Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Odcieleśnione ciało w filmie Nakarmić kruki Carlosa Saury
Get PDFThis article aims at providing an analysis of Carlos Saura’s Cria Cuervos [Raise ravens, 1976], focused mainly on the temporal and spatial structures of the film. It explores the dimensions of bodily presence, especially the means of representing spectral body in cinematic image.This article aims at providing an analysis of Carlos Saura’s Cria Cuervos [Raise ravens, 1976], focused mainly on the temporal and spatial structures of the film. It explores the dimensions of bodily presence, especially the means of representing spectral body in cinematic image
The temple of the new faith. Film images of the construction of the Palace of Culture 1952–1955
Get PDFThe first study of its kind, Marek Hendrykowski’s paper examines frame by frame the symbolic role of the construction of the Palace of Culture in the ideological context of the Stalinist period and its emergence into the realm of public discourse in the early 1950s
Kieślowski Re-read: On Reality, Realism and Cinema
Get PDFBy referencing Italian auteurs Ermanno Olmi and Federico Fellini, this paper offers a re-reading of Krzysztof Kieślowski’s reflections on cinema that places the practice of describing reality and uttering “a statement of fact” about people’s lives and the world as a long-lasting, structuring foundation of his episteme and workshop
Modernizm a film autorski lat sześćdziesiątych w Chorwacji
Get PDFGilić Nikica, Modernizm a film autorski lat sześćdziesiątych w Chorwacji [Modernism and auteurial Cinema in Croatia in the 1960s]. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 148–154. ISSN 1731–450X. DOI 10.14746/i.2019.34.09.
Croatian film of the 1960s is colored by the poetics of auteurial cinema which was already emerging in the previous decade, but dominated in the 1960s, both in the production of cinema (both fiction films and animation), but also in the reception of these films with independent and ambitious critics. The text discusses the production modes of the era in Croatia and Yugoslavia, as well as several aspects of the poetics of cinematic modernism (its history and the importance of innovation), with Branko Ivanda’s feature debut Gravity (Gravitacija), in which all sorts of stylistic experiments blend well with traditional motifs and cinematic procedures, anticipating Ivanda’s auteuristic oevure.Gilić Nikica, Modernizm a film autorski lat sześćdziesiątych w Chorwacji [Modernism and auteurial Cinema in Croatia in the 1960s]. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 148–154. ISSN 1731–450X. DOI 10.14746/i.2019.34.09.
Croatian film of the 1960s is colored by the poetics of auteurial cinema which was already emerging in the previous decade, but dominated in the 1960s, both in the production of cinema (both fiction films and animation), but also in the reception of these films with independent and ambitious critics. The text discusses the production modes of the era in Croatia and Yugoslavia, as well as several aspects of the poetics of cinematic modernism (its history and the importance of innovation), with Branko Ivanda’s feature debut Gravity (Gravitacija), in which all sorts of stylistic experiments blend well with traditional motifs and cinematic procedures, anticipating Ivanda’s auteuristic oevure
A tragedy tailored to the spirit of the times – Romeo and Juliet as interpreted by Franco Zeffirelli and Baz Luhrmann
Get PDFThis article discusses two film adaptations of Romeo and Juliet, i.e. one directed by Franco Zeffirelli and the other by Baz Luhrmann. It covers the following aspects: the structure of both the drama and its two film adaptations, the characters’ creation, the choice of setting and screen time, and the function of tragedy. Shakespeare’s language is characterised by unparalleled wit and powers of observation, and the final form of his plays is a clear indication of his ambivalent attitude towards tradition and the rigid structure of the drama. By breaking with convention, favouring an episodic structure, and blending tragedy with comedy, Shakespeare always takes risks, in a similar vain to the two directors who decided to make film adaptations based on his plays. Each technical device the adaptors selected could have turned out to be a wonderful novelty or a total disaster. The strength of both Zeffirelli’s and Luhrman’s adaptations is their emphasis on love and youth, which thanks to their directorial skill is perfectly in tune with the spirit of their respective times.This article discusses two film adaptations of Romeo and Juliet, i.e. one directed by Franco Zeffirelli and the other by Baz Luhrmann. It covers the following aspects: the structure of both the drama and its two film adaptations, the characters’ creation, the choice of setting and screen time, and the function of tragedy. Shakespeare’s language is characterised by unparalleled wit and powers of observation, and the final form of his plays is a clear indication of his ambivalent attitude towards tradition and the rigid structure of the drama. By breaking with convention, favouring an episodic structure, and blending tragedy with comedy, Shakespeare always takes risks, in a similar vain to the two directors who decided to make film adaptations based on his plays. Each technical device the adaptors selected could have turned out to be a wonderful novelty or a total disaster. The strength of both Zeffirelli’s and Luhrman’s adaptations is their emphasis on love and youth, which thanks to their directorial skill is perfectly in tune with the spirit of their respective times
On a construction site – a change of perspectives. Architecture in Polish documentaries of the 1960s.
Get PDFFilm documentaries: Energia [Energy] by Władysław Ślesicki and Czas przemiany [The Time of Transformation] by Andrzej Piekutowski are film examples of changing perspectives in Polish documentary film of the 1960s. The creators undertook the themes known from the socialist realism cinema, such as industrialization and the value of human labour, but they did so in the poetics of authorial cinema, creating films with a deeper, symbolic message and in a lyrical atmosphere
Non-accidental presence. The reception of Krzysztof Kieślowski in Russia
Get PDFKrzysztof Kieślowski is a cult figure among Russian moviegoers, but “proving” this is not as easy as in the case of the popularity of other Polish classic names in Russia, such as Andrzej Wajda and Krzysztof Zanussi. Placing Kieślowski on the list of Polish filmmakers who have influenced Russian culture in this or some other way is a not obvious move. The article is an attempt at exposing the reader to the presence of the director’s films in Russia through the history of the distribution of his films, an analysis of reviews by Russian authors and texts in which Kieślowski’s name appears. It also discusses references to his films in works by other filmmakers. It is complemented by the statements of two Russian directors who talk about the importance of Kieślowski in their work and academic practice
Krzysztof Kieślowski’s “Camera Buff”: a revised version of “First Love”
Get PDFThe article develops its title thesis, which proposes interpreting Kieślowski’s Camera Buff (Amator, 1979), his second full-length feature film, as a revised version of his documentary First Love, made five years earlier. Both films have similar starting points ‒ the story of a couple expecting the birth of their first child. But the conclusion in each case also has something in common and results in the abandoning of a film project. The latter similarity meant that Kieślowski changed the character of the main protagonist in his full-length movie. It is no longer a documentary hero but the film auteur himself. This was probably the essence of the director’s artistic discovery made while shooting Camera Buff. It meant the abandonment of the documentary character when the prolonged relationship with him (and her) proved to be ethically dubious and his (and her) development predictable. At the same time, Kieślowski expressed his own creative experience as the film’s author creating a fictitious character in Camera Buff, inspired by various figures of real ‘prototypes’
Kina na Dolnym Śląsku: rekonesans historyczny
Get PDFThe highest level of cinema attendance in Lower Silesia after World War II was recorded in 1957. It was higher than before the war and lower than during the war. In the years that followed it steadily declined, influenced by global processes, especially the popularity of television. This leads us to reflect on the continuity of historical and film processes, and to look at the period from the 1920s to the 1960s as the ‘classical’ period in the history of cinema, when it was the main branch of mass entertainment. The examples of three Lower Silesian cities of different size classes (Wroclaw, Jelenia Gora, Strzelin) show how before World War II the development from ‘the store cinema [or the kintopp] to the cinema palace’ proceeded. Attention is also drawn to the issue of the destruction of cinematic infrastructure and its post-war reconstruction. In 1958 the press commented that ‘if someone produced a map with the towns marked in which cinemas were located, the number would increase as one moved westwards’. This was due to Polish (post-war) and German (pre-war) cinema building. The discussion closes with a description of the Internet Historical Database of Cinemas in Lower Silesia, which collects data on cinemas that once operated or are now operating in the region.The highest level of cinema attendance in Lower Silesia after World War II was recorded in 1957. It was higher than before the war and lower than during the war. In the years that followed it steadily declined, influenced by global processes, especially the popularity of television. This leads us to reflect on the continuity of historical and film processes, and to look at the period from the 1920s to the 1960s as the ‘classical’ period in the history of cinema, when it was the main branch of mass entertainment. The examples of three Lower Silesian cities of different size classes (Wroclaw, Jelenia Gora, Strzelin) show how before World War II the development from ‘the store cinema [or the kintopp] to the cinema palace’ proceeded. Attention is also drawn to the issue of the destruction of cinematic infrastructure and its post-war reconstruction. In 1958 the press commented that ‘if someone produced a map with the towns marked in which cinemas were located, the number would increase as one moved westwards’. This was due to Polish (post-war) and German (pre-war) cinema building. The discussion closes with a description of the Internet Historical Database of Cinemas in Lower Silesia, which collects data on cinemas that once operated or are now operating in the region