Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Telewizja interaktywna w Polsce (na przykładzie kanału aMazing Multimedia Polska)
Get PDFThe article is an attempt to describe the essence of interactive television based on the example of aMazingTV – the first interactive channel in Poland, established by Multimedia Polska in September 2009. The author presents the development of interactivity in life, art and media and reflects on the future of one of the most important features of the so-called new media.
The article is an attempt to describe the essence of interactive television based on the example of aMazingTV – the first interactive channel in Poland, established by Multimedia Polska in September 2009. The author presents the development of interactivity in life, art and media and reflects on the future of one of the most important features of the so-called new media.
 
Na białym szlaku. Zapomniany film o wojnie
Get PDFHendrykowski Marek, Na białym szlaku. Zapomniany film o wojnie [“On the White Trails”: a forgotten film about the war]. „Images” vol. XXVI, no 35. Poznań 2019. Adam Mickiewicz University Press. Pp. 103–115. ISSN 1731-450X. DOI 10.14746/i.2019.35.05.
The article is an analytical and interpretative study of behind-the-scenes aspects and the poetics of a little-known feature film titled On the White Trails, directed by Jarosław Brzozowski and Andrzej Wróbel.Hendrykowski Marek, Na białym szlaku. Zapomniany film o wojnie [“On the White Trails”: a forgotten film about the war]. „Images” vol. XXVI, no 35. Poznań 2019. Adam Mickiewicz University Press. Pp. 103–115. ISSN 1731-450X. DOI 10.14746/i.2019.35.05.
The article is an analytical and interpretative study of behind-the-scenes aspects and the poetics of a little-known feature film titled On the White Trails, directed by Jarosław Brzozowski and Andrzej Wróbel
Functions of film images of Warsaw in the Polish cinema of the 1960s
Get PDFPolish cinema of the 1960s presented a specific vision of Warsaw, different from earlier and later ones, although it contained some solid motifs for the entire PRL era. These include emphasizing the uniqueness of Warsaw, the war past as an inseparable part of the city’s identity (though in the 1960s with a slightly different meaning) or the problem of getting a flat. The separateness and specificity of the then created images of the capital was related to the political specificity of the decade, the cultural and social moment of Warsaw development, the domination of realism that made the message authentic and genological issues – the main role in creating the image of the city was played by comedy. These images, however, were sometimes surprisingly subversive, breaking the dominant image
Image of the city and modern architecture in the Polish feature films of the 1960s’
Get PDFThis article focuses on the inter-dependencies between the film image and architecture. The author has attempted to define what sort of historical background preconditions the film image to gain the status of a source for research on the history of Polish urban planning and post-war architecture, with particular emphasis placed on the 1960s
“The Intensity of Looking” at Karabasz, 2018
Get PDFThe origins of particular documentary films are sometimes difficult to determine, precisely locate and capture in time and space. It is like searching for the source of a river. What marked the beginning of Intensity of Looking, a film about the great documentary film director Kazimierz Karabasz? The beginning of a documentary film’s creation determines the artistic process and elements that shape its strength, energy and main thought. These elements, which sometimes verge on intuition, guide this process, shaping the subject of the film, as well as its meaning, climate and aura. There is a thread connecting the author and the protagonist of the film, something that binds them together during work on the film, and sometimes lasts much longer. The three variants of what initiates the process of making a particular documentary film are as follows. The first is an encounter with a person who could be a character in a documentary film. The second is a thought, idea or problem that a filmmaker wants to address and discuss in a documentary by means of a certain character and story. The third is a return to a character who had been portrayed in a previous documentary film, to tell more about him or her. All three of these variants were the case in the making of Andrzej Sapija’s Intensity of Looking
“Ledwosz, where is the key?”, or people and animals in Iwona Siekierzyńska’s short student film “Missy”
Get PDFIwona Siekierzyńska school film Missy takes up the theme of a girl’s unfulfilled love for a priest. Her dog named Ledwosz not only accompanies her in the experience of encountering the man in cassock, while his anointing of a sick neighbor, but also triggers the situation that caused her infatuation. This brief and accidental contact with the priest turns out to be a breakthrough experience for the teenage girl looking for love and attention. It means her entering the adult world in which it is easy to miss a crucial moment, or hurt somebody’s feelings quite unconsciously. The young girl’s experience of the brief encounter will remain in her forever. The relation between the female character and her dog from the short film was the inspiration to consider the similarities between Missy and Three Colors: Red, by Krzysztof Kieślowski, who was the artistic supervisor of Siekierzyńska’s film. In both films it is a dog that initiates the process resulting in metaphysical experience for the main characters
Rhetoric of the image of architecture
Get PDFBased on the example of one of the newsreels of the Polish Film Chronicle of 1965, we have researched the issue of the usability of rhetorical figures for the analysis of the image of architecture recorded in film and its relations with the verbal rhetoric of narration as well as the pictorial rhetoric, which makes up the message of a different nature. By this we have attempted to decode the lifestyle model presented in the film and propagated by its manner of description of architecture with the use of rhetorical figures and also to decode the role and meaning of the architectural forms, which were engaged in the creation of the message of the film image. Combining the rhetorical analysis with an interpretation of the architectural forms has enabled us to identify the persuasive nature of the message of the chronicle material included in the documentary film
Modernity and existence from a semiotic angle. The Voyeurism of the City in Struktura kryształu (1969), a film directed by Krzysztof Zanussi
Get PDFKrzysztof Zanussi’s Struktura kryształu [The Structure of Crystals] is a film not only semiotically but also mythologically rich, in the context of myths as understood and proposed by Roland Barthes. The article explores the binary nature of the film’s symbolic layer, built upon the two distinct life realities: the metropolitan vs the rural, the prestige of an academic career vs the simplicity of a family life that the main characters chose for themselves
Inflancka Travelogue: 10 Short Essays on “Decalogue”
Get PDFKieślowski scholar Joseph G. Kickasola documents his efforts to find and explore the Warsaw apartment complex where Krzysztof Kieślowski filmed his Decalogue series. His startling, unexpectedly emotional experience at such an ordinary place becomes an opportunity to reflect on the films, theorize on the function of place in them, and consider the way that human life and cinema feed into each other. Fictional stories and their cinematic constructions can deepen our experience, and make the world feel more lived in, more true. Nothing magical happened, but everything ordinary happened in all its fullness, like a kind of prophecy, fulfilled