Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Dokumentarzyści i krytyk. Zygmunt Kałużyński a dokumentaliści „nowej zmiany”
No full textThe article offers the analysis of how Zygmunt Kałużyński, the film critic of Polityka weekly magazine, described and stigmatized documentary films by Krzysztof Kieślowski, Tomasz Zygadło, Grzegorz Królikiewicz and Krzysztof Gradowski presented at the Cracow short film festival in 1971. Kałużyński criticized and mocked the aesthetics of the Polish “new wave” documentary cinema in a series of articles published in Spring and Summer of 1971. He presented films by brave and talented directors, contradicting the current social and political situation, as the unreflective imitation of the banal television documentary style based on in-front-of-the-camera interviews. The author compares Kałużyński’s proceedings to actions of a British journalist Robert Pitmann described by Tadeusz Różewicz in his essay A Journalist and the Poet. Pitmann conducted a sneering interview with T.S. Eliot for Sunday Express in 1958 and Różewicz comments on the possible effects of his text for its readers.The article offers the analysis of how Zygmunt Kałużyński, the film critic of Polityka weekly magazine, described and stigmatized documentary films by Krzysztof Kieślowski, Tomasz Zygadło, Grzegorz Królikiewicz and Krzysztof Gradowski presented at the Cracow short film festival in 1971. Kałużyński criticized and mocked the aesthetics of the Polish “new wave” documentary cinema in a series of articles published in Spring and Summer of 1971. He presented films by brave and talented directors, contradicting the current social and political situation, as the unreflective imitation of the banal television documentary style based on in-front-of-the-camera interviews. The author compares Kałużyński’s proceedings to actions of a British journalist Robert Pitmann described by Tadeusz Różewicz in his essay A Journalist and the Poet. Pitmann conducted a sneering interview with T.S. Eliot for Sunday Express in 1958 and Różewicz comments on the possible effects of his text for its readers
Pierwsza ekranizacja Pana Twardowskiego
No full textThe article discusses the oldest recorded film adaptation of the legend of Pan Twardowski, found in the archives of the George Eastman House in Rochester, New York. The two-part feature film was filmed in Russia between 1916 and 1917, and its creator was the famed Polish filmmaker Władysław Starewicz.The article discusses the oldest recorded film adaptation of the legend of Pan Twardowski, found in the archives of the George Eastman House in Rochester, New York. The two-part feature film was filmed in Russia between 1916 and 1917, and its creator was the famed Polish filmmaker Władysław Starewicz
Witkacy, Cocteau i inni. Amatorskie filmy Augusta Zamoyskiego
No full textThe article analyses the contents of a collection of more than one hundred amateur films made by the famed Polish sculptor August Zamoyski. This unique collection of 9.5 mm films of great archival value was recently transferred to Poland and is now held by the National Audiovisual Institute.The article analyses the contents of a collection of more than one hundred amateur films made by the famed Polish sculptor August Zamoyski. This unique collection of 9.5 mm films of great archival value was recently transferred to Poland and is now held by the National Audiovisual Institute
Wygnanie ocalonych. Doświadczenie emigracji pomarcowej w filmach Mariana Marzyńskiego i Leszka Leo Kantora
No full textAutobiographical threads occupy an important place in films of Marian Marzyński and Leszek Leo Kantor. Interesting is the convergence of life experiences common to both authors. We can indicate a lot of parallelisms in biographies of both directors. Certainly, the most important analogy is the fact that both of them survived the Holocaust as children. Common to both artists is also experience of anti-Semitic campaign of March 1968, as a result of which they were forced to emigrate from Poland. The objective of this article is to demonstrate how this personal experience of exile resonates in their work.Autobiographical threads occupy an important place in films of Marian Marzyński and Leszek Leo Kantor. Interesting is the convergence of life experiences common to both authors. We can indicate a lot of parallelisms in biographies of both directors. Certainly, the most important analogy is the fact that both of them survived the Holocaust as children. Common to both artists is also experience of anti-Semitic campaign of March 1968, as a result of which they were forced to emigrate from Poland. The objective of this article is to demonstrate how this personal experience of exile resonates in their work
Muzyczny eklektyzm w trzech etiudach Romana Polańskiego. Rozbijemy zabawę, Lampa i Gdy spadają anioły
Get PDFAuthor of the article, juxtaposing together three studies school of Roman Polanski, discusses the functions of music used in each of them. Due to the fact that the entire work the author of the Pianist’s is characterized by musical eclecticism – which is the main thesis of the article – it is proposed to look at the film music of early Polanski films, and to try to find a specific lineage of this eclecticism. Break Up the Dance, Lamp and When Angels Fall titles, which in the light filmic and musicological investigations differ from each other. Do not change the fact that each of these works “signs” that the director – the creator of not only the visual layer, but also (not forgetting the work of the composer) sound. In his early work Roman Polanski begins to create a kind of “range of methods” in relation to functions of music in the work of the film. The article is an attempt to systematize them and to find the film and the music key.Author of the article, juxtaposing together three studies school of Roman Polanski, discusses the functions of music used in each of them. Due to the fact that the entire work the author of the Pianist’s is characterized by musical eclecticism – which is the main thesis of the article – it is proposed to look at the film music of early Polanski films, and to try to find a specific lineage of this eclecticism. Break Up the Dance, Lamp and When Angels Fall titles, which in the light filmic and musicological investigations differ from each other. Do not change the fact that each of these works “signs” that the director – the creator of not only the visual layer, but also (not forgetting the work of the composer) sound. In his early work Roman Polanski begins to create a kind of “range of methods” in relation to functions of music in the work of the film. The article is an attempt to systematize them and to find the film and the music key
Etiudy animowane Grzegorza Wacławka
No full textThe author considers in the paper three animated etudes made by Grzegorz Wacławek in Film School in Łódź. Films entitled Gleam, Scrap and Lost share many common features: creation of the hero’s outer world, extensive use of symbolism and condensation of events centered around one or two heroes. Particularly interesting mean used by Wacławek in endings of the films is the transformation of the presented world that can be named a scale change. Also on this basis director’s animations are metaphorically interpreted, showing their existential meaning, close to the tradition of Polish Animation School.The author considers in the paper three animated etudes made by Grzegorz Wacławek in Film School in Łódź. Films entitled Gleam, Scrap and Lost share many common features: creation of the hero’s outer world, extensive use of symbolism and condensation of events centered around one or two heroes. Particularly interesting mean used by Wacławek in endings of the films is the transformation of the presented world that can be named a scale change. Also on this basis director’s animations are metaphorically interpreted, showing their existential meaning, close to the tradition of Polish Animation School
W sprawie cyfrowej historii polskiego kina
No full textDigital cinema history should support the conduct of free research, encourage authors to share the results of their findings and source discoveries. The problem is that Polish digital history of cinema, on one hand, is very poor (still a small part of sources and theoretical, historical and critical scientific achievements is available on-line), on the other hand, what has already appeared, is not representative because it omits largely the work of film studying authorities. For example, on the Internet you can find the views of researchers of the younger generation about the cultural history of the cinema in Polish context, including criticism of thesis described by scientific tycoons, but these are the texts that can be read only in paper publications. It begins to be, by the scientific standards, strange, because in the history of digital cinema leading roles are played by the young researchers, but without a clash of views with the authorities. The fact that on the net there are no statements concerning the scientific research given by the greatest experts of Polish cinema, who do not want to turn into a discussion with the young ones, causes the situation in which data to the history of Polish cinema digitally available are (so far) not always satisfying either as the aspect of cognition or the source.
Digita l cinema history should support the conduct of free research, encourage authors to share the results of their findings and source discoveries. The problem is that Polish digital history of cinema on one hand is very poor (still a small part of sources and theoretical, historical and critical scientifi cachievements is available on-line), on the other hand, what has already appeared, is not representative because it omits largely the work of film studying authorities. For example, on the Internet you can find the views of researchers of the younger generation about the cultural history of the cinema in Polish context, including criticism of thesis described by scientifictycoons, but these are the texts that can be read only in paper publications. It begins to be, by the scientific standards, strange, because in the history of digital cinema leading roles are played by the young researchers, but without a clash of views with the authorities. The fact that on the net there are no statements concerning the scientifi cresearch given by the greatest experts of Polish cinema, who do not want to turn into a discussion with the young ones, causes the situation in which data to the history of Polish cinema digitally available are (so far) not always satisfying either as the aspect of cognition or the source.
 
Filmowcy amatorzy w Polsce przed rokiem 1939
No full textThe article is devoted to the activities of Polish amateur filmmakers from the turn of the 19th and 20th centuries to 1939. The development of amateur filmmaking was closely tied to advancements in the production of cameras and film. The first attempts to create an organized amateur filmmaking movement were made in the 1930s, when clubs and associations began to be formed. During this period, Polish amateur filmmakers had their first successes at European and international film festivals and events. The author discusses the most valuable extant pre-war amateur documentaries, and follows the discovery of new films dating back to before 1939. She also relates the “second life” of the oldest amateur films, which have been incorporated into contemporary documentaries.The article is devoted to the activities of Polish amateur filmmakers from the turn of the 19th and 20th centuries to 1939. The development of amateur filmmaking was closely tied to advancements in the production of cameras and film. The first attempts to create an organized amateur filmmaking movement were made in the 1930s, when clubs and associations began to be formed. During this period, Polish amateur filmmakers had their first successes at European and international film festivals and events. The author discusses the most valuable extant pre-war amateur documentaries, and follows the discovery of new films dating back to before 1939. She also relates the “second life” of the oldest amateur films, which have been incorporated into contemporary documentaries
Wyprawa do krainy prawdopodobieństwa – o dokumentach animowanych Marcina Podolca
No full textThe article analyses two student short films by Marcin Podolec, Dokument and Olbrzym, which represent the animated documentary genre. In her analysis and interpretation of films, the author uses Annabelle Honess Roe’s methodology to research this phenomenon. She expands the definition of the animated documentary base on Roe’s work.The article analyses two student short films by Marcin Podolec, Dokument and Olbrzym, which represent the animated documentary genre. In her analysis and interpretation of films, the author uses Annabelle Honess Roe’s methodology to research this phenomenon. She expands the definition of the animated documentary base on Roe’s work
„Ci, co pomarli, widzą nas, widzą nasze grzechy i nasze cierpienia”, czyli o Głosie z tamtego świata Stanisława Różewicza
No full textStanisław Różewicz’s The voice from the other world is one of these masterpieces od polish cinematography, which draws inspiration from the authentic case: two fraudsters impersonate a doctor and quack medium. But at the same time Różewicz’s movie has become an artistic event showing the drama of frauders’ victims – people struggling with pain, loneliness and lack of hope. Formation of concept of The voice from the other world and the analysis of its following realization’s stages are the attempt to describe the essence of Stanisław Różewicz’s unique style and his sensitivity as a director.Stanisław Różewicz’s The voice from the other world is one of these masterpieces od polish cinematography, which draws inspiration from the authentic case: two fraudsters impersonate a doctor and quack medium. But at the same time Różewicz’s movie has become an artistic event showing the drama of frauders’ victims – people struggling with pain, loneliness and lack of hope. Formation of concept of The voice from the other world and the analysis of its following realization’s stages are the attempt to describe the essence of Stanisław Różewicz’s unique style and his sensitivity as a director