Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Poetycki realizm dziecięcego świata, czyli małe tragedie w szkolnych etiudach Doroty Kędzierzawskiej
No full textA consistent style in Dorota Kędzierzawska’s films has been clearly visible since her university works, which were influenced by cinematic Polish tendencies from the 1970s and 1980s. The director was interested in making deep insights into the child’s world and taking the perpective of her main characters. The spirit of the visual element does not minimalise the realism of the filmed world. What is more, the limited role of speaking allows cinematic techniques of expression to develop. Kędzierzawska has always been fascinated by young people and their problems and life experiences.A consistent style in Dorota Kędzierzawska’s films has been clearly visible since her university works, which were influenced by cinematic Polish tendencies from the 1970s and 1980s. The director was interested in making deep insights into the child’s world and taking the perpective of her main characters. The spirit of the visual element does not minimalise the realism of the filmed world. What is more, the limited role of speaking allows cinematic techniques of expression to develop. Kędzierzawska has always been fascinated by young people and their problems and life experiences
Barbara Hammer’s History Lessons as a documentary utopia
No full textThis article is devoted to the third part of Barbara Hammer’s documentary trilogy, History Lessons. The author analyzes and interprets the form and message of this post-queer essay, with the aim of describing its formula in relation to the mockumentary and found-footage film conventions. She goes back to the pioneer of found footage in the history of world cinema, Esfir Shub, and the position of women in production culture. She refers to Hammer’s debut film, Dyketactics (1974), to describe Hammer’s artistic and political tactic, consisting of intercepting images of women, rooted in visual history, and the subversive quotation of these images against the idea and context of the original. Dyketactics in History Lessons is about quoting archival materials from the genres of documentary, popular science and pornography with the aim of writing the history of the lives of lesbians in the US from the period before the Stonewall riots, where there is very little coverage of the story. The falsifying of archival materials through the editing manipulation of imagery and sound paradoxically uncovers not so much the truth about the lives of lesbians, as what seems to be hidden in images created with a completely different aim than telling the herstory of American women of various orientations and races
Kino obecności – analiza relacji między dokumentem a performance’em na wybranych przykładach
No full textIn my article, I examine the relationship between the documentary and performance. I focus special attention on Maciej Sobieszczański and Łukasz Ronduda’s film The Performer, which blurs the boundaries between film genres. Oskar Dawicki is a performer, and the protagonist of both a creative documentary and a feature film – this balancing on the borders of film genres and art is the focus of my reflections. The film’s authors took inspiration from the creative documentaries of Wojciech Wiszniewski and the plots of Grzegorz Królikiewicz, in which characters play themselves – in both cases, creative elements reveal the truth about each character. The most important aspect to me is the presence of the performer, which determines the form of the film and its reception. In my article I follow several themes which are key for understanding The Performer, among them the motif of disappearance and the relationship between the master and the disciple. I also deal with the problem of documenting performances – using the example of The Performer and the recording of Marina Abramović’s activities (Seven Easy Pieces by Marina Abramović, 2007). I also refer to the documentary film on Marina Abramović, The Artist Is Present, in which the performances recorded from 2010 go beyond the documentary formula.In my article, I examine the relationship between the documentary and performance. I focus special attention on Maciej Sobieszczański and Łukasz Ronduda’s film The Performer, which blurs the boundaries between film genres. Oskar Dawicki is a performer, and the protagonist of both a creative documentary and a feature film – this balancing on the borders of film genres and art is the focus of my reflections. The film’s authors took inspiration from the creative documentaries of Wojciech Wiszniewski and the plots of Grzegorz Królikiewicz, in which characters play themselves – in both cases, creative elements reveal the truth about each character. The most important aspect to me is the presence of the performer, which determines the form of the film and its reception. In my article I follow several themes which are key for understanding The Performer, among them the motif of disappearance and the relationship between the master and the disciple. I also deal with the problem of documenting performances – using the example of The Performer and the recording of Marina Abramović’s activities (Seven Easy Pieces by Marina Abramović, 2007). I also refer to the documentary film on Marina Abramović, The Artist Is Present, in which the performances recorded from 2010 go beyond the documentary formula
Fakes of reality. Do we really need the paradigm of the documentary? From the ontology to the epistemology of movie images, i.e. there and back again
No full textThe starting point for this paper is the statement that we are witnessing a “mock-documentary boom” in contemporary cinema. Viewers today can be surprised and confused by the variety of “intercrossings” that are used in documentary and fictional strategies. The fact that there has been a growing number of films that do not respect the traditional division between fictional and non-functional cinema deserves deeper consideration. The introduction of the paper is focused on historical sources and classifications of this complex phenomenon (for example: the brothers Lumière tradition contrasts with that of Méliès). The main body of the paper is concentrated on the question of what cinema can offer in lieu of a documentary paradigm. It also tries to explore ontological and epistemological perspectives which can clarify some of the reasons for the popularity of mock-documentary and docufiction productions. It ends with a suggestion that the cinema is a domain of fakes of reality regardless of whether fictional or non-fictional narration is used to tell their stories.
Early 21st-century Serbian exploitation cinema
Get PDFExploitation films are one of the main trends of the Serbian cinema of the beginning of the 21st century, when Serbia enters the second phase of systemic transformation, striving to neutralize the effects of the crisis in the first phase of transformation – towards the end of the 20th century – due to the authoritarian policy of Slobodan Milošević and Yugoslav wars. This non-film context allows better understanding of the phenomenon of these films, which in many respects are a continuation of the cinema of self-balkanization cultivated in the 1990s, and at the same time differ from it, because they do not offer a compromise with difficult transformational reality, but express the need to release the social trauma born of experience of political violence in the Milošević era
Film (de)construction of national identity. The case of Serbian films from the 1990s
Get PDFThe article deals with the relation between films and the concept of the national identity. These issues are discussed on the example of Serbian cinema in the 1990s. Using Anthony Smith’s approach to the visual representation of national identity, the ways in which films in Serbia construct national identity is discussed. After that, several films are analyzed that critically question the concept of nationalism. This analysis demonstrates how ideology, in this particular case, nationalistic ideology, at the semantic level can be related to films, one of the most influential segments of popular culture.The article deals with the relation between films and the concept of the national identity. These issues are discussed on the example of Serbian cinema in the 1990s. Using Anthony Smith’s approach to the visual representation of national identity, the ways in which films in Serbia construct national identity is discussed. After that, several films are analyzed that critically question the concept of nationalism. This analysis demonstrates how ideology, in this particular case, nationalistic ideology, at the semantic level can be related to films, one of the most influential segments of popular culture
The cinematographic representation of social frames
Get PDFThe author of the essay titled «The Cinematographic Representation of Social Frames» analyzes images in the context of representing physical and ontological aspects of reality. He considers Albanian Communist Cinema (1952–1991) taking into consideration the viewer’s perspective in which cinema is treated as a metaphorical place when people learn to read images and can think through images. The author also focuses on following issues: processes of individualization, representation and the problematisation of subjectivity
Poetyka grozy. Wykorzystanie konwencji gatunkowej horroru w grach cyfrowych
Get PDFThe aim of the article is to illustrate the using of the horror’s convention in video games and to indicate the way of reinterpretation this convention in the digital medium. In the first part of the work the author presents ways of spaces’ arrangement in survival horror. The analysis of mise-en-scene, including non-interactive cut-scenes, revealed in which ways video games refer to the film genres. In the second part of the work the author analyzes the category of the suspense in the digital medium, taking audial and visual aspects of video game into consideration.The aim of the article is to illustrate the using of the horror’s convention in video games and to indicate the way of reinterpretation this convention in the digital medium. In the first part of the work the author presents ways of spaces’ arrangement in survival horror. The analysis of mise-en-scene, including non-interactive cut-scenes, revealed in which ways video games refer to the film genres. In the second part of the work the author analyzes the category of the suspense in the digital medium, taking audial and visual aspects of video game into consideration
Localised dystopia in Croatian and Serbian cinema
Get PDFGenre production is often easily localised in various cultures, but localisations of science fiction seem particularly interesting, due to the technological sources of the genre imagery and typical narrative structures. Localisation to a less technologically-oriented society, such as post-yugoslav Croatia and Serbia, are a very good example, since in such films as The Show Must Go On (by Nevio Marasović) and Technotise – Edit & I (by Aleksa Gajić and Nebojša Andrić) allegorical science fiction deals directly with local problems and narrations, such as Croatia’s obsession with modernisation and Western-European identity (in Marasović’s film) and Serbia’s traumatic relation with Slobodan Milošević’s regime and national pride (in Gajić’s and Andrić’s animated feature film). The experimental concept of Unknown Energies, Unidentified Feelings (by Dalibor Barić and Tomislav Babić) provides another model of dealing with genre structures in a local context, since it directly develops the early-1970s model of connecting experimental cinema with the technological obsessions of the era (important for entire Yugoslavia through the GEFF festival) into a contemporary experimental animated dystopia