. The Grand Prix was awarded to The House of Walerian Borowczyk and Jan Lenica. The prize became the ticket to a European career for these two young filmmakers. The competition was also remembered as a symbolic beginning of the “Polish school of animation” (or the so-called “Polish school of experimental film”) on the global film market. The author of the article also writes about a difficult return to Poland, about a cash prize that caused many problems, about the successes of Polish films in Brussels, and about the reception of The House in Poland and abroad. Finally, he tries to demonstrate why this bleak and difficult to understand film, which builds opposition to the optimism of Expo Exhibitions, won the main prize, beating over 300 competitors from around the world
Boks w kadrze. Wybrane strategie inscenizacyjne w polskich filmach o boksie z lat sześćdziesiątych i siedemdziesiątych XX wieku
No full textIn his article, Dominik Wierski analyses and interprets selected staging strategies in Polish films about boxing. The films cited in the text were made in the 1960s and 1970s. It was a dynamic period in Polish cinematography, but also a great time for Polish boxing. The author wonders how filmmakers showed space related to boxing - training rooms, changing rooms, stands and the boxing ring. Selected films, belonging to the most important examples of Polish filmmakers’ insight into the world of boxing, are analyzed in the terms of their use of colors, sound, camera travel, rhythm and pace etc. The purpose of the text is to answer the question of whether Polish films of the ‘60s and ‘70s developed an integral way of discussing boxing and showing its most characteristic spaces.In his article, Dominik Wierski analyses and interprets selected staging strategies in Polish films about boxing. The films cited in the text were made in the 1960s and 1970s. It was a dynamic period in Polish cinematography, but also a great time for Polish boxing. The author wonders how filmmakers showed space related to boxing - training rooms, changing rooms, stands and the boxing ring. Selected films, belonging to the most important examples of Polish filmmakers’ insight into the world of boxing, are analyzed in the terms of their use of colors, sound, camera travel, rhythm and pace etc. The purpose of the text is to answer the question of whether Polish films of the ‘60s and ‘70s developed an integral way of discussing boxing and showing its most characteristic spaces
Warstwa werbalna ścieżki dźwiękowej jako element współbudowania przestrzeni w filmie
No full textThe article presents the most typical ways of co-building various types of film space through the verbal layer of the soundtrack: inside the frame and outside of it, diegetic and non-diegetic, and narrative and non-narrative. In order to discuss linguistic ways of co-creating space, the author used the tenets of mediolinguistics and the ideas of the textual image of the world and the linguistic image of the world.The article presents the most typical ways of co-building various types of film space through the verbal layer of the soundtrack: inside the frame and outside of it, diegetic and non-diegetic, and narrative and non-narrative. In order to discuss linguistic ways of co-creating space, the author used the tenets of mediolinguistics and the ideas of the textual image of the world and the linguistic image of the world
Między kosmopolityzmem a nazizmem – konteksty przestrzeni symbolicznych czterech filmów nakręconych przez niemieckiego operatora Franza Weihmayra
Get PDFThe paper is a comparative analysis of the circumstances influencing symbolic spaces in four movies by Franz Weihmayr in the years 1931–1942: Dzikie Pola [Wild Fields], Halutzim, La Habanera and The Great Love. The analysis allows for delineating the development of the German cinematographer Franz Weihmayr’s career, which, in the context of historical-political and ideological-artistic circumstances, can serve as an example of a broader phenomenon: a particular fluctuation of choices made by German cinematographers over the Weimar, Nazi, and post-war periods. This analysis is of pioneering importance because of the paucity of publication heretofore dedicated to Weihmayr’s works, who at the time worked together with, among others, Leni Riefenstahl, Frank Wysbar, and Hans Detlef Sierck, as well as Polish directors, such as Józef Lejtes and Aleksander Ford. The framework for semiotic analyses of the symbolic spaces of the movies mentioned above are two groups of contexts connected with ideas stemming from contradictory bases: the idea of cosmopolitism and the idea of Nazism.The paper is a comparative analysis of the circumstances influencing symbolic spaces in four movies by Franz Weihmayr in the years 1931–1942: Dzikie Pola [Wild Fields], Halutzim, La Habanera and The Great Love. The analysis allows for delineating the development of the German cinematographer Franz Weihmayr’s career, which, in the context of historical-political and ideological-artistic circumstances, can serve as an example of a broader phenomenon: a particular fluctuation of choices made by German cinematographers over the Weimar, Nazi, and post-war periods. This analysis is of pioneering importance because of the paucity of publication heretofore dedicated to Weihmayr’s works, who at the time worked together with, among others, Leni Riefenstahl, Frank Wysbar, and Hans Detlef Sierck, as well as Polish directors, such as Józef Lejtes and Aleksander Ford. The framework for semiotic analyses of the symbolic spaces of the movies mentioned above are two groups of contexts connected with ideas stemming from contradictory bases: the idea of cosmopolitism and the idea of Nazism
Między minimalizmem a melodramatem. Przestrzeń filmowa w kinie rumuńskiej nowej fali
No full textThe starting point for considering the means of creating and designing a film space in Romanian New Wave cinema is the thesis that Romanian film art in the 21st century is an artistic response to the times of communism and that images of the post-socialist architectural space – their multi-faceted functionalization in film mise-en-scéne – are the key method of evoking memories of the past. The article discusses, via the example of movies by Crisitian Mungiu, Corneliu Porumboiu and Cristi Puiu, (1) ways of depicting the “closing” of film characters in the cramped interiors of their apartments and (2) film images of individuals’ alienation in public spaces, both of them allusively referring to the times of the oppressive Nicolae Ceaușescu regime. The most important cinematographic devices used bythe authors of the Romanian New Wave cinema include: seemingly static shots, which, however, are filmed with a camera that is constantly gently moving and observing, and tableau shots. A common feature of all the considered works is the panopticism of the film world: the private and public spaces designed in them easily become a place of constant, panoptical observation. In the summary, theauthor remarks on and briefly discusses the coexistence of the aesthetics of minimalism / realism with the melodramatic elements in the cinematic structure of Romanian New Wave filmsThe starting point for considering the means of creating and designing a film space in Romanian New Wave cinema is the thesis that Romanian film art in the 21st century is an artistic response to the times of communism and that images of the post-socialist architectural space – their multi-faceted functionalization in film mise-en-scéne – are the key method of evoking memories of the past. The article discusses, via the example of movies by Crisitian Mungiu, Corneliu Porumboiu and Cristi Puiu, (1) ways of depicting the “closing” of film characters in the cramped interiors of their apartments and (2) film images of individuals’ alienation in public spaces, both of them allusively referring to the times of the oppressive Nicolae Ceaușescu regime. The most important cinematographic devices used bythe authors of the Romanian New Wave cinema include: seemingly static shots, which, however, are filmed with a camera that is constantly gently moving and observing, and tableau shots. A common feature of all the considered works is the panopticism of the film world: the private and public spaces designed in them easily become a place of constant, panoptical observation. In the summary, theauthor remarks on and briefly discusses the coexistence of the aesthetics of minimalism / realism with the melodramatic elements in the cinematic structure of Romanian New Wave films
Przestrzeń filmowa jako przestrzeń wiedzy. O filmach Ray i Charlesa Eamesów
No full textThrough the whole period of their design output, Ray and Charles Eames used film as a tool. First, they referred to film when they tried to prove their artistic activity, then for the purposes of advertisement and finally, they got to large, highly-circulated global multimedia projects. Behind them were state and corporate subjects. In all film activities, they reveal an innovative attitude which negotiated the current techniques of production. Each time, they were able to create new value. They revolutionized advertising and educational films. In every attempt at this genre, they did not give up the humanistic approach. They presented scientific knowledge, offered in the form of standard high entertainment.Through the whole period of their design output, Ray and Charles Eames used film as a tool. First, they referred to film when they tried to prove their artistic activity, then for the purposes of advertisement and finally, they got to large, highly-circulated global multimedia projects. Behind them were state and corporate subjects. In all film activities, they reveal an innovative attitude which negotiated the current techniques of production. Each time, they were able to create new value. They revolutionized advertising and educational films. In every attempt at this genre, they did not give up the humanistic approach. They presented scientific knowledge, offered in the form of standard high entertainment
Stereotyp w przestrzeni symbolicznej
Get PDFThe subject of the article is stereotypes considered in the context of symbolic space. This redefinition and reconsideration of the complex issue of stereotypes and stereotyping of diferent kinds in art and everyday life aims at demonstrating the operational usefulness of this concept in contemporary humanistic re-ection, including the sphere of art, everyday life and various fields of scientific research.The subject of the article is stereotypes considered in the context of symbolic space. This redefinition and reconsideration of the complex issue of stereotypes and stereotyping of diferent kinds in art and everyday life aims at demonstrating the operational usefulness of this concept in contemporary humanistic re-ection, including the sphere of art, everyday life and various fields of scientific research
Functions of screen space in shots by Mieczysław Jahoda in the example of his first feature films: Zimowy zmierzch and Pętla
No full textThe text is devoted to discussing the formation methods and the functions of screen space in shots by Mieczysław Jahoda in the films Zimowy zmierzch (directed by S. Lenartowicz) and Pętla (directed by W.J. Has). Mieczysław Jahoda is presented as one of the main initiators of stylistic changes in the films of Polish School in the mid 1950s. The analysis concerns the camera means applied by Jahoda in order to obtain screen effects: light, frame composition, photographic optics and perspective transformation. The film shots by Mieczysław Jahoda are characterized by an exceptional ability to evoke mental space, emotions, memory and imagination via the shapes of screen space. Their feature is a special esthetization aimed at creating the atmosphere of films, as well as symbolic and cultural references.The text is devoted to discussing the formation methods and the functions of screen space in shots by Mieczysław Jahoda in the films Zimowy zmierzch (directed by S. Lenartowicz) and Pętla (directed by W.J. Has). Mieczysław Jahoda is presented as one of the main initiators of stylistic changes in the films of Polish School in the mid 1950s. The analysis concerns the camera means applied by Jahoda in order to obtain screen effects: light, frame composition, photographic optics and perspective transformation. The film shots by Mieczysław Jahoda are characterized by an exceptional ability to evoke mental space, emotions, memory and imagination via the shapes of screen space. Their feature is a special esthetization aimed at creating the atmosphere of films, as well as symbolic and cultural references