Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Meandry i paradoksy międzywojennej cenzury filmowej w Polsce
Get PDFMeanders and paradoxes of interwar film censorship in PolandThe article concerns film censorship in Poland in the interwar period. The first detailed rules on censorship appeared in February 1919. Due to the small level of film production, these provisions related primarily to distribution and screenings. The detailed instructions for censors from 1920 cited in the text contain a long list of prohibitions concerning the presentation of scenes and images “contrary to law and public morality.” In practice, film was subject to political, moral, military, religious, and also artistic censorship. The article presents the ways to circumvent censorship guidelines used by distributors and cinema owners, as well as a critical evaluation of the activities of this institution in the eyes of film publicists.Meanders and paradoxes of interwar fi lm censorship in PolandThe article concerns film censorship in Poland in the interwar period. The first detailed rules on censorship appeared in February 1919. Due to the small level of film production, these provisions related primarily to distribution and screenings. The detailed instructions for censors from 1920 cited in the text contain a long list of prohibitions concerning the presentation of scenes and images “contrary to law and public morality.” In practice, film was subject to political, moral, military, religious, and also artistic censorship. The article presents the ways to circumvent censorship guidelines used by distributors and cinema owners, as well as a critical evaluation of the activities of this institution in the eyes of film publicists
Tarkowski w Łodzi
Get PDFTarkowski in ŁódźExhaustively researched, Marek Hendrykowski’s study devoted to young Polish director Michał Tarkowski includes in-depth analysis and new readings of his student films (documentaries and features) made in the late 1970s in Lodz Film School. The author argues that in several respects Tarkowski’s etudes were perfect examples illustrating an original use of art-cinema conventions and forms by a skilful practitioner of what might be called the aesthetics of the bitter parody and contemporary grotesque.Tarkowski in ŁódźExhaustively researched, Marek Hendrykowski’s study devoted to young Polish director Michał Tarkowski includes in-depth analysis and new readings of his student films (documentaries and features) made in the late 1970s in Lodz Film School. The author argues that in several respects Tarkowski’s etudes were perfect examples illustrating an original use of art-cinema conventions and forms by a skilful practitioner of what might be called the aesthetics of the bitter parody and contemporary grotesque
Bergman vs. Batman. Chwyt technicznej deziluzji w grach wideo na tle praktyk literackich i filmoznawczych
Get PDFBergman vs. Batman. Technical Disillusion as an Artistic Device in Video Games in the Context of Literary and Film Techniques The aim of the article is to present the idea of technical disillusion as an artistic device used in particular videogames. This phenomenon is analyzed using the example of Batman: Arkham Asylum (Rocksteady; 2009). Because of the far-reaching analogies with techniques present in other artistic discourses, the device of technical disillusion is also examined in the context of literature and film – especially in regards to Ingmar Bergman’s Persona. From this perspective, using technical disillusion as a device exposes its artistic potential and enables us to consider games as space for creative exploration.Bergman vs. Batman. Technical Disillusion as an Artistic Device in Video Games in the Context of Literary and Film Techniques The aim of the article is to present the idea of technical disillusion as an artistic device used in particular videogames. This phenomenon is analyzed using the example of Batman: Arkham Asylum (Rocksteady; 2009). Because of the far-reaching analogies with techniques present in other artistic discourses, the device of technical disillusion is also examined in the context of literature and film – especially in regards to Ingmar Bergman’s Persona. From this perspective, using technical disillusion as a device exposes its artistic potential and enables us to consider games as space for creative exploration
Uczony i czarodziej. Zmienne koleje losu mistrza Starewicza
Get PDFScientist and Wizard. The Vicissitudes of Maestro StarewiczThe article is devoted to Władysław Starewicz (aka Ladislas Starewitch or Starevich), an animated film pioneer and independent filmmaker of Polish origin working for Russian, French and German cinematographies. The author attempts to explain why this multitalented artist and one of the most signifi cant puppet animators in film history did not achieve the commercial success he deserved, and shortly aft er WWII was almost totally forgotten. The article focuses on three aspects of Starewicz’s biography: his struggles with twentieth-century history, his fight for artistic and financial independence, and his eccentric personality. Finally, he is presented as a tragic figure who represents a model biography of an animator in Eastern Europe trying to achieve success in the Western world before 1945.Scientist and Wizard. The Vicissitudes of Maestro StarewiczThe article is devoted to Władysław Starewicz (aka Ladislas Starewitch or Starevich), an animated film pioneer and independent filmmaker of Polish origin working for Russian, French and German cinematographies. The author attempts to explain why this multitalented artist and one of the most signifi cant puppet animators in film history did not achieve the commercial success he deserved, and shortly aft er WWII was almost totally forgotten. The article focuses on three aspects of Starewicz’s biography: his struggles with twentieth-century history, his fight for artistic and financial independence, and his eccentric personality. Finally, he is presented as a tragic figure who represents a model biography of an animator in Eastern Europe trying to achieve success in the Western world before 1945
Dawno, dawno temu na przedmieściach. Baśniowość w filmie Edward Nożycoręki Tima Burtona
Get PDFOnce Upon a Time in the Suburbs. The Use of Fairy Tales in Tim Burton’s Edward Scissorhands In the article, Tim Burton’s Edward Scissorhands is analyzed. Drawing from Vladimir Propp’s theory the author traces the presence of structures, and stylistic and narrative features characteristic of fairy tales. In the second part of the essay, it is argued that through the use of fairy tales Burton is able to introduce the motif of the rite of passage of the main protagonist.Once Upon a Time in the Suburbs. The Use of Fairy Tales in Tim Burton’s Edward Scissorhands In the article, Tim Burton’s Edward Scissorhands is analyzed. Drawing from Vladimir Propp’s theory the author traces the presence of structures, and stylistic and narrative features characteristic of fairy tales. In the second part of the essay, it is argued that through the use of fairy tales Burton is able to introduce the motif of the rite of passage of the main protagonist
Przerwane śniadanie z Braćmi Mongolfier
No full textThe Montgolfier Brothers’ Interrupted BreakfastMarek Hendrykowski’s study presents an analysis of a unique film made in 1979 by the young Polish director Michał Tarkowski during his studies in the Lodz Film School. The author argues that in several respects Tarkowski’s The Montgolfier Brothers’ Interrupted Breakfast is a perfect example illustrating the original use of art-cinema conventions and forms for what might be interpreted as the aesthetics of camp, but also as mediated “landscape of events” (based on a term invented by Paul Virilio).The Montgolfier Brothers’ Interrupted BreakfastMarek Hendrykowski’s study presents an analysis of a unique film made in 1979 by the young Polish director Michał Tarkowski during his studies in the Lodz Film School. The author argues that in several respects Tarkowski’s The Montgolfier Brothers’ Interrupted Breakfast is a perfect example illustrating the original use of art-cinema conventions and forms for what might be interpreted as the aesthetics of camp, but also as mediated “landscape of events” (based on a term invented by Paul Virilio)
Ponowoczesna wizja Powstania Warszawskiego w filmie Jana Komasy Miasto 44
Get PDFThe Postmodern Vision of the Warsaw Uprising in Jan Komasa’s City 44City 44 (2014) by Jan Komasa presents an original vision of the Warsaw Uprising – especially when compared to other historical productions. Both formal aspects of the film and the way its presents the uprising expose its postmodern character. Th e conclusion that City 44 can be interpreted by means of key postmodern concepts is based on an analysis of its visual aspects, such as scenes operating at the edge of realism and aff ectation, and aesthetic denominators taken from all genres, as well as pop culture references, intertextuality, and the subjective vision of the uprising based on the story of two main protagonists.The Postmodern Vision of the Warsaw Uprising in Jan Komasa’s City 44City 44 (2014) by Jan Komasa presents an original vision of the Warsaw Uprising – especially when compared to other historical productions. Both formal aspects of the film and the way its presents the uprising expose its postmodern character. Th e conclusion that City 44 can be interpreted by means of key postmodern concepts is based on an analysis of its visual aspects, such as scenes operating at the edge of realism and aff ectation, and aesthetic denominators taken from all genres, as well as pop culture references, intertextuality, and the subjective vision of the uprising based on the story of two main protagonists
History and Symbols: Lithuanian and Central European Cinema of the 1960s
Get PDFHistory and Symbols: Lithuanian and Central European Cinema of the 1960s The text discusses the most creative period in Lithuanian cinema, the 1960s. This analysis is an attempt to frame the artistic and thematic changes in Lithuanian cinema within the context of the changes that occurred in Central Europe cinema during the 1960s. Showing that the cinematic influence of the neighbouring countries of Central Europe was sufficiently strong allows us to show the exceptional nature of Lithuanian cinema in the context of the policies towards the arts in the Soviet Union
Uwagi o dramaturgii filmu dokumentalnego
Get PDF Comments on the Dramaturgy of DocumentariesThe paper aims at analyzing the relationship between dramaturgy in documentary film and fiction film as a form of storytelling governed by similar rules. The author tries to answer questions about the methods used to shape the material in documentary films. She presents an analysis of two Polish documentaries: Siberian Lesson and Argentinean Lesson by Wojciech Staroń. The structures of both works are based on the theme of the journey. These films represent a type of drama resulting from real-life events, close Kracauer’s theory of “the found story” and Kieślowski’s “dramaturgy of reality”. They also implement the basic assumptions of the paradigm (of the mythic structures) described by Joseph Campbell and Christopher Vogler typical of fiction films. Comments on the Dramaturgy of DocumentariesThe paper aims at analyzing the relationship between dramaturgy in documentary film and fiction film as a form of storytelling governed by similar rules. The author tries to answer questions about the methods used to shape the material in documentary films. She presents an analysis of two Polish documentaries: Siberian Lesson and Argentinean Lesson by Wojciech Staroń. The structures of both works are based on the theme of the journey. These films represent a type of drama resulting from real-life events, close Kracauer’s theory of “the found story” and Kieślowski’s “dramaturgy of reality”. They also implement the basic assumptions of the paradigm (of the mythic structures) described by Joseph Campbell and Christopher Vogler typical of fiction films
