Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Mroczne żądło zdegenerowanej natury. Szkic o czarnoromantycznych inspiracjach Róży Wojciecha Smarzowskiego
Get PDFThe dark sting of degenerate nature. Sketch of the dark-romantic inspirationsin Wojciech Smarzowski’s RoseThe text presents Polish dark romanticism as an important source of inspiration for the images of violence, includ- ing sexual violence, in Wojciech Smarzowskis Rose. The author reveals the mechanisms of this inspiration: visual, dramatic, intellectual, and refers to specific literary texts, from the Romantic era and later, by Antoni Malczewski, Seweryn Goszczyński, Juliusz Słowacki and Włodzimierz Odojewski.The dark sting of degenerate nature. Sketch of the dark-romantic inspirationsin Wojciech Smarzowski’s RoseThe text presents Polish dark romanticism as an important source of inspiration for the images of violence, includ- ing sexual violence, in Wojciech Smarzowskis Rose. The author reveals the mechanisms of this inspiration: visual, dramatic, intellectual, and refers to specific literary texts, from the Romantic era and later, by Antoni Malczewski, Seweryn Goszczyński, Juliusz Słowacki and Włodzimierz Odojewski
„Przemalujemy wszystko”. Opowiadanie kolorem we Fragmentach Agnieszki Woszczyńskiej
Get PDF“We’ll repaint it all”. The use of color as a storytelling device in Agnieszka Woszczyńska’s FragmentsIn her short Fragments Agnieszka Woszczyńska applies film color as a storytelling device. Oscillating between the natural and expressionistic use of color, she builds not only a characters outer world but also an image of the characters unspoken motivations. The article contains a profound color analysis of Fragments that covers such issues as the functioning of ocularcentrism as a film leitmotiv and the appearance of the focalizer in film narration.“We’ll repaint it all”. The use of color as a storytelling device in Agnieszka Woszczyńska’s FragmentsIn her short Fragments Agnieszka Woszczyńska applies film color as a storytelling device. Oscillating between the natural and expressionistic use of color, she builds not only a characters outer world but also an image of the characters unspoken motivations. The article contains a profound color analysis of Fragments that covers such issues as the functioning of ocularcentrism as a film leitmotiv and the appearance of the focalizer in film narration
Pozorna lekkość bytu - estetyzacja w fotografii dokumentalnej
Get PDFThe simulacre lightness of being – aestheticization in documentary photographyThe starting point for analyzing aestheticization processes in contemporary documentary photography in this text are both the “poetic” images of lightness in literature and culture analyzed in a lecture by Italo Calvino (Six Memos for the Next Millennium) and the critical thought of Wolfgang Welsch on intentional aestheticization processes in the real world. According to Welsch, these processes, through specific procedures of “lavishing lightness”, cease to be a binding image of the world and become part of a culture game (Grenzgange der Asthetik). Examples selected for analysis include award-winning documentary photography, including war photography, represented by the work of Georges Merillon, Sebastiao Salgado, Luc Delahaye, Simon Norfolk and Tim Hetherington. These ‘aestheticization procedures’ are outlined in this text in the context of the history of photography perceived as its “struggle” for a place in the history of art, as well as in the context of the theoretical considerations which accompany these processes.The simulacre lightness of being – aestheticization in documentary photographyThe starting point for analyzing aestheticization processes in contemporary documentary photography in this text are both the “poetic” images of lightness in literature and culture analyzed in a lecture by Italo Calvino (Six Memos for the Next Millennium) and the critical thought of Wolfgang Welsch on intentional aestheticization processes in the real world. According to Welsch, these processes, through specific procedures of “lavishing lightness”, cease to be a binding image of the world and become part of a culture game (Grenzgange der Asthetik). Examples selected for analysis include award-winning documentary photography, including war photography, represented by the work of Georges Merillon, Sebastiao Salgado, Luc Delahaye, Simon Norfolk and Tim Hetherington. These ‘aestheticization procedures’ are outlined in this text in the context of the history of photography perceived as its “struggle” for a place in the history of art, as well as in the context of the theoretical considerations which accompany these processes
Jestem twój
Get PDFI’m yoursThe 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.I’m yoursThe 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
Ansambl aktorski
Get PDFActors’ ensembleThis article analyses how actors’ ensembles function as an alternative to the star system of actors’ participation in film. Actors’ ensembleThis article analyses how actors’ ensembles function as an alternative to the star system of actors’ participation in film
Jak to dobrze, że pan przeżył... Aktorstwo filmowe Jana Świderskiego
Get PDFIt’s a good job you survived... Jan Świderski’s fi lm actingJan Świderski was one of the most original figures of the Polish stage. As an actor, director, theatre director and teacher he left a considerable legacy. He also enjoyed appearing on television. However, he never warmed to the idea of film. His filmography from 1947-1988 totals a mere 14 films, including one leading role. Despite this modest output, these roles do create a kind of acting strategies, which supplement his stage output in the form of counterpoint. The text presents two variants of his screen characters - the old man and the scoundrel, who were rather unsuccessful attempts at transferring the tried-and-tested theatre formula to the demanding requirements of the film set.It’s a good job you survived... Jan Świderski’s fi lm actingJan Świderski was one of the most original figures of the Polish stage. As an actor, director, theatre director and teacher he left a considerable legacy. He also enjoyed appearing on television. However, he never warmed to the idea of film. His filmography from 1947-1988 totals a mere 14 films, including one leading role. Despite this modest output, these roles do create a kind of acting strategies, which supplement his stage output in the form of counterpoint. The text presents two variants of his screen characters - the old man and the scoundrel, who were rather unsuccessful attempts at transferring the tried-and-tested theatre formula to the demanding requirements of the film set
Sfera wolności. Zygmunta Mycielskiego uwagi o muzyce 1955
Get PDFThe sphere of freedom. Zygmunt Mycielski observations on music in 1955 The article profiles one of the most interesting music critics of the communist period. Zygmunt My- cielskis journalism is one of the most valuable phenomena of Polish postwar musical culture. What was important for him were fixed points, imponderables keeping human thinking in check and truly creative activity in the sphere of sound. He did not share Carl Dahlhaus’ idea of the death of aesthetics, which was fashionable in the early twentieth century He was convinced that the aesthetic value of a musical work shape musical and non-musical reality, and that the microenvironment which these values form and unify remains particularly important for a man enslaved by the totalitarian system.The sphere of freedom. Zygmunt Mycielski observations on music in 1955 The article profiles one of the most interesting music critics of the communist period. Zygmunt My- cielskis journalism is one of the most valuable phenomena of Polish postwar musical culture. What was important for him were fixed points, imponderables keeping human thinking in check and truly creative activity in the sphere of sound. He did not share Carl Dahlhaus’ idea of the death of aesthetics, which was fashionable in the early twentieth century He was convinced that the aesthetic value of a musical work shape musical and non-musical reality, and that the microenvironment which these values form and unify remains particularly important for a man enslaved by the totalitarian system
Polscy aktorzy a międzywojenne kino jidysz
Get PDFPolish actors and Yiddish cinema of the inter-war periodThe author presents the thesis that despite the cloistered character of the interwar era Yiddish cinema, Polish actors left their mark on Yiddish productions. Their participation in two silent films, which didn’t survive the war - Jeden z 36 and W lasach polskich were connected to the topic of assimilation, the community of faith and the historical experience of fighting with the invaders, as well as the main idea of rapprochement between the two nations. Polish actors’ roles were connected to non-Jewish characters, although one very important exception to this rule was the role of Berek Joselewicz. The Yiddish cinema of the late-1930’s, which was dominated by escapist stories detached from the contemporary social-political reality, does not contain any trace of cooperation with Polish actors. As the public press from the interwar era as well as from the years after the Second World War shows, its subject-matter was, however, rendered taboo by some Polish participants of interwar-period Jewish film productions, even though the initiative for creating the films ostensibily to break down prejudices and stereotypes was in, in fact, Polish.Polish actors and Yiddish cinema of the inter-war periodThe author presents the thesis that despite the cloistered character of the interwar era Yiddish cinema, Polish actors left their mark on Yiddish productions. Their participation in two silent films, which didn’t survive the war - Jeden z 36 and W lasach polskich were connected to the topic of assimilation, the community of faith and the historical experience of fighting with the invaders, as well as the main idea of rapprochement between the two nations. Polish actors’ roles were connected to non-Jewish characters, although one very important exception to this rule was the role of Berek Joselewicz. The Yiddish cinema of the late-1930’s, which was dominated by escapist stories detached from the contemporary social-political reality, does not contain any trace of cooperation with Polish actors. As the public press from the interwar era as well as from the years after the Second World War shows, its subject-matter was, however, rendered taboo by some Polish participants of interwar-period Jewish film productions, even though the initiative for creating the films ostensibily to break down prejudices and stereotypes was in, in fact, Polish
Róża Wojciecha Smarzowskiego jako medium idei
Get PDFWojciech Smarzowski’s Rose as the medium of ideologyThe text concentrates on the problem of the ideologization of artistic transmission and uses Wojciech Smarzowski film ‘Rose’ as an example. This problem is considered both on several levels: reception, above all the critical-film level, and also on the level of the work itself. The analysis reveals the impoverishment of the message by radical left-wing and also conservative ideologization is becoming apparent. Also a susceptibility of work to discourse of the political correctness is becoming apparent, in addition it is rather superficial susceptibility.Wojciech Smarzowski’s Rose as the medium of ideologyThe text concentrates on the problem of the ideologization of artistic transmission and uses Wojciech Smarzowski film ‘Rose’ as an example. This problem is considered both on several levels: reception, above all the critical-film level, and also on the level of the work itself. The analysis reveals the impoverishment of the message by radical left-wing and also conservative ideologization is becoming apparent. Also a susceptibility of work to discourse of the political correctness is becoming apparent, in addition it is rather superficial susceptibility
Erotyka w grach cyfrowych. Cenzura i autocenzura wątków erotycznych w przekazach digitalnych
No full textEroticism in digital games. Censorship and self-censorship of erotic themes in digital communicationThe aim of the article is to illustrate the issue of eroticism in video-games in the context of censorship that was in use in its reference. The purpose of a brief history of sexuality in digital communications, as well as an analysis of most important games in the thematic area is to draw attention to the ways in which censorship and self-censorship function in games of a sexual nature. One of the most important elements is also an analysis of existing rating systems and an indication of how censorship practices affect the ways erotic games and, in a broader sense, on game poetics are presented.Eroticism in digital games. Censorship and self-censorship of erotic themes in digital communicationThe aim of the article is to illustrate the issue of eroticism in video-games in the context of censorship that was in use in its reference. The purpose of a brief history of sexuality in digital communications, as well as an analysis of most important games in the thematic area is to draw attention to the ways in which censorship and self-censorship function in games of a sexual nature. One of the most important elements is also an analysis of existing rating systems and an indication of how censorship practices affect the ways erotic games and, in a broader sense, on game poetics are presented