Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Filmowa Łódź w oczach studentów i profesorów PWSFTViT
Get PDFŁódź is often called “the capital of Polish film”. The cultural history of this town from the end of World War Two to the present day is closely connected with the movie industry. Marek Hendrykowski’s study on Łódź as a cinematic city offers the first comprehensive critical guide to the many films, interviews, published writings and individual memoirs of the Film School’s students and professors. This panoramic view presents the process of the historical transformation of cinematic images from Łódź between 1945 and 2013, as well as the profound influence this town had on many filmmakers. It serves as a reference work that will allow readers to navigate the subject’s wide range of examples: from Antoni Bohdziewicz, Jerzy Bossak, Kazimierz Kutz and Andrzej Wajda to Krzysztof Kieślowski, Wojciech Wiszniewski, Janusz Kijowski and Polish filmmakers of new generation.Cinematic City Łódź through eyes of the Film School. Students and ProfessorsŁódź is often called “the capital of Polish film”. The cultural history of this town from the end of World War Two to the present day is closely connected with the movie industry. Marek Hendrykowski’s study on Łódź as a cinematic city offers the first comprehensive critical guide to the many films, interviews, published writings and individual memoirs of the Film School’s students and professors. This panoramic view presents the process of the historical transformation of cinematic images from Łódź between 1945 and 2013, as well as the profound influence this town had on many filmmakers. It serves as a reference work that will allow readers to navigate the subject’s wide range of examples: from Antoni Bohdziewicz, Jerzy Bossak, Kazimierz Kutz and Andrzej Wajda to Krzysztof Kieślowski, Wojciech Wiszniewski, Janusz Kijowski and Polish filmmakers of new generation
Fotograficzna enklawa. Nowy Jork i jego mieszkańcy w soczewce aparatu
No full textThe title phrase “photographic enclave” expresses the condition of projects that tell about a city using a photographic medium. The article discusses three audiovisual works that use photos to portray New York and its inhabitants: Smoke by Wayne Wang and Paul Auster, Stefan Nadelman’s Terminal Bar, and the multimedia project One in 8 Million. The works represent a variety of film models (drama, documentary, interactive media), and their authors use the formal and cognitive aspects of photography in a different ways. The aim of the article is to analyze the function of photography for portraying urban communities and to see if this treatment was successful.Photographic enclave. New York City and its inhabitants through camera lensThe title phrase “photographic enclave” expresses the condition of projects that tell about a city using a photographic medium. The article discusses three audiovisual works that use photos to portray New York and its inhabitants: Smoke by Wayne Wang and Paul Auster, Stefan Nadelman’s Terminal Bar, and the multimedia project One in 8 Million. The works represent a variety of film models (drama, documentary, interactive media), and their authors use the formal and cognitive aspects of photography in a different ways. The aim of the article is to analyze the function of photography for portraying urban communities and to see if this treatment was successful
Kolor w przestrzeni miejskiej „Siedem” Davida Finchera
Get PDFThe city in Seven is full of dark and claustrophobic spaces, dominated by three colors: black, green and red. The significance of these colors is associated with sin: laziness (green), impurity (red) and pride (red, white). Desaturation of color and deep blacks throughout the film are the result of artistic treatments such as flyflashing and bleach-bypass. Color is complemented by light – sometimes minimal, other times quite blinding. The sound of thunder and rain complete the picture of the city as a place of moral decay, where two forces are fighting: light and darkness, purity and sin.The Colour of Urban Areas in David Fincher’s SevenThe city in Seven is full of dark and claustrophobic spaces, dominated by three colors: black, green and red. The significance of these colors is associated with sin: laziness (green), impurity (red) and pride (red, white). Desaturation of color and deep blacks throughout the film are the result of artistic treatments such as flyflashing and bleach-bypass. Color is complemented by light – sometimes minimal, other times quite blinding. The sound of thunder and rain complete the picture of the city as a place of moral decay, where two forces are fighting: light and darkness, purity and sin
Celeberrimae urbes - celebres praedicatores. O medialnym znaczeniu mnichów żebrzących w średniowiecznym mieście
Get PDFCeleberrimae urbes – celebres praedicatores. Mendicant friars as a medium of the medieval city.This article deals with media studies and discusses a problem thoroughly examined by historians of the Medieval period concerning the expansion of mendicant orders and their ministry work in the flourishing European cities of the 13th century. The research perspective – which differs from a strictly historical and theological point of view – emphasizes the impact of mendicant orders on communication in the rapidly changing social conditions of the era. Therefore, it allows one to interpret confrontations with wandering heretical preachers in the 12th century not only as a religious conflict, but also a confrontation with a certain way of distributing ideas that contested the existing state of affairs. It also makes it possible to expose the enduring features of the media role of the preacher, which determined his popularity until the Reformation.
Między poetyką kulturową a kulturą produkcji. Społeczny kontekst realizacji pierwszych filmów Andrzeja Wajdy
Get PDFThe article is an attempt to examining again the three first movies of Andrzej Wajda: Generation, Canal and Diamonds and Ashes, regarding archival protocols and production issues more then stict artistic or auteur factors. The inspiration was both production culture perspective and New Historicism of Stephen Greenblatt. The text shows how many additional factors played decisive role in realising those classical movies and how much the movies were connected with plays for cultural power and dominance in those historical reality. In effect we can observe specific kind of dispersive authorship in which film authors hasn’t full control on the final effacts of the movie, for example its social impact and audience recepton.The article is an attempt to examining again the three first movies of Andrzej Wajda: Generation, Canal and Diamonds and Ashes, regarding archival protocols and production issues more then stict artistic or auteur factors. The inspiration was both production culture perspective and New Historicism of Stephen Greenblatt. The text shows how many additional factors played decisive role in realising those classical movies and how much the movies were connected with plays for cultural power and dominance in those historical reality. In effect we can observe specific kind of dispersive authorship in which film authors hasn’t full control on the final effacts of the movie, for example its social impact and audience recepton.Artykuł stanowi próbę ponownego przyjrzenia się trzem pierwszym filmom Andrzeja Wajdy: Pokoleniu, Kanałowi oraz Popiołowi i diamentowi uwzględniając dokumenty archiwalne i materię produkcyjną w większym stopniu niż czynniki ściśle artystyczne i autorskie. Inspiracją są badania kultury produkcji oraz poetyka kulturowa Stephena Greenblatta. W efekcie tekst pokazuje jak wiele czynników pobocznych odgrywało decydującą rolę dla powstania danych tytułów oraz w jak wielkim stopniu filmy te były powiązane z ówczesnymi walkami o dominację kulturową. Tekst pokazuje w ten sposób wizję swoistego rozproszonego autorstwa, o mniejszym stopniu reżyserskiej kontroli względem powstającego dzieła, w również jego recepcji
Miasto w Lailonii. Uwagi scenarzysty
Get PDFThe article discusses the role of the city in Tales from the Kingdom of Lailonia by the philosopher Leszek Kołakowski, and in the animated film series Fourteen Tales from the Kingdom of Lailonia by Leszek Kołakowski, which is an adaptation of the book. The article is written from the point of view of the originator of the adaptation and the screenwriter of all the films in the series. The author examines the historical and ideological context of L. Kołakowski’s writing the Tales … and analyzes the role of the city understood as the setting of the plot (topos) and the venue for an exchange of ideas (agora) and for the community (polis); he does so on three levels: that of the literary original, the screenplay adaptation, and the film. He also examines the role of the city in those senses for the drama of the individual films, the philosophical and esthetic premises of the role, and – in these contexts – the relations between the selected films and their screenplays.A city in Lailonia. Remarks from a screenwriterThe article discusses the role of the city in Tales from the Kingdom of Lailonia by the philosopher Leszek Kołakowski, and in the animated film series Fourteen Tales from the Kingdom of Lailonia by Leszek Kołakowski, which is an adaptation of the book. The article is written from the point of view of the originator of the adaptation and the screenwriter of all the films in the series. The author examines the historical and ideological context of L. Kołakowski’s writing the Tales … and analyzes the role of the city understood as the setting of the plot (topos) and the venue for an exchange of ideas (agora) and for the community (polis); he does so on three levels: that of the literary original, the screenplay adaptation, and the film. He also examines the role of the city in those senses for the drama of the individual films, the philosophical and esthetic premises of the role, and – in these contexts – the relations between the selected films and their screenplays
Polska produkcja filmowa po roku 2005 w perspektywie badań ilościowych
Get PDF The aim of the article is to present the contemporary Polish cinema as the integrated economic, cultural and legal system, to quote dispersed data and to present the data generated by the autohor, which is her own contribution into the development of the film science. Step by step, the author describes the process of achieving the results, problems with the methodology, the decisions about applying specified methods of calculating or presenting the data and the application of exceptions. The situation of the Polish cinema today is influenced and determined by the Law on Cinematography which was introduced in 2005. Its real effects were observed in 2007. The number of Polish feature films increased from 20-25 in2000-2005 to 40-55 in2007-2011. The auhor cites the metodology keys to estimate the number of the feature films in the defined The aim of the article is to present the contemporary Polish cinema as the integrated economic, cultural and legal system, to quote dispersed data and to present the data generated by the autohor, which is her own contribution into the development of the film science. Step by step, the author describes the process of achieving the results, problems with the methodology, the decisions about applying specified methods of calculating or presenting the data and the application of exceptions. The situation of the Polish cinema today is influenced and determined by the Law on Cinematography which was introduced in 2005. Its real effects were observed in 2007. The number of Polish feature films increased from 20-25 in2000-2005 to 40-55 in2007-2011. The auhor cites the metodology keys to estimate the number of the feature films in the defined year.
Tradition and Modernization. Contemporary Hungarian Popular Cinema
Get PDFThis article provides an overview of the recent trends and problems of Hungarian popular cinema with special regard to its cultural context outlining the process of recognition of popular cinema over the past twenty years in Hungary. In general Hungarian cinema is characterised by middle-range genres (dominantly comedy) and not by a large scope. This was the case in the 1930s and 1940s during the ’golden age’ of Hungarian comedies and popular cinema. And this typifies contemporary Hungarian popular cinema as well. However, the first decade after the political changes, the 1990s was characterised by a return to the tradition of the classical Hungarian comedies and only the 2000s brought the modernization of Hungarian popular cinema.This article provides an overview of the recent trends and problems of Hungarian popular cinema with special regard to its cultural context outlining the process of recognition of popular cinema over the past twenty years in Hungary. In general Hungarian cinema is characterised by middle-range genres (dominantly comedy) and not by a large scope. This was the case in the 1930s and 1940s during the ’golden age’ of Hungarian comedies and popular cinema. And this typifies contemporary Hungarian popular cinema as well. However, the first decade after the political changes, the 1990s was characterised by a return to the tradition of the classical Hungarian comedies and only the 2000s brought the modernization of Hungarian popular cinema
Analiza gatunkowo-estetyczna „Pomostu” Chrisa Markera. Interpretacja filmu jako przykładu „kina możliwego”
No full textThe paper discusses the French science fiction short film The Jetty (La Jetée) by Chris Marker. Made in 1962, the black and white film is constructed almost entirely from still photos. The author first gives a summary of the plot and then considers the genre and aesthetic syncretism of Marker’s work. Musical, rhythmical and visual aspects of the movie are also covered. Using Waldemar Frąc’s theory of “possible cinema”, whose main ideas are presented in the article, various possible ways of interpreting the film are shown.Genre and aesthetic analysis of The Jetty by Chris Marker. Interpretation of the film as a case of “possible cinema” The paper discusses the French science fiction short film The Jetty (La Jetée) by Chris Marker. Made in 1962, the black and white film is constructed almost entirely from still photos. The author first gives a summary of the plot and then considers the genre and aesthetic syncretism of Marker’s work. Musical, rhythmical and visual aspects of the movie are also covered. Using Waldemar Frąc’s theory of “possible cinema”, whose main ideas are presented in the article, various possible ways of interpreting the film are shown
Podwodne, kosmiczne, duchowe. Miasta rosyjskie a sfera publiczna w filmach skandynawskich dokumentalistów
Get PDFThe article discusses three documentaries made since 2000 by Scandinavian filmmakers: the Finnish director Marja Pensala’s The Eclipse of the Soul (2000) and two films by Danish authors: Boris Bertram’s Tankograd (2010) and Ada Bligaard Søby’s The Naked of Saint Petersburg (2010). All the films are portraits of Russian cities and their residents. In my study, I draw on concepts such as the “Russian soul”, private/public and bytie (the spiritual being)/byt (the daily grind), which, as I argue, are important aspects of all three films, and at the same time, useful tools for their analysis. Common to these documentaries is the fact that the authors direct their attention to the asymmetrical relation between the state’s position of power and its largely powerless citizens. The constitutive element of a city as such – being a public space, i.e. a space to which all people should have equal access and rights – appears largely distorted. As a consequence, the residents escape from their stark reality to create alternative, imaginary spaces – be it a lost paradise, like the underwater city of Mologa in Pensala’s film, a cosmic heterotopia, like the space of art in Bertram’s Tankograd, or a spiritual universe, like in Søby’s short documentary. In all these films, the directors’ point of reference – their cultural perspective – is emphasized as a filter, through which the Russian reality is perceived.Underwater, cosmic, spiritual. Russian cities in Scandinavian documentaries The article discusses three documentaries made since 2000 by Scandinavian filmmakers: the Finnish director Marja Pensala’s The Eclipse of the Soul (2000) and two films by Danish authors: Boris Bertram’s Tankograd (2010) and Ada Bligaard Søby’s The Naked of Saint Petersburg (2010). All the films are portraits of Russian cities and their residents. In my study, I draw on concepts such as the “Russian soul”, private/public and bytie (the spiritual being)/byt (the daily grind), which, as I argue, are important aspects of all three films, and at the same time, useful tools for their analysis. Common to these documentaries is the fact that the authors direct their attention to the asymmetrical relation between the state’s position of power and its largely powerless citizens. The constitutive element of a city as such – being a public space, i.e. a space to which all people should have equal access and rights – appears largely distorted. As a consequence, the residents escape from their stark reality to create alternative, imaginary spaces – be it a lost paradise, like the underwater city of Mologa in Pensala’s film, a cosmic heterotopia, like the space of art in Bertram’s Tankograd, or a spiritual universe, like in Søby’s short documentary. In all these films, the directors’ point of reference – their cultural perspective – is emphasized as a filter, through which the Russian reality is perceived. Artykuł omawia trzy skandynawskie filmy dokumentalne: Zaćmienie duszy (2000) fińskiej reżyserki Marji Pensali, Tankograd (2010) autorstwa Duńczyka Borisa Bertrama oraz Nadzy z Petersburga (2010) w reżyserii duńskiej twórczyni Ady Bligaard Søby. Każdy z dokumentów to portret wybranego miasta w Rosji i jego mieszkańców. Odwołując się do koncepcji takich jak „rosyjska dusza”, bytie/byt oraz sfera publiczna/prywatna, istotnych dla samych filmów i stanowiących zarazem narzędzie analizy i refleksji, artykuł podejmuje przedstawiony przez skandynawskich twórców problem asymetrycznej relacji między skupioną w rękach państwa władzą a zwykłymi obywatelami. Sfera publiczna konstytuująca miasto, do której obywatele powinni mieć w miarę możliwości równy dostęp, jawi się w omawianych dokumentach jako wysoce skrępowana. Bohaterowie filmów tworzą w konsekwencji własne, wyobrażone przestrzenie: dokument Pensali ukazuje zatopione miasto Mołogę przekształcone poprzez pracę pamięci w utracony raj, w filmie Bertrama przestrzeń sztuki przetworzona zostaje w kosmiczną heterotopię, a w portrecie Ady Søby wędrówki po Petersburgu w towarzystwie jego mieszkańca obrazują metropolię jako duchowe uniwersum. W każdym z dokumentów twórcy zwracają uwagę odbiorców na kulturowe filtry, dzielące ich od portretowanej rosyjskiej rzeczywistości