Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Echa "Idź i patrz" Elema Klimowa w dwóch polskich filmach antywojennych – "Mieście 44" Jana Komasy oraz "Wołyniu" Wojciecha Smarzowskiego
Get PDFThe subject of interest in this text are the relations between the famous Elem Klimow’s Come and See and two Polish movies made in the second decade of the 21st century – Jan Komasa’s Warsaw 44 and Wojciech Smarzowski’s Wołyń. These relations are considered at the genetic level, the level of historical references, the genological level and the plane of audiovisual material created in films. The analysis leads to the conclusion that genological issues play the most important role in building these relationships, among them the shape of the main character’s figure.The text can be treated as a contribution to reflection on the genre distinctiveness of the anti-war film.The subject of interest in this text are the relations between the famous Elem Klimow’s Come and See and two Polish movies made in the second decade of the 21st century – Jan Komasa’s Warsaw 44 and Wojciech Smarzowski’s Wołyń. These relations are considered at the genetic level, the level of historical references, the genological level and the plane of audiovisual material created in films. The analysis leads to the conclusion that genological issues play the most important role in building these relationships, among them the shape of the main character’s figure.The text can be treated as a contribution to reflection on the genre distinctiveness of the anti-war film
Aktualizacja, fragmentaryzacja, trwanie – próba opisu perspektyw czasowych współczesnego dokumentu
No full textThe article describes certain changes that have taken place over the last several years in the temporal perspective found in documentary films. Humanity’s current technological and media environment are influencing the documentary’s content and means of expression. They express a “universal present”, as Mirosław Przylipiak has pointed out, under the influence of television, and the former dominance of statements addressed to the camera gave way to looks into the past. At present, the documentary is once again shifting its orientation toward a strictly defined and changing form of the present. Time in the temporally non-linear works commonly found among contemporary documentaries has become fragmented and individualized. There is also a tendency in non-fiction works to strive for immersion – focusing on the experience of time rather than the telling of a story.The article describes certain changes that have taken place over the last several years in the temporal perspective found in documentary films. Humanity’s current technological and media environment are influencing the documentary’s content and means of expression. They express a “universal present”, as Mirosław Przylipiak has pointed out, under the influence of television, and the former dominance of statements addressed to the camera gave way to looks into the past. At present, the documentary is once again shifting its orientation toward a strictly defined and changing form of the present. Time in the temporally non-linear works commonly found among contemporary documentaries has become fragmented and individualized. There is also a tendency in non-fiction works to strive for immersion – focusing on the experience of time rather than the telling of a story
Dokument a fabuła – refleksje, doświadczenia i metody pracy autora zdjęć filmowych
Get PDFAs the very title of Wojciech Staroń, a cinematographer and film director’s text “Documentary versusfiction – reflections, experiences and work methods of a director of photography” indicates, it is an attempt to analyse his own artistic achievements combined with a theoretical reflection on universal and fundamental issues such as understanding the truth in film, in reference to the distinction between the genres of fiction and documentary, or mentioned towards the end of the text, an issue of constructing a film protagonist and film narration in which the protagonist functions and is immersed. All these issues are analysed in a visual context, in reference to the construction of a film shot – the meaning of its contents and form and their combination which will present the subject matter in a few seconds of screen time. The films being analyzed among others are: Pod ochroną, Nagroda and Argentyńska lekcja (Argentinian Lesson).As the very title of Wojciech Staroń, a cinematographer and film director’s text “Documentary versusfiction – reflections, experiences and work methods of a director of photography” indicates, it is an attempt to analyse his own artistic achievements combined with a theoretical reflection on universal and fundamental issues such as understanding the truth in film, in reference to the distinction between the genres of fiction and documentary, or mentioned towards the end of the text, an issue of constructing a film protagonist and film narration in which the protagonist functions and is immersed. All these issues are analysed in a visual context, in reference to the construction of a film shot – the meaning of its contents and form and their combination which will present the subject matter in a few seconds of screen time. The films being analyzed among others are: Pod ochroną, Nagroda and Argentyńska lekcja (Argentinian Lesson)
Zelig jako docufiction
No full textThis close-reading analysis and interpretation examines the original form of Woody Allen’s masterpiece Zelig (1983). The author combines a film studies approach with an investigation of epistemological and semiotic reflections on moving images. The author emphasises that more than three decades ago Allen gave to a wide audience a critical, sceptical and ironic vision of the “documentary” (esp. regarding the “truth”) status of moving pictures. This study also introduces also important terminological distinction between “mockumentary” (“fake-documentary”) and a contrasting category, that is, “documentary fiction” (also called “docufiction”), giving an instructive and precise definition of both.This close-reading analysis and interpretation examines the original form of Woody Allen’s masterpiece Zelig (1983). The author combines a film studies approach with an investigation of epistemological and semiotic reflections on moving images. The author emphasises that more than three decades ago Allen gave to a wide audience a critical, sceptical and ironic vision of the “documentary” (esp. regarding the “truth”) status of moving pictures. This study also introduces also important terminological distinction between “mockumentary” (“fake-documentary”) and a contrasting category, that is, “documentary fiction” (also called “docufiction”), giving an instructive and precise definition of both
Interactivity as a key feature redefining documentary reality
No full textFinding a clear-cut boundary delimiting fiction from documentary has always been a controversial, daunting and unthankful undertaking. In the last decade, the blur between the two genres has been reinforced by the rapid advancement of web and AR/VR technologies. Interactive web-documentaries and virtual reality documentaries do not only promote new viewing habits – from swiping smartphone screens to scanning horizons with VR headsets, they shake up the very idea of what a documentary is. In this short scholarly essay, I argue that the feature of interactivity is the driving force redefining the documentary genre. This thesis builds on two case studies: 1) Interactive documentary Atterwasch and 2) VR documentary The Unknown Photographer. In the final section of the essay I revisit the definition of documentary reality and expand it with the addition of André Bazin’s notion of mise en scène
O właściwościach narracji filmowej
Get PDFThe aim of the article is to present a synthetic conception of film narrative both in the theoretical and practical context. The author considers the subject in terms of film theory and history. He also examines features of film narrative by using both the synchronous and diachronic method.The aim of the article is to present a synthetic conception of film narrative both in the theoretical and practical context. The author considers the subject in terms of film theory and history. He also examines features of film narrative by using both the synchronous and diachronic method
Kolegium Filmowe 2014–2015: TVP w służbie kinematografii
Get PDFThe article discusses the functioning of the Film Council during its activity in Telewizja Polska in 2014–2015. In less than two years the Council consisting of over a dozen members from several TVP’s departments recommended almost forty coproductions for feature films, regulated procedures for the endorsement of coproduction agreements and aimed to develop TVP’s influence in the process of film promotion and distribution. According to Polish film law, the Council’s job was to stimulate the development of the Polish cinema.The article discusses the functioning of the Film Council during its activity in Telewizja Polska in 2014–2015. In less than two years the Council consisting of over a dozen members from several TVP’s departments recommended almost forty coproductions for feature films, regulated procedures for the endorsement of coproduction agreements and aimed to develop TVP’s influence in the process of film promotion and distribution. According to Polish film law, the Council’s job was to stimulate the development of the Polish cinema
The trouble of gender sin in post-Yugoslav film – in the name of the father
Get PDFPost-Yugoslav film art is, similarly to Yugoslav cinema, exemplary of masculine cultural domination, approaching socio-national themes in a highly gendered mode and reflecting a return to patriarchy, more brutal than that during the existence of Yugoslavia. A new generation of cinéasts explores, with a backlash mixture of contempt and compassion, the themes of violence, displaying a new assault on female emancipation, which seemed to be in line with the socio-political context of rising nationalist movements that led to the bloody events of the Yugoslav war in 1991. The female character is re-located to a place traditionally assigned to women not as the subject of narrative or discourse, but as the object of love and/or hatred by a masculine subject. The films chosen to be analysed here are full-length auteur feature films – Virgina, Grbavica, Djeca, Bure baruta, with a specific focus on the work by Danis Tanović – are not representative of post-Yugoslav cinema, but as rare exceptions demonstrate that, contrary to the dominant post-Yugoslav public opinion, both the Yugoslav wars and post-war traumatic realities remain cinematically unexplored
Filmowiec nie może działać wyłącznie lokalnie. Z Krzysztofem Zanussim o współpracy z kinematografią niemiecką rozmawia Ewa Ciszewska
Get PDFThe paper presents an interview with Krzysztof Zanussi (born 17 June 1939), one of the most renowned award-winning Polish film directors. Some of his numerous films for television and cinema have been made in co-operation with German producers, including Manfred Durniok. His film Roads in the Night (Wege in der Nacht, 1979) was presented in 1980 in Cannes as part of the section “Un certain regard”. In Germany, Zanussi filmed not only some of his own screenplays, such as Imperative (Imperativ, 1982 – Special Jury Prize at the Venice International Film Festival in 1982), but also adaptations of Polish and German literature, for example House of Women (Haus der Frauen, 1977) based on a play by Zofia Nałkowska and Bluebeard (Blaubart, 1983) based on a novel by Max Frisch. In addition to those productions, he concurrently made films in Poland. Director of the TOR Film Studio since 1979. He produced films by such directors as Krzysztof Kieślowski and Agnieszka Holland. He currently works on a feature film entitled Ether.The paper presents an interview with Krzysztof Zanussi (born 17 June 1939), one of the most renowned award-winning Polish film directors. Some of his numerous films for television and cinema have been made in co-operation with German producers, including Manfred Durniok. His film Roads in the Night (Wege in der Nacht, 1979) was presented in 1980 in Cannes as part of the section “Un certain regard”. In Germany, Zanussi filmed not only some of his own screenplays, such as Imperative (Imperativ, 1982 – Special Jury Prize at the Venice International Film Festival in 1982), but also adaptations of Polish and German literature, for example House of Women (Haus der Frauen, 1977) based on a play by Zofia Nałkowska and Bluebeard (Blaubart, 1983) based on a novel by Max Frisch. In addition to those productions, he concurrently made films in Poland. Director of the TOR Film Studio since 1979. He produced films by such directors as Krzysztof Kieślowski and Agnieszka Holland. He currently works on a feature film entitled Ether