Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Analiza formalna filmu – analiza warsztatowa – analiza „partyturowa”…(?)
Get PDFThe text Analiza formalna filmu – analiza warsztatowa – analiza ‘partyturowa [Formal analysis of film – workshop analysis – score notation analysis] is recalling the rules of “score notation analysis”, popularized by professor Bolesław Włodzimierz Lewicki in the 1960s, when he was the dean and lecturer at the Łódź history. Interestingly, the method was not well received by the students and critics. The historical perspective also appears in the curriculum of the time and has been utilized by Lewicki as a “reference system”. Thusly, it is the entirety of his concept and the theoretical background available at the time. Feridun Erol’s example score notation analysis of the movie The Last Day of Summer is an integral part of the text. Another reason – more important, since it is still valid – is the noticeable deficiency of workshop analyses and the function of means of expression in shaping a film. This state of affairs is probably the result of peculiar and de facto difficult knowledge on filmmaking, and even if theoreticians are familiar with this field, there are legitimate worries a reader unacquainted with it may be lost.The text Analiza formalna filmu – analiza warsztatowa – analiza ‘partyturowa [Formal analysis of film – workshop analysis – score notation analysis] is recalling the rules of “score notation analysis”, popularized by professor Bolesław Włodzimierz Lewicki in the 1960s, when he was the dean and lecturer at the Łódź history. Interestingly, the method was not well received by the students and critics. The historical perspective also appears in the curriculum of the time and has been utilized by Lewicki as a “reference system”. Thusly, it is the entirety of his concept and the theoretical background available at the time. Feridun Erol’s example score notation analysis of the movie The Last Day of Summer is an integral part of the text. Another reason – more important, since it is still valid – is the noticeable deficiency of workshop analyses and the function of means of expression in shaping a film. This state of affairs is probably the result of peculiar and de facto difficult knowledge on filmmaking, and even if theoreticians are familiar with this field, there are legitimate worries a reader unacquainted with it may be lost.
Self-reflexiveness in Photo-film Form as Illustrated by Zbigniew Czapla’s "Paper Box"
Get PDFThe article interprets Paper Box by Zbigniew Czapla as an example of iconographic film and suggests that the genre be renamed photo-film. An analysis of particular means of film expression and photographic metaphors leads to seeing photo-film as a synthesis of various media, going beyond the world of cinema in terms of genealogy.
Autorstwo utworu audiowizualnego – substancja i struktura
Get PDF.Autorstwo utworu audiowizualnego – substancja i struktur
"Without One Tree, a Forest Will Stay a Forest" by Dagmara Drzazga As a Religious and Historical Documentary
Get PDFKatarzyna Citkos article is an analysis of Dagmara Drzazga’s film Bez jednego drzewa las lasem zostanie (Without One Tree, a Forest Will Stay a Forest, 2012), an example of a religious and historical documentary. The article describes the film’s depiction of the tragic fate of Jan Macha, a priest who during the Nazi occupation of Poland organized help for victims of German oppression as a co-founder of the Scout organization Konwalia (Lilly). For his work, he was arrested and executed in a prison in Katowice by means of a guillotine that was installed there in 1941. The article also analyses film-making techniques characteristic to documentaries, as well as the specific forms of expression which situate Drzazga’s work in the realm of religious cinema. These documentary techniques include combining photos and archival documentaries, interviews with people who knew Macha, and the opinions of experts, such as historians, clergymen and journalists. Other interesting techniques employed by the director make it possible to describe the film as belonging to religious cinema of the transcendental style, as described by Paul Schrader, which abandons unnecessary suspense in favour of poetic images; focuses on the dynamics and drama of the events rather than an in-depth psychological analysis of characters’ motivations; interweaves first- and third-person narration, which is carried out by means of both voice-over and by people speaking in the film; uses suggestive image editing combined with music which employs the theme of Agnus Dei. All of these features helped Drzazga’s interesting and thought-provoking film win a number of awards at international Catholic film festivals.
Nostalgia and Archival Footage in Contemporary Hungarian Documentary (Gábor Zsigmond Papp: "The Life of an Agent")
Get PDFArchival and found footage have been playing an important role in Hungarian cinema since the 1960s. Th is type of material has been present not only in documentaries but also in Hungarian feature and experimental films. After a very short summary of the history of the usage of archival footage in Hungarian cinema, I will discuss two contemporary trends in documentaries: the artistic/experimental use and the entertainment-related/nostalgic use of found footage. At the end of the article, I use Gábor Zsigmond Papp’s documentary fi lm The Life of an Agent as an example of the nostalgic use of archival material in the representation of a still-unresolved Hungarian historical problem: socialist secret agents
Go West, czyli bracia Marx dosiadają żelaznego konia
Get PDFThe article is about the tenth image by famous Marx Brothers. Author of the text carried out a thorough analysis of the film Go West for the current in the game with western conventions. The text consists of five parts – introduction and four separate mini-chapters. In the first context the statement made b y the film Go West (by Edward Buzzel) the masterpiece of silent cinema – Iron Horse directed by John Ford, seeing the first image of a series of references to the other one. The second part is devoted to the image of Indians in the film Go West in the context of the existing schemes in the cinema of the thirties and forties. In the next section the author discusses the functions used in film music, and in the last – the final chase sequence, seeing in it references to the tradition of film slapstick. In conclusion, the author states that the game with conventions manifests itself not only in the film for a specific genre, but also the cinema in general, which in 1940 was an innovative solution.The article is about the tenth image by famous Marx Brothers. Author of the text carried out a thorough analysis of the film Go West for the current in the game with western conventions. The text consists of five parts – introduction and four separate mini-chapters. In the first context the statement made b y the film Go West (by Edward Buzzel) the masterpiece of silent cinema – Iron Horse directed by John Ford, seeing the first image of a series of references to the other one. The second part is devoted to the image of Indians in the film Go West in the context of the existing schemes in the cinema of the thirties and forties. In the next section the author discusses the functions used in film music, and in the last – the final chase sequence, seeing in it references to the tradition of film slapstick. In conclusion, the author states that the game with conventions manifests itself not only in the film for a specific genre, but also the cinema in general, which in 1940 was an innovative solution.
The Film Document as a Testimony of the Present: A Sceptic at the Confessional
Get PDFThe semiotic mechanism of representing time present in documentary film has remained the same since the 19th century up to this very day. This is governed without exception in the cinematographic “message” by the choice and combination of visual and audio elements shown on the screen, together with the process of fragmentation and segmentation of images in respect to the reality being communicated. The nature of information contained in the moving pictures is one of communicating integrated experiences of the world, and experiences of civilization and culture. Thus conceptualised, information and the process of informing have a dimension that is par excellence anthropological. There in fact lies the broadly understood process of experience on the part of man and society - regardless of the changeability and ad hoc nature of the subjects raised in a given piece of subject matter - representing each time its ‘what’ and ‘how’. Regardless of the means of film expression used, there is always the same point of significance: the difference in the potential between what is known and that which is unknown. That is why the creative documentary proves on each occasion to be a mutual discovery of both known and unknown reality - one shared by the filmmaker and audience.
Jerzy Wójcik – estetyka światła
Get PDFThe article shows the creative way of Jerzy Wójcik, from his first artistic trials to the beginning of his career as a cameraman with Andrzej Munk, Andrzej Wajda and Jerzy Kawalerowicz, to his late films made together with Stanisław Różewicz. Particularly significant are the “changes of light”, the key to understanding the art of Wójcik’s films. They are examined one by one in reference to such issues as the depth system, the aesthetics of black-and-white and grey, the art of the icon and the blue hour. The article shows the creative way of Jerzy Wójcik, from his first artistic trials to the beginning of his career as a cameraman with Andrzej Munk, Andrzej Wajda and Jerzy Kawalerowicz, to his late films made together with Stanisław Różewicz. Particularly significant are the “changes of light”, the key to understanding the art of Wójcik’s films. They are examined one by one in reference to such issues as the depth system, the aesthetics of black-and-white and grey, the art of the icon and the blue hour.