Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Filmowa Łódź Jadwigi Andrzejewskiej
No full textBefore WWII, Jadwiga Andrzejewska 1915–1977) was among the most popular actresses in Polish cinema. During WWII she acted in the Dramatic Theatre of the Polish Second Corps. Returning to her hometown Łódź in 1947 Andrzejewska was initially perceived by the Polish authorities as politically uncertain. Her notable theatrical roles included the heroine in A Woman of Wonder and the heroine in Mother Courage and Her Children. Although she lived in Łódź – a capital of Polish cinema – her film career languished after the war. She had bit parts in about thirty feature films (among them television films). Her biggest and most notable post-war role was in a political propaganda film produced for television, And if Will be Autumn…Before WWII, Jadwiga Andrzejewska 1915–1977) was among the most popular actresses in Polish cinema. During WWII she acted in the Dramatic Theatre of the Polish Second Corps. Returning to her hometown Łódź in 1947 Andrzejewska was initially perceived by the Polish authorities as politically uncertain. Her notable theatrical roles included the heroine in A Woman of Wonder and the heroine in Mother Courage and Her Children. Although she lived in Łódź – a capital of Polish cinema – her film career languished after the war. She had bit parts in about thirty feature films (among them television films). Her biggest and most notable post-war role was in a political propaganda film produced for television, And if Will be Autumn
W cieniu mistrza. O etiudzie Stanisława Latałły Święta rodzina
No full textThe text contains an analysis of Stanisław Latałło’s short film The Holy Family, shot at the ŁódźFilm School in the autumn of 1969. The author reconstructs the parabolic structure of this work and reveals the historical context of its realization, tied to the events of March 1968.The text contains an analysis of Stanisław Latałło’s short film The Holy Family, shot at the ŁódźFilm School in the autumn of 1969. The author reconstructs the parabolic structure of this work and reveals the historical context of its realization, tied to the events of March 1968
Gdzie jest nasz dom? Historia pewnego filmu
No full textThe article tells the story of the making of a little-known Polish documentary shot in 1944 and 1945. The film depicts the fate of a group of children from Warsaw who were at a summer camp in Stoczek Lukowski when the Warsaw Uprising began.The article tells the story of the making of a little-known Polish documentary shot in 1944 and 1945. The film depicts the fate of a group of children from Warsaw who were at a summer camp in Stoczek Lukowski when the Warsaw Uprising began
Cinema Metropol – kino, którego nie ma
No full textThis article is devoted to the history of the Metropol movie theater, which started its activity in the interwar period. The story of Metropol intertwines with the history of the town and the fate of its inhabitants.This article is devoted to the history of the Metropol movie theater, which started its activity in the interwar period. The story of Metropol intertwines with the history of the town and the fate of its inhabitants
Jak w Czechosłowacji pojmowano filmy Munka i Wajdy, czyli film w kontekście zawikłanej historii
No full textFilms of Polish Film School, the most significant formation in post-war history of Polish cinema, appeared in Czechoslovakia with several years of delay. Power feared that their message will be dangerous for spectators. Meanwhile – for viewers, they remain unknown or difficult to understand and only a few critics and film historians could read them in accordance with the intentions of the directors Andrzej Munk and Andrzej Wajda, being the main representatives of the stream.Films of Polish Film School, the most signifi cant formation in post-war history of Polish cinema, appeared in Czechoslovakia with several years of delay. Power feared that their message will be dangerous for spectators. Meanwhile – for viewers they remain unknown or diffi cult to understand and only a few critics and fi lm historians could read them in accordance with the intentions of the directors Andrzej Munk and Andrzej Wajda, being the main representatives of the stream
Dzieje grzechu, czyli Protokół zbrodni i nieszczęść
No full textStefan Żeromski’s novel, The Story of a Sin (1908), was controversial and considered scandalous at the beginning of the twentieth century. Żeromski was accused of undermining the significance of the family as the basic unit of society. His book, it was said, promoted “free love,” by disparaging Polish women and vividly portraying the moral degradation of the heroine. Theatrical and film adaptations of the novel met with similar charges (Leon Schiller, Polish Theatrical adaptation, Warsaw, 1926). The first film adaptation appeared in 1911, followed by an Italian version in 1917 (La Storia di unpeccato). In 1933, Sfinks, the most honored Polish film studio, produced yet another adaptation for the studio’s 25th anniversary. Such issues as divorce, abortion, single motherhood, and prostitution (topical issues in society and major themes in the book) took a back seat to the film’s criminal motif.Stefan Żeromski’s novel, The Story of a Sin (1908), was controversial and considered scandalous at the beginning of the twentieth century. Żeromski was accused of undermining the significance of the family as the basic unit of society. His book, it was said, promoted “free love,” by disparaging Polish women and vividly portraying the moral degradation of the heroine. Theatrical and film adaptations of the novel met with similar charges (Leon Schiller, Polish Theatrical adaptation, Warsaw, 1926). The first film adaptation appeared in 1911, followed by an Italian version in 1917 (La Storia di unpeccato). In 1933, Sfinks, the most honored Polish film studio, produced yet another adaptation for the studio’s 25th anniversary. Such issues as divorce, abortion, single motherhood, and prostitution (topical issues in society and major themes in the book) took a back seat to the film’s criminal motif
Jarmo Jääskeläinen – „imigrant z polską duszą”
No full textPolish topics occupy an important place in the work of the Finnish filmmaker Jarmo Jääskeläinen. Since the 70s he made his films outside censorship, and his penetrating gaze on the Polish reality allowed glimpse its dimensions closely invisible or ignored. While maintaining fidelity to the facts, he talks about the most important problems, stages the phenomena of contemporary Polish history, society, culture.Polish topics occupy an important place in the work of the Finnish filmmaker Jarmo Jääskeläinen. Since the 70s he made his films outside censorship, and his penetrating gaze on the Polish reality allowed glimpse its dimensions closely invisible or ignored. While maintaining fidelity to the facts, he talks about the most important problems, stages the phenomena of contemporary Polish history, society, culture
Otwarcie filmu fabularnego, jego funkcje i znaczenie
No full textLegendary American producers who’d accepted to read tens of scripts had a justified approach to read only first ten pages. Although on a first sight it may appear negligence, they knew well that if they are not convinced by the first pages of the script, it is very likely that the audience won’t feel convinced either. The article concerns the role of the film opening and its structure. Its functions and transformations are described upon the examples of films by Ingmar Bergman and Paul Thomas Anderson.Legendary American producers who’d accepted to read tens of scripts had a justified approach to read only first ten pages. Although on a first sight it may appear negligence, they knew well that if they are not convinced by the first pages of the script, it is very likely that the audience won’t feel convinced either. The article concerns the role of the film opening and its structure. Its functions and transformations are described upon the examples of films by Ingmar Bergman and Paul Thomas Anderson
Jerzy Bossak. Szkic do portretu (1910–1989)
No full textThe article presents a profile of Jerzy Bossak (1910–1989), an outstanding Polish filmmaker, head of the Polish Film Chronicle and the Kamera film team, and a long-time distinguished pedagogue at the Łódź Film School.The article presents a profile of Jerzy Bossak (1910–1989), an outstanding Polish filmmaker, head of the Polish Film Chronicle and the Kamera film team, and a long-time distinguished pedagogue at the Łódź Film School