Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Penelopa i jej współczesne filmowe inkarnacje
Get PDFPenelope and Her Cinematic IncarnationsBy analysing contemporary cinematic incarnations of Penelope, the wife of Odysseus, the author shows a thematic relation between cinema and ancient mythologies. Although an interest in mythical motifs is visible in film from its very beginnings, their popularity has constantly changed due to e.g., technological developments in filmmakers’ capabilities. However, what never changes is the presence of mythical plots in deeper story structures, which include the recreation of ancient characters. Examining Penelope’s spirit in today’s culture proves that the mythical story in which she appears provides excellent material for building new things – it easily adapts to modern times, constantly inspires artists, and stimulates various reflections about our cultural heritage.Penelope and Her Cinematic IncarnationsBy analysing contemporary cinematic incarnations of Penelope, the wife of Odysseus, the author shows a thematic relation between cinema and ancient mythologies. Although an interest in mythical motifs is visible in film from its very beginnings, their popularity has constantly changed due to e.g., technological developments in filmmakers’ capabilities. However, what never changes is the presence of mythical plots in deeper story structures, which include the recreation of ancient characters. Examining Penelope’s spirit in today’s culture proves that the mythical story in which she appears provides excellent material for building new things – it easily adapts to modern times, constantly inspires artists, and stimulates various reflections about our cultural heritage
Obraz Polski Ludowej w MC. Człowiek z winylu i Jaskółce w reżyserii Bartosza Warwasa
Get PDFThe Image of The Polish People’s Republic Present in Bartosz Warwas’ Mc. Człowiek z winylu and JaskółkaThe article is an analysis of the films Mc. Człowiek z winylu and Jaskółka, both directed by Bartosz Warwas, in terms of how they present the image of the Polish People’s Republic. In the first movie, the director presents the subject in a humorous way, through the use of a mockumentary formula. Jaskółka, on the other hand, is a feature film, in which the image of the PRL emerges through a retrospective presentation of the history of the life of the main character – Agnieszka Jaskółka. Both films have a number of references to the Polish Cinema of Moral Anxiety as well as the use of archival footage, but they present it in a different manner.The Image of The Polish People’s Republic Present in Bartosz Warwas’ Mc. Człowiek z winylu and JaskółkaThe article is an analysis of the films Mc. Człowiek z winylu and Jaskółka, both directed by Bartosz Warwas, in terms of how they present the image of the Polish People’s Republic. In the first movie, the director presents the subject in a humorous way, through the use of a mockumentary formula. Jaskółka, on the other hand, is a feature film, in which the image of the PRL emerges through a retrospective presentation of the history of the life of the main character – Agnieszka Jaskółka. Both films have a number of references to the Polish Cinema of Moral Anxiety as well as the use of archival footage, but they present it in a different manner
Kino jidysz na ziemiach polskich do wybuchu drugiej wojny światowej - konteksty społeczno-polityczne i kulturowe
Get PDFYiddish Cinema in the Prewar Polish Lands: The Socio-political and Cultural ContextsThe article is an attempt to consider the impact of social-political contexts on Yiddish cinema in Poland before the outbreak of the Second World War. It also analyses the influence of cultural and ideological tendencies represented by the diaspora in Poland: traditional – related to Judaism and Yiddish language; Zionist – trying to resurrect Israel and appealing to Hebrew as the language of the Jews; Bund – a left wing party that supported a secular Yiddish culture and opposed Zionism, as well as the assimilation of Polish culture and language.Yiddish Cinema in the Prewar Polish Lands: The Socio-political and Cultural ContextsThe article is an attempt to consider the impact of social-political contexts on Yiddish cinema in Poland before the outbreak of the Second World War. It also analyses the influence of cultural and ideological tendencies represented by the diaspora in Poland: traditional – related to Judaism and Yiddish language; Zionist – trying to resurrect Israel and appealing to Hebrew as the language of the Jews; Bund – a left wing party that supported a secular Yiddish culture and opposed Zionism, as well as the assimilation of Polish culture and language
Łączka, amazońska dżungla i Chicago. Patrycja Rojek* i Andrzej Szpulak* rozmawiają z dokumentalistą, niezależnym producentem i dyrektorem Festiwalu Niepokorni Niezłomni Wyklęci – Arkadiuszem Gołębiewskim.
Get PDFJungle and Chicago. Patrycja Rojek and Andrzej Szpulak talking with a documentary maker, an independent producer and director of the NNW Festival - Arkadiusz Gołębiewski.In this interview, Arkadiusz Gołębiewski discusses his film work, and activity as producer and head of the NNW Festival in Gdynia. In addition, the director also talks about his work relating to the post-war Polish (military anti-communist underground) and other custom projects. He also comments on a situation of historical documentary in Poland.In this interview, Arkadiusz Gołębiewski discusses his film work, and activity as producer and head of the NNW Festival in Gdynia. In addition, the director also talks about his work relating to the post-war Polish (military anti-communist underground) and other custom projects. He also comments on a situation of historical documentary in Poland
Świat przed Zagładą. Tajemnica istnienia archiwalnego obrazu filmowego we współczesnej strukturze filmowej na przykładzie filmu Po-lin. Okruchy pamięci Jolanty Dylewskiej
Get PDFThe World Before the Shoah: The Mystery of Archival Film Footage As Part of Contemporary Cinematic Structure Based on the Example of Jolanta Dylewska’s Po-Lin. Remains of MemoryThe text is an analysis of the composition of archival footage in contemporary documentary film. It presents artistic strategies concerning visual narration used in the film. From this perspective, it also describes the cinematic image of the provincial world of Jewish culture in Poland before II World War as captured by Jewish amateur cinematographers in their home movies, and how the same place is filmed nowadays. The mutual relationship between two visual layers is also interesting: archival footage and contemporary film and the meanings that arise as a result. Among the elements of visual film language are representations showing the metamorphosis of the place of action that occurred as a result of the passage of time and historical dramatic events. Also analyzed is the function of film close up in describing a wider context and portraits of witnesses who remember the world before the destruction of the Shoah.The World Before the Shoah: The Mystery of Archival Film Footage As Part of Contemporary Cinematic Structure Based on the Example of Jolanta Dylewska’s Po-Lin. Remains of MemoryThe text is an analysis of the composition of archival footage in contemporary documentary film. It presents artistic strategies concerning visual narration used in the film. From this perspective, it also describes the cinematic image of the provincial world of Jewish culture in Poland before II World War as captured by Jewish amateur cinematographers in their home movies, and how the same place is filmed nowadays. The mutual relationship between two visual layers is also interesting: archival footage and contemporary film and the meanings that arise as a result. Among the elements of visual film language are representations showing the metamorphosis of the place of action that occurred as a result of the passage of time and historical dramatic events. Also analyzed is the function of film close up in describing a wider context and portraits of witnesses who remember the world before the destruction of the Shoah
Między powieścią a adaptacją – kilka spostrzeżeń z perspektywy widza
Get PDFBetween Story and Film Adaptation: A Few Insights From a ViewerThe essay is an attempt to analyze the mechanisms of adaptation based on the example of Enemy (2013) by Denis Villeneuve. It also confronts the director’s formal choices with an individual viewer’s expectations. The text presents similarities and differences between the novel (The Double, José Saramago) and the movie. The author also points out film-like features of the book. Aspects of the original story were not developed by the filmmakers, and this changed the meaning of the film.Between Story and Film Adaptation: A Few Insights From a ViewerThe essay is an attempt to analyze the mechanisms of adaptation based on the example of Enemy (2013) by Denis Villeneuve. It also confronts the director’s formal choices with an individual viewer’s expectations. The text presents similarities and differences between the novel (The Double, José Saramago) and the movie. The author also points out film-like features of the book. Aspects of the original story were not developed by the filmmakers, and this changed the meaning of the film
Surreal Dreams of a “Creative City” (or: How Camerimage Festival Tried to Convince Łódź to Stop Worrying and Love Modern Architecture)
Get PDFSurreal Dreams of a “Creative City” (or: How Camerimage Festival Tried to Convince Łódź to Stop Worrying and Love Modern Architecture)The study focuses on the architectural projects proposed by the creators of Camerimage festival for Łódź – which is struggling to maintain its position as a “film-friendly” city. A so-called “David Lynch studio” and “Frank Gehry congress center” were preliminarily commissioned by the city, but soon both projects were subjected to heavy criticism from the city council. The author presents the dynamics of the debate and stresses the need for taking into account discussions of the concepts of the “creative class” and the “creative city”
The Se-Ma-For Film Studio from 1990 to 1999
Get PDFThe Se-Ma-For Film Studio from 1990 to 1999One of the key roles in the cinematic image of Łódź (the centre of Polish film production in the 1950s and 1960s) was played by “Se-Ma-For” Film Studio. The political and economic changes that Poland underwent at the beginning of the 1990s resulted in the liquidation of most state-owned companies. Se-Ma-For studio managed to operate until 1999, when it was closed. Th is text elaborates on the circumstances that resulted in the liquidation of the studio in 1999