Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Przekształcanie pamięci. Found footage jak machina kulturowej reinterpretacji
Get PDFTransforming Memory: Found Footage as a Mechanism of Cultural ReinterpretationThe article is about the role of found footage in shaping the consciousness of the modern spectator in relation to historical cinematographic creations. The meaning and signifi cance of interpretation, as well as the aesthetics of experimental movies, shatter myths about classical narration and the understanding of film in its social normative role. Chosen films by Bill Morrison, Fabio Scacchioli and Peter Tscherkassky are analyzed in order to outline this issue.Transforming Memory: Found Footage as a Mechanism of Cultural ReinterpretationThe article is about the role of found footage in shaping the consciousness of the modern spectator in relation to historical cinematographic creations. The meaning and signifi cance of interpretation, as well as the aesthetics of experimental movies, shatter myths about classical narration and the understanding of film in its social normative role. Chosen films by Bill Morrison, Fabio Scacchioli and Peter Tscherkassky are analyzed in order to outline this issue
Reżyserskie szlify. Władysław Ślesicki w Szkole Filmowej (1950-1955)
Get PDFMovie Director Exercise. Władysław Ślesicki and a Film School (1950–1955)The article discusses Władysław Ślesicki’s studies at the Lodz Film School (1950–1955). The years he spent at Film Directing Department were fruitful not only because of a few worth-while writings, but also due to some of his first directing experiences. Ślesicki was an assistant on the set of Kazimierz Karabasz’s school films, but he also directed his own (debut) short movies (the short feature Kawaler Kubiak; the short documentary Jedzie tabor). The claim is also made that these early works foreshadow his unique cinematic style, which Władysław Ślesicki developed especially within the documentary genre and which gave him a lasting place in the history of Polish cinema.Movie Director Exercise. Władysław Ślesicki and a Film School (1950–1955)The article discusses Władysław Ślesicki’s studies at the Lodz Film School (1950–1955). The years he spent at Film Directing Department were fruitful not only because of a few worth-while writings, but also due to some of his first directing experiences. Ślesicki was an assistant on the set of Kazimierz Karabasz’s school films, but he also directed his own (debut) short movies (the short feature Kawaler Kubiak; the short documentary Jedzie tabor). The claim is also made that these early works foreshadow his unique cinematic style, which Władysław Ślesicki developed especially within the documentary genre and which gave him a lasting place in the history of Polish cinema
Obraz Aleksandra Kołczaka i wojny domowej w Rosji, przedstawiony w filmie "Admirał", a współczesna rosyjska świadomość historyczna
Get PDFThe Image of Alexander Kolchak and the Civil War of 1917 in Admiral, and contemporary Russian Historical ConsciousnessThe article offers an analysis of the image of Alexander Kolchak in Russian cinematography. The most extensive portrayal of both this figure and of the Russian civil war is found in the film Admiral. Contemporary Russian historical consciousness has been modified or moulded by images conveyed in films. Historical cinema is an effective means by which attitudes to the past can are formed and may be used as a tool in carrying out historical politics.The Image of Alexander Kolchak and the Civil War of 1917 in Admiral, and contemporary Russian Historical ConsciousnessThe article offers an analysis of the image of Alexander Kolchak in Russian cinematography. The most extensive portrayal of both this figure and of the Russian civil war is found in the film Admiral. Contemporary Russian historical consciousness has been modified or moulded by images conveyed in films. Historical cinema is an effective means by which attitudes to the past can are formed and may be used as a tool in carrying out historical politics
Słońce i cień. Dramaturgia Posłańca: Hartley / Pinter / Losey
Get PDFSun and Shadow; The Go-Between’s Dramaturgy: Hartley / Pinter / Losey The text explores the dramaturgy of Leslie Poles Hartley’s novel The Go-Between (1953) and its adaptations: Harold Pinter’s screenplay and Joseph Losey’s movie (The Go-Between, 1971). Th e author analyzes some decisions made by the authors of the novel, screenplay and movie about the roles assigned to them and to the audience which are crucial for the dramaturgy of The Go-Between. Following on from this, eff orts to subjectivize the narration turn out to be essential, as well. The author also emphasizes the unusually important play with time in the narration and its consequences for the characters’ construction and the way they are judged. A matter of great importance in Losey’s movie work, which is a variant of Hartley’s novel and at the same time of Pinter’s screenplay, is the method of its frame semantics creation. As far as the novel is concerned, the author analyzes the roles of the narrator and the reader, who has to put facts in order (as the chronology is distorted) and make judgments about them. Equally important in determining the novel’s dramaturgy are symbolism of light and shadow, as well as the fact that its plot is set in 1900. In his screenplay, Pinter doesn’t directly mention the time of action; instead he identifies it as the “past”, “present” and “time neutral”. His screenplay is based on two dramaturgic principles: the splitting of Leo Colston’s character (the audience doesn’t perceive the child and the adult as the same person) and the introduction of narrative disruptions in the form of “present” scenes. Joseph Losey made a few significant changes to the screenplay. The most important of these seems to be the removal of all the scenes not featuring Leo, which makes him the sole narrator. Clearly defining the presented world in the movie is the opposition between light and shadow, which is distinct in the frame composition. It turns out that equally important for the dramaturgy of Losey’s Th e Go-Between is Michael Redgrave, who was cast in the role of Colston, and how he creates this character.Sun and Shadow; The Go-Between’s Dramaturgy: Hartley / Pinter / Losey The text explores the dramaturgy of Leslie Poles Hartley’s novel The Go-Between (1953) and its adaptations: Harold Pinter’s screenplay and Joseph Losey’s movie (The Go-Between, 1971). Th e author analyzes some decisions made by the authors of the novel, screenplay and movie about the roles assigned to them and to the audience which are crucial for the dramaturgy of The Go-Between. Following on from this, eff orts to subjectivize the narration turn out to be essential, as well. The author also emphasizes the unusually important play with time in the narration and its consequences for the characters’ construction and the way they are judged. A matter of great importance in Losey’s movie work, which is a variant of Hartley’s novel and at the same time of Pinter’s screenplay, is the method of its frame semantics creation. As far as the novel is concerned, the author analyzes the roles of the narrator and the reader, who has to put facts in order (as the chronology is distorted) and make judgments about them. Equally important in determining the novel’s dramaturgy are symbolism of light and shadow, as well as the fact that its plot is set in 1900. In his screenplay, Pinter doesn’t directly mention the time of action; instead he identifies it as the “past”, “present” and “time neutral”. His screenplay is based on two dramaturgic principles: the splitting of Leo Colston’s character (the audience doesn’t perceive the child and the adult as the same person) and the introduction of narrative disruptions in the form of “present” scenes. Joseph Losey made a few significant changes to the screenplay. The most important of these seems to be the removal of all the scenes not featuring Leo, which makes him the sole narrator. Clearly defining the presented world in the movie is the opposition between light and shadow, which is distinct in the frame composition. It turns out that equally important for the dramaturgy of Losey’s Th e Go-Between is Michael Redgrave, who was cast in the role of Colston, and how he creates this character
Odwrót bohaterów. Śmierć syjonistycznego mitu Masady w fi lmie Twierdza Beaufort Josepha Cedara
Get PDFWithdrawal of Heroes: Death of the Zionist Myth of Masada in Joseph Cedar’s BeaufortMasada is an ancient fortress, which during The First Jewish–Roman War (66–73 CE) served as a refuge for the last bastion of Jewish resistance. In the first half of the twentieth century, the history of the Masada’s defenders was absorbed by the Zionist movement and transformed into a vital national myth, which became an important element of the identity and culture of future Israelis. The main purpose of this article is to show the deconstruction of the Masada mythical narrative made by Israeli director Joseph Cedar in his movie Beaufort.Withdrawal of Heroes: Death of the Zionist Myth of Masada in Joseph Cedar’s BeaufortMasada is an ancient fortress, which during The First Jewish–Roman War (66–73 CE) served as a refuge for the last bastion of Jewish resistance. In the first half of the twentieth century, the history of the Masada’s defenders was absorbed by the Zionist movement and transformed into a vital national myth, which became an important element of the identity and culture of future Israelis. The main purpose of this article is to show the deconstruction of the Masada mythical narrative made by Israeli director Joseph Cedar in his movie Beaufort
Vanitas vanitatum et omnia vanitas. Etiudy studenckie Filipa Bajona
Get PDFVanitas vanitatum et omnia vanitas: Filip Bajon’s Student EtudesThe author addresses the workshop etudes made by Filip Bajon, which he directed during his studies at the Lodz Film School. Comparing Contribution to the Th eory of Linguistics from 1972, And others from 1973, and Blacks from 1973, she notes both a consistency in style and a similarity in leitmotifs between these and the director’s later works. These is, above all, a profound refl ection on the issue of passing, of both inanimate objects and human existence, and also an attempt to capture causal changes by showing characters in situations that are groundbreaking for them.Vanitas vanitatum et omnia vanitas: Filip Bajon’s Student EtudesThe author addresses the workshop etudes made by Filip Bajon, which he directed during his studies at the Lodz Film School. Comparing Contribution to the Th eory of Linguistics from 1972, And others from 1973, and Blacks from 1973, she notes both a consistency in style and a similarity in leitmotifs between these and the director’s later works. These is, above all, a profound refl ection on the issue of passing, of both inanimate objects and human existence, and also an attempt to capture causal changes by showing characters in situations that are groundbreaking for them
Ludzie (z) Nowej Huty. O dwóch filmach Kazimierza Karabasza
Get PDFThe People of Nowa Huta. Two films by Kazimierz KarabaszNowa Huta, a symbol of a generation and significant place in the symbolic space of the Polish People’s Republic, was a character in newsreels, documentaries and films many times. The latter include two films by Kazimierz Karabasz: Shadow is Not Far (1984) and Memory (1985). In them Nowa Huta forms a setting for stories told about common people, yet it is also an important setting that determines their place in life, both in the past and in the present, regardless of whether they feel attached to it or rebel against it. Karabasz s heroes were people from Nowa Huta. They built it, and worked and lived in it. They were also shaped by its building. They are therefore also the people of Nowa Huta.The People of Nowa Huta. Two films by Kazimierz KarabaszNowa Huta, a symbol of a generation and significant place in the symbolic space of the Polish People’s Republic, was a character in newsreels, documentaries and films many times. The latter include two films by Kazimierz Karabasz: Shadow is Not Far (1984) and Memory (1985). In them Nowa Huta forms a setting for stories told about common people, yet it is also an important setting that determines their place in life, both in the past and in the present, regardless of whether they feel attached to it or rebel against it. Karabasz s heroes were people from Nowa Huta. They built it, and worked and lived in it. They were also shaped by its building. They are therefore also the people of Nowa Huta
