Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Jerzego Ziomka teoria aktora i aktorstwa
Get PDFJerzy Ziomek’s theory of the actor and acting Marek Hendrykowskis article presents Jerzy Ziomeks pioneering theory of the way that the actor functions in the system of signs, which was published nearly half a century ago in the “Dialog” [Dia- logue] monthly. It refers both to the history and the contemporary development of the performing arts.Jerzy Ziomek’s theory of the actor and acting Marek Hendrykowskis article presents Jerzy Ziomeks pioneering theory of the way that the actor functions in the system of signs, which was published nearly half a century ago in the “Dialog” [Dia- logue] monthly. It refers both to the history and the contemporary development of the performing arts
Dramat Andrzeja Wróblewskiego
Get PDFAndrzej Wróblewski’s DramaAndrzej Wróblewski (1927-1957) was one of the most important Polish modern painters of his time, closely con- nected both with key issues of the 20th-century European avant-garde in art, as well as socialist realism in post- war Poland. The article is a sui generis glossa to Wróblewskis retrospective exhibition “Recto/Verso” presented in Winter-Spring 2015 by the Museum of Contemporary Art in Warsaw.Andrzej Wróblewski’s DramaAndrzej Wróblewski (1927-1957) was one of the most important Polish modern painters of his time, closely con- nected both with key issues of the 20th-century European avant-garde in art, as well as socialist realism in post- war Poland. The article is a sui generis glossa to Wróblewskis retrospective exhibition “Recto/Verso” presented in Winter-Spring 2015 by the Museum of Contemporary Art in Warsaw
Semiotyka twarzy kata i ofiary
Get PDFSemiotics of the hangman and victim’s facesMurderous ideologies drive and fabricate innumerable forms of social falsehood. One of the objects of the perfidious falsification of reality generated in the totalitarian system is the human face. Drawing on classics of Polish and world cinema, and also on the memory of culture, Marek Hendrykowskis study contains a semiotic analysis of the deep structures of images, which present the executioner-victim based on violence executioner as a variant of inter-human relations in totalitarian systems.Semiotics of the hangman and victim’s facesMurderous ideologies drive and fabricate innumerable forms of social falsehood. One of the objects of the perfidious falsification of reality generated in the totalitarian system is the human face. Drawing on classics of Polish and world cinema, and also on the memory of culture, Marek Hendrykowskis study contains a semiotic analysis of the deep structures of images, which present the executioner-victim based on violence executioner as a variant of inter-human relations in totalitarian systems
O Jerzym Mierzejewskim
Get PDFAbout Jerzy MierzejewskiFor many years the excellent painter-formist Jerzy Mierzejewski (1917-2012) was the eminent figure of artistic life in postwar Poland. He was also an academic, a professor at the famous Film School in Łódź. The article presents the significance of Mierzejewski in paving the path for Polish cinematographic art and for the international successes of many Polish filmmakers (i.e. Andrzej Wajda, Roman Polański, Adam Holender, Krzysztof Zanussi, Krzysztof Kieślowski, Zbigniew Rybczyński and many others).About Jerzy MierzejewskiFor many years the excellent painter-formist Jerzy Mierzejewski (1917-2012) was the eminent figure of artistic life in postwar Poland. He was also an academic, a professor at the famous Film School in Łódź. The article presents the significance of Mierzejewski in paving the path for Polish cinematographic art and for the international successes of many Polish filmmakers (i.e. Andrzej Wajda, Roman Polański, Adam Holender, Krzysztof Zanussi, Krzysztof Kieślowski, Zbigniew Rybczyński and many others)
Budowanie warsztatu aktora (casus Zbigniewa Cybulskiego)
Get PDFBuilding the at of acting (casus Zbigniew Cybulski) 2017 brings two important anniversaries: the 90th anniversary of the birth (1927) and 50th anniversary of the death of Zbigniew Cybulski, Polands foremost actor of the 1960s and the hero of his time. His image (dark sunglasses, leather jacket, worn jeans and sneakers and ever-present backpack) was imitated by thousands of Poles. For Cybulski one of the most important means of expression were gestures. This was very important in one of Cybulskis first films - Ashes and Diamonds. Cybulski developed his arsenal of acting expression in subsequent films, including: Night Train, See you tomorrow, No more divorces, The Saragossa Manscript, Salto, The Codes, Jowita.Building the at of acting (casus Zbigniew Cybulski) 2017 brings two important anniversaries: the 90th anniversary of the birth (1927) and 50th anniversary of the death of Zbigniew Cybulski, Polands foremost actor of the 1960s and the hero of his time. His image (dark sunglasses, leather jacket, worn jeans and sneakers and ever-present backpack) was imitated by thousands of Poles. For Cybulski one of the most important means of expression were gestures. This was very important in one of Cybulskis first films - Ashes and Diamonds. Cybulski developed his arsenal of acting expression in subsequent films, including: Night Train, See you tomorrow, No more divorces, The Saragossa Manscript, Salto, The Codes, Jowita
Dramat - scena - aktor*
Get PDFDrama – stage – actorThe author discusses the issue of acting and theatrical stage in the context of Józef Tischner’s philosophy, which sees the stage as the platform for freedom, and the meeting and parting of people, as well as their relationship with the Absolute. The language of the character is created by: the actor, screenplay, costumes, lighting and music. He introduces the idea of objectifying the stage and familiarising onself with role, the basis of which are relations between the plays characters. Drama – stage – actorThe author discusses the issue of acting and theatrical stage in the context of Józef Tischner’s philosophy, which sees the stage as the platform for freedom, and the meeting and parting of people, as well as their relationship with the Absolute. The language of the character is created by: the actor, screenplay, costumes, lighting and music. He introduces the idea of objectifying the stage and familiarising onself with role, the basis of which are relations between the plays characters
Guerilla Tv i wideo art jako narzędzia w walce z telewizyjnym establishmentem Stanów Zjednoczonych
Get PDFGuerilla Tv and video art as a tool in the fight against the television establishment in USAAn article is based on the issue of the main mediated model of one-way communication connected with the mass media and looks at the problem of television networks in USA in the 1960s and 70s, which was highly influential. This political and cultural situation had been developing out of techni- cal innovations and become a point of departure for considering alternative video communication, which stood up against the institutionalized television regime. At this time, video art and especially Guerilla Tv were the bearers of the new communication order, at the same time breaking the imposed socio-political discourse.Guerilla Tv and video art as a tool in the fi ght against the television establishment in USAAn article is based on the issue of the main mediated model of one-way communication connected with the mass media and looks at the problem of television networks in USA in the 1960s and 70s, which was highly influential. This political and cultural situation had been developing out of techni- cal innovations and become a point of departure for considering alternative video communication, which stood up against the institutionalized television regime. At this time, video art and especially Guerilla Tv were the bearers of the new communication order, at the same time breaking the imposed socio-political discourse
Acting Styles of the British New Wave
Get PDFActing Styles of the British New Wave British New Wave cinema is typically associated with two groups of actors. One includes those with an established position (such as Peter Finch, Laurence Olivier or Dirk Bogarde), and the other those at the beginning of their film career. The latter group seems to be much more interesting in terms of their lives, background and their methods of work. Most of them come from a working-class, non-artistic background (from which the directors of New Wave films asked them to draw inspiration). However, all of them received a solid theatrical education. In this way, a unique collage of skills and experience was created, the elements of which produced a very interesting artistic result. This sheds new light on the phenomenon of the British New Wave: actors, graduates of renowned schools, known from the most famous theatres and troupes (such as the Royal Court Theatre, the Royal Shakespeare Company or the Old Vic) end up in films where they are supposed to play characters from the lower social classes, speak their language and make reference to their own memories and background
Poszukiwania i fascynacje Antoniego Bohdziewicza (1906-1970)
Get PDFThe quests and fascinations of Antoni Bohdziewicz (1906-1970)The author analyses in detail the structure of the leading role based on the film “I’m yours” His analysis takes into account acting skills, the relations between the protagonists and adversaries and also cinematic time and space. He appreciates the role played by the screenwriter and establishes the principles for cooperation between actors and the director.The author analyses in detail the structure of the leading role based on the film “I’m yours” His analysis takes into account acting skills, the relations between the protagonists and adversaries and also cinematic time and space. He appreciates the role played by the screenwriter and establishes the principles for cooperation between actors and the director.This article is devoted to the director Antoni Bohdziewiczs creative output and teaching work at the Łódź Film School, to commemorate the 110th anniversary of his birth. The author presents Bohdziewiczs early days as a director at Polish Radio in Vilnius, and also his work as a film critic. A significant moment in Bohdziewiczs life was his leaving for Paris on a scholarship on Prof. Władysław Tatarkiewicz’ recommendation, where he produced several short films. On returning to Poland, Bohdziewicz enjoyed success mainly as a reporter for Polish Radio and also as the co-founder of the Imagination Theatre (Teatr Wyobraźni). When war broke out he got involved in underground activities, becoming one of the organisers recording the events of the Warsaw Uprising on film. Bohdziewiczs post-war activities were significantly affected by his appearance at the Filmmakers’ Congress in Wisła (1949), at which he spoke out against introducing the ideas of socialist realism. Bohdziewicz never felt fulfilled as a director, despite producing several films, including documentaries, feature films based on contemporary themes and literary adaptations. His true passion remained his lecturing work at the Łódź Film School. The article quotes many of his pupils and protegees, including Andrzej Wajda, Janusz Majewski, Kazimierz Kutz, who saw him as their master, and their artistic and spiritual guide through those times. Without exception they emphasise how Bohdziewicz lived solely for the School. In his later years he was strongly associated with the Film Discussion Club movement; he occasionally worked in theatre, wrote, and taught at the INSAS Film School in Brussels. With hindsight and from his pupils’ remembrances, it becomes clear just how invaluable his teaching work at the Łódź Film School was The quests and fascinations of Antoni Bohdziewicz (1906-1970)The author analyses in detail the structure of the leading role based on the film “I’m yours” His analysis takes into account acting skills, the relations between the protagonists and adversaries and also cinematic time and space. He appreciates the role played by the screenwriter and establishes the principles for cooperation between actors and the director.The author analyses in detail the structure of the leading role based on the film “I’m yours” His analysis takes into account acting skills, the relations between the protagonists and adversaries and also cinematic time and space. He appreciates the role played by the screenwriter and establishes the principles for cooperation between actors and the director.This article is devoted to the director Antoni Bohdziewiczs creative output and teaching work at the Łódź Film School, to commemorate the 110th anniversary of his birth. The author presents Bohdziewiczs early days as a director at Polish Radio in Vilnius, and also his work as a film critic. A significant moment in Bohdziewiczs life was his leaving for Paris on a scholarship on Prof. Władysław Tatarkiewicz’ recommendation, where he produced several short films. On returning to Poland, Bohdziewicz enjoyed success mainly as a reporter for Polish Radio and also as the co-founder of the Imagination Theatre (Teatr Wyobraźni). When war broke out he got involved in underground activities, becoming one of the organisers recording the events of the Warsaw Uprising on film. Bohdziewiczs post-war activities were significantly affected by his appearance at the Filmmakers’ Congress in Wisła (1949), at which he spoke out against introducing the ideas of socialist realism. Bohdziewicz never felt fulfilled as a director, despite producing several films, including documentaries, feature films based on contemporary themes and literary adaptations. His true passion remained his lecturing work at the Łódź Film School. The article quotes many of his pupils and protegees, including Andrzej Wajda, Janusz Majewski, Kazimierz Kutz, who saw him as their master, and their artistic and spiritual guide through those times. Without exception they emphasise how Bohdziewicz lived solely for the School. In his later years he was strongly associated with the Film Discussion Club movement; he occasionally worked in theatre, wrote, and taught at the INSAS Film School in Brussels. With hindsight and from his pupils’ remembrances, it becomes clear just how invaluable his teaching work at the Łódź Film School was