Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Hamleś Skolimowskiego jako parodia
Get PDFHamleś is a brilliant etude made in 1960 by young film-maker Jerzy Skolimowski during his studies in famous Film School in Łódź. In ballad form this mysterious and dark story tells about lost hopes of freedom and strange situation of Polish intelligentsia of the late 1950s in connection with characters of Shakespeare’s tragedy. Skolimowski’s parody has typical for this artistic obsessive-compulsive dimension (Don Fredericksen’s term). Skolimowski took the title and protagonists from the classic drama and transmitted the main subject in a way that is much darker and ironic than the original.Hamleś is a brilliant etude made in 1960 by young film-maker Jerzy Skolimowski during his studies in famous Film School in Łódź. In ballad form this mysterious and dark story tells about lost hopes of freedom and strange situation of Polish intelligentsia of the late 1950s in connection with characters of Shakespeare’s tragedy. Skolimowski’s parody has typical for this artistic obsessive-compulsive dimension (Don Fredericksen’s term). Skolimowski took the title and protagonists from the classic drama and transmitted the main subject in a way that is much darker and ironic than the original.
Zagadnienia realizacji filmów z ukrytej kamery stanowiących część telewizyjnych programów rozrywkowych
Get PDFStanisław Bareja’s master’s thesis Zagadnienia realizacji filmów z ukrytej kamery stanowiących część telewizyjnych programów rozrywkowych (Candid camera filmmaking for entertainment TV programs); defended in 1974; hasn’t been published yet in any part. As its title precisely indicates, Bareja’s paper revolves around a multi-stage process of making candid camera film clips. Bareja writes about his own experiences from the time of making TV show Tu Telewizja Warszawa w Programie 5 (Here is Warsaw TV on Channel 5, 1972; candid camera clips were a part of it). Thus, the theoretical deliberations are frequently illustrated with the examples from director’s practice.Stanisław Bareja’s master’s thesis Zagadnienia realizacji filmów z ukrytej kamery stanowiących część telewizyjnych programów rozrywkowych (Candid camera filmmaking for entertainment TV programs); defended in 1974; hasn’t been published yet in any part. As its title precisely indicates, Bareja’s paper revolves around a multi-stage process of making candid camera film clips. Bareja writes about his own experiences from the time of making TV show Tu Telewizja Warszawa w Programie 5 (Here is Warsaw TV on Channel 5, 1972; candid camera clips were a part of it). Thus, the theoretical deliberations are frequently illustrated with the examples from director’s practice.
Grand Theatre, Oratory and Anthropology in the Documentaries of Andrzej Fidyk
Get PDFThe article centres on the documentary works of Andrzej Fidyk. The director is fascinated by cultural anthropology. Showing diff erent aspects of social life in a theatrical manner is an omnipresent motif in his movies. A fi lm in general, by its nature, is a spectacle, but the director depicts within its reality diff erent kinds of spectacles: parades, as in the title of Th e Parade, musical scenes in Yodok Stories, and carnival in Carnaval…. Th e crown jewel in this double, increasing spectacularity is Carnaval. Th e Biggest Party In Th e World, and the movie inside the movie – Cameramen from Calcutta. A religious spectacle can be found inside Staszek’s Dream abstracts314 in Teheran. Scenes of muslim grief three years aft er the death of Chomeini, inside a country considered to be exemplary in its religiousness are compared to “the trend of going to orthodox churches” in Russia. Th e most interesting by the criteria of spectacularity is Carnaval…, which has been the subject of many analysis and interpretations by cultural theorists, anthropologists and sociologists. Fidyk in his movie shows the nature of this spectacle with great fi nery.
Superbohater made in Poland – parodia w Hydrozagadce Andrzeja Kondratiuka
Get PDFThe article looks at Andrzej Kondratiuk’s film Hydrozagadka as a parody of stories about superheroes. An analysis of the construction of the film’s characters, plot, rhetoric, ideology and use of space reveals a parodic transformation of the original model. Also analysed is the comic effect achieved by placing an American pop culture icon in a foreign cultural context – Poland in the early 1970s. The parodic nature of Hydrozagadka is analyzed in the context of Polish propaganda art from the period of communism.The article looks at Andrzej Kondratiuk’s film Hydrozagadka as a parody of stories about superheroes. An analysis of the construction of the film’s characters, plot, rhetoric, ideology and use of space reveals a parodic transformation of the original model. Also analysed is the comic effect achieved by placing an American pop culture icon in a foreign cultural context – Poland in the early 1970s. The parodic nature of Hydrozagadka is analyzed in the context of Polish propaganda art from the period of communism
Autobus Linkego jako parodia PRL. Studium intertekstualne
Get PDFMarek Hendrykowski’s study is concerned with the close-reading analysis and interpretation of the Autobus (1955–1961) oil on canvas painted by Bronisław Wojciech Linke. This masterpiece of Polish peinture of the 1950s is deeply related to history and conditions of human life in Poland and other East European countries after World War II where everyday life is based on ideology imposed on society. Linke’s peinture gives emblematic ironic image of it created as an anti-social realist protest based on paradigm of Polish culture and art of the period.Marek Hendrykowski’s study is concerned with the close-reading analysis and interpretation of the Autobus (1955–1961) oil on canvas painted by Bronisław Wojciech Linke. This masterpiece of Polish peinture of the 1950s is deeply related to history and conditions of human life in Poland and other East European countries after World War II where everyday life is based on ideology imposed on society. Linke’s peinture gives emblematic ironic image of it created as an anti-social realist protest based on paradigm of Polish culture and art of the period
"Night with the General" - a Democratic Documentary
Get PDFThe film is one of few examples of political documentaries produced in Poland after 1989. It is not limited to merely outlining the political argument over General Jaruzelski’s decision to impose martial law. Although it concerns events in Polish history, it is not a historical documentary, as it brings forth present-day political conflicts that have arisen around historical events. Trying to reconstruct this current political argument, Zmarz-Koczanowicz reaches for a method developed in the 1970s by the so-called “Kraków School” led by Krzysztof Kieślowski. ^e “talking heads” method was meant to help documentary filmmakers in the Polish People’s Republic reach what the person in the street actually thought and avoid the distortions of propaganda. For Kieślowski, however, the overriding aim was conciliation and an attempt to understand both sides of the political barricade - the authorities and the vox popu- li. His attitude, according to the terminology suggested by Chantal Mouffe, was a post-political one striving for an agreement through a rational dialogue. Zmarz-Koczanowicz’s aim, however, is different: she is intent on showing a clash of different hegemonies that do not strive for consensus. Their agonistic argument, played out in the political register, rather than a moral one, is a guarantee, according to this Belgian philosopher of politics, that democracy will continue to exist.
Autobiograficzny film dokumentalny. Eksplikacja autorska filmu "Self(less)-Portrait"
Get PDF.Autobiograficzny film dokumentalny. Eksplikacja autorska filmu "Self(less)-Portrait
Węgierska parodia filmowa. Skutki uboczne parodii filmowych z czasów Kádára
Get PDFIn the rich and colorful Hungarian film history from post-war years to the present day we find an abundance of comedies combining satire, epigram, burlesque, but true parody film among them is not too much, is a rare phenomenon. What is the reason? We are looking for the answers in examples of two trials of parody film: the first and the only parody of James Bond: Az Oroszlan ugrani készül (dir. György Révész, 1969) and Kojak Budapesten (dir. Sándor Szalkai,1980), inspired by the main character of the American television series Kojak. Both attempts are accompanied with specific “side effects”. It tells a lot about the possibilities and limits of the Hungarian film parody.In the rich and colorful Hungarian film history from post-war years to the present day we find an abundance of comedies combining satire, epigram, burlesque, but true parody film among them is not too much, is a rare phenomenon. What is the reason? We are looking for the answers in examples of two trials of parody film: the first and the only parody of James Bond: Az Oroszlan ugrani készül (dir. György Révész, 1969) and Kojak Budapesten (dir. Sándor Szalkai,1980), inspired by the main character of the American television series Kojak. Both attempts are accompanied with specific “side effects”. It tells a lot about the possibilities and limits of the Hungarian film parody
Scenariusz filmowy jako inspiracja
Get PDFScreenplay is a multifunctional project written by screenwriter or screenwriters for preparing next phases of film production. Changing and many times transformed forms of screenplay belong to the nature of screenwriting. Literary vision of film changes several times being result of synergy and typical work in progress: from general idea and high concept, through story, treatment, scalette, first draft and certain number of drafts, to final draft, director’s draft and shooting script. Marek Hendrykowski’s study describes and explains these terms as forms of literary film creation in three complementary aspects: creative re-vision, rewriting and remodeling.Screenplay is a multifunctional project written by screenwriter or screenwriters for preparing next phases of film production. Changing and many times transformed forms of screenplay belong to the nature of screenwriting. Literary vision of film changes several times being result of synergy and typical work in progress: from general idea and high concept, through story, treatment, scalette, first draft and certain number of drafts, to final draft, director’s draft and shooting script. Marek Hendrykowski’s study describes and explains these terms as forms of literary film creation in three complementary aspects: creative re-vision, rewriting and remodeling.
The Kind Millionaire, Lemonade Joe and Superman. On Czech Film Parodies
Get PDFoai:ojs.pressto.amu.edu.pl:article/902The article deals with Czech film parodies that were produced primarily during the period of the state-directed cinema (1945–1989). Their development was connected to a campaign against trash literature, which attempted in the 1930s and 1940s to suppress different popular genres that were considered worthless and harmful. Parodies caricatured conventions of disapproved genres (romance, western, detective story), but at the same time, maintained an awareness of them and eventually also functioned as a substitute for them. The construction of parodies was often based on the accumulation of motifs of a given genre and their escalation to absurdity. The technique of confrontation of disparate elements was also repeatedly used: the conventionality and artificiality of the world of the parodied genre was unveiled as an encounter with the world, which was presented as real and ordinary