Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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The City According to Mike Leigh
Get PDFThe City According to Mike LeighThe key to the interpretation of the image of London presented in Mike Leigh’s films can be found in his own words: “I actually do think London is a hidden city the way New York isn’t.” and “You can get the hang of New York, but London is a collection of villages. It takes a long time to get under its skin.” London in Mike Leigh’s films perfectly matches the director’s creative thought, exposing social differences and the lack of communication in the family. However, the director releases his characters from the dark corners and hideous streets, and lets more light and nature into their lives. Thanks to this, as he has said, the city becomes a collection of small villages, which for him is the greatest value of the place where he lives and makes his
Miasto i jego ukryty wymiar w sztuce
Get PDFThe purpose of this article is to show the relationship between art, photography and architectural spaces that create new creative visions in these areas. The explored topic reveals a situation that affects the understanding of the current role of architecture, where previously there was no place for abstract concepts. Today this gap is complemented by artists as well as by architects, who often straddle architectural practice and a desire to be an artist. The penetration of these attitudes creates a situation in which the previously outlined boundaries of both disciplines are being crossed, in what might be called the transgression of art and architecture. As a result, a relationship between an artist and a given space is created. But what effect has this on the understanding of the relationship? What can we learn from these relationships?The City and its hidden dimension in artThe purpose of this article is to show the relationship between art, photography and architectural spaces that create new creative visions in these areas. The explored topic reveals a situation that affects the understanding of the current role of architecture, where previously there was no place for abstract concepts. Today this gap is complemented by artists as well as by architects, who often straddle architectural practice and a desire to be an artist. The penetration of these attitudes creates a situation in which the previously outlined boundaries of both disciplines are being crossed, in what might be called the transgression of art and architecture. As a result, a relationship between an artist and a given space is created. But what effect has this on the understanding of the relationship? What can we learn from these relationships
Historia zespołów filmowych z dzisiejszej perspektywy
No full textDirectors were central and outstanding figures in the creation of the postwar Polish film industry from the 1940s to the late 1980s. Educating young filmmakers, the Film School in Łódź fostered a documentary-realist style of narrative filmmaking, seen in the work of such talents as Munk, Wajda, Morgenstern, Polański, Zanussi, Skolimowski, Marczewski and Kieślowski. Since 1990, the producer system has replaced the traditional structure of Polish cinema connected with the director’s pursuits and primacy, and well as film units. Marek Hendrykowski’s critical study describes this process, covering selected historical, political and cultural events. The author discusses various aspects of this evolution and the idea of the creative producer, redefining its role for generations to come.A History of Polish Film Units from a present-day perspectiveDirectors were central and outstanding figures in the creation of the postwar Polish film industry from the 1940s to the late 1980s. Educating young filmmakers, the Film School in Łódź fostered a documentary-realist style of narrative filmmaking, seen in the work of such talents as Munk, Wajda, Morgenstern, Polański, Zanussi, Skolimowski, Marczewski and Kieślowski. Since 1990, the producer system has replaced the traditional structure of Polish cinema connected with the director’s pursuits and primacy, and well as film units. Marek Hendrykowski’s critical study describes this process, covering selected historical, political and cultural events. The author discusses various aspects of this evolution and the idea of the creative producer, redefining its role for generations to come
Dwugłos o poznańskim Studiu Filmów Animowanych
Get PDFThe article relates to the studio both as an institution which has operated for three decades in different economic systems and various legal and organisations forms and as a creative team that has made films. The authors are: Ewa Sobolewska, a film producer associated with the Studio since the very beginning, its president for over ten years to date, and Jan Zamojski, an academic and script writer cooperating with the Studio as the author of adaptations and scripts for the films of the series Fourteen Tales from the Kingdom of Lailonia by Leszek Kołakowski. The article adopts a perspective of Production Culture studies initiated by J.T. Caldwell, with the use of the so-called emic perspective and a narrative interview. It is composed of a methodological part and authors’ comments to the questions they posed to each other. The narratives provide impressions from the period of developing the concept of the film and from the film set itself. They also contain more general self-reflections on the role of the script writer and the role of the producer in the creation of a film and reflections on the role of the Poznań Studio of Animation Films for the culture of film, including its local aspect.Artykuł dotyczy tego studia zarówno jako instytucji, która w ciągu trzydziestu kilku lat funkcjonowała w różnych systemach ekonomicznych i w różnych formach organizacyjno-prawnych, jak i jako zespołu twórczego, dzięki któremu powstawały i powstają filmy. Jego autorami są: Ewa Sobolewska, producent filmowy, związana ze studiem od początków jego istnienia, a od kilkunastu lat jego prezes, i Jan Zamojski, pracownik naukowy i scenarzysta, związany ze studiem jako pomysłodawca adaptacji i autor scenariuszy filmów z cyklu 14 bajek z królestwa Lailonii Leszka Kołakowskiego. Artykuł napisany jest z pozycji badań kultury produkcji, wyznaczonej przez J.T. Caldwella, przy przyjęciu tzw. perspektywy emic i wykorzystaniu narzędzia wywiadu narracyjnego. Zawiera część metodologiczną oraz wypowiedzi autorów, które powstały jako komentarze do zagadnień, jakie przedstawili sobie nawzajem. Narracje te są świadectwami wrażeń zarówno z okresu koncepcyjnego pracy nad filmem jak i z planu filmowego i zawierają także ogólniejsze autorefleksje dotyczące roli scenarzysty i roli producenta w powstawaniu filmu oraz roli poznańskiego Studia Filmów Animowanych w kulturze filmowej, w tym także w jej lokalnym wymiarze
Rynek wideo w Polsce
Get PDFThe development of VHS market in Poland can be roughly divided into two main periods: first (1980-1988) is the one when that area of pop culture first came into existence and shaped, second (1988-1992) is the "video boom" era. In the years 1980-1988 the video market developed thanks to the cunningness and resourfulness of a large number of people who succumbed to the magic of that new medium. They worked almost entirely illegally because the market was not being regulated by any legal norms and the cassettes that were being produced were of a very low quality. In the years 1988-1992 the VHS market was on a very high demand. Significant piracy-limiting legal norms were introduced and professional production and distribution companies began to play a larger role than before. Renting VHSs and watching movies on one\u27s own TV set became a massive phenomenon. The article is an attempt to tell the unknown story of video-cassettes in Poland – methods of their dissemination, mechanisms of VHS market and influence on Polish audience.The development of VHS market in Poland can be roughly divided into two main periods: first (1980-1988) is the one when that area of pop culture first came into existence and shaped, second (1988-1992) is the "video boom" era. In the years 1980-1988 the video market developed thanks to the cunningness and resourfulness of a large number of people who succumbed to the magic of that new medium. They worked almost entirely illegally because the market was not being regulated by any legal norms and the cassettes that were being produced were of a very low quality. In the years 1988-1992 the VHS market was on a very high demand. Significant piracy-limiting legal norms were introduced and professional production and distribution companies began to play a larger role than before. Renting VHSs and watching movies on one\u27s own TV set became a massive phenomenon. The article is an attempt to tell the unknown story of video-cassettes in Poland – methods of their dissemination, mechanisms of VHS market and influence on Polish audience
Pasjonujące praskie leporello. Praga, niespokojne serce Europy (1984) Very Chytilovej
No full textVěra Chytilova’s film was created during the culmination of processes related to the Czechoslovak normalization. Prague… is not only a highly stylized film essay that provides the viewer with a fascinating visual experience and deep emotions, but evokes the themes of a substantive philosophical debate in conjunction with the knowledge of Prague’s genius loci. Chytilova’s film considers the history and role of humans, taking as a starting point the history of Prague. Therefore, the film still inspires.Exciting Prague Leporello. Prague, the Restless Heart of Europe (1984), a film by Věra Chytilová Věra Chytilova’s film was created during the culmination of processes related to the Czechoslovak normalization. Prague… is not only a highly stylized film essay that provides the viewer with a fascinating visual experience and deep emotions, but evokes the themes of a substantive philosophical debate in conjunction with the knowledge of Prague’s genius loci. Chytilova’s film considers the history and role of humans, taking as a starting point the history of Prague. Therefore, the film still inspires.Film Věry Chytilovej powstał w latach kulminacji procesów związanych z czechosłowacką normalizacją. Praga… jest nie tylko wysoce stylizowanym esejem filmowym, który dostarcza widzowi fascynację wizualną i głębokie emocje, przedstawia także debatę merytoryczną natury filozoficznej w powiązaniu ze świadomością praskiego genius loci. Biorąc za punkt wyjścia historię Pragi, rozważa dzieje i rolę człowieka w nich. Dlatego film ten do dziś inspiruje
Produkcja filmowa jako kultura. O pisarstwie filmowym Edwarda Zajička
Get PDFMarek Hendrykowski’s paper is devoted to the unique volume and its outstanding author. The book entitled “Beyond the Screen. Polish Cinematography 1896-2005” written by Edward Zajiček, Professor of Film School in Łódź, is the standard work in the field, unquestionably the most comprehensive and complete book on the history of Polish film production as a specific form of state and individual activity. This newly revised and expanded up-to-date monograph covering every important information about Polish film industry is the ideal introduction to everything the interested reader needs to know about it: from the fundamentals of film production to close-reading analyses of hundreds of classic examples.Artykuł Marka Hendrykowskiego poświęcony jest unikalnej książce i wyjątkowemu autorowi. Książka zatytułowana „Poza ekranem. Polska kinematografia w latach 1896-2005”, napisana przez Edwarda Zajička, profesora PWSFTvT w Łodzi, jest podstawową pracą w dziedzinie studiów nad filmem, bez wątpienie najbardziej wszechstronną i kompletną ksiązką na temat historii produkcji filmowej w Polsce jako specyficznej formie państwowej oraz indywidualnej aktywności. Ostatnio uaktualniona monografia zawiera wszelkie istotne informacje o polskim przemyśle filmowym i jest niezastąpionym podręcznikiem dla każdego czytelnika poszukującego informacji o nim. Książka oferuje nieoceniony zasób wiedzy i faktów, począwszy od podstaw produkcji filmowej po wnikliwe analizy setek klasycznych przykładów
„Od świtu do zmierzchu” – współczesne obrazy miasta w projektach dokumentalnych Maciej Drygasa i Mirosława Dembińskiego
No full textThe text refers to two documentary projects that were created by well-known Polish documentary film directors: Maciej Drygas and Mirosław Dembiński. The first one, Łódź from Dawn till Dusk, was made as a part of the education program at the Polish National Film, Television and Theatre School in Łódź in 2007. For several years, students in the second year of the Directing Department made short films about Łódź, forming out of this mosaic, images of the city from dawn till dusk. After having been experienced in Łódź, the project led to the idea of using this method to describe various cities around the world. Finally, five films were made in five different cities under the auspices of the Adam Mickiewicz Institute. This article concentrates on the analysis of the structure of these films and the images of the cities that emerge out of them.“The World from Dawn til Dask”. Contemporary Images of the City in the Documentary Projects of Maciej Drygas and Mirosław DembińskiThe text refers to two documentary projects that were created by well-known Polish documentary film directors: Maciej Drygas and Mirosław Dembiński. The first one, Łódź from Dawn till Dusk, was made as a part of the education program at the Polish National Film, Television and Theatre School in Łódź in 2007. For several years, students in the second year of the Directing Department made short films about Łódź, forming out of this mosaic, images of the city from dawn till dusk. After having been experienced in Łódź, the project led to the idea of using this method to describe various cities around the world. Finally, five films were made in five different cities under the auspices of the Adam Mickiewicz Institute. This article concentrates on the analysis of the structure of these films and the images of the cities that emerge out of them
Magic, emotions and film producers: unlocking the “black-box” of film production
Get PDFThe starting point in the article is production culture research. Dorota Ostrowska points that – contradictiory to promises – this approach still failed to provide analisis showing connection between production culture and textual characteristic of particular films. She mentions a few successful research endevours aimed to highlight that connection such as Wisconsin researches classical Hollywood cinema examining. Then Ostrowska proposes Flusser’s reflections and Action-Network Theory as promising theoretical backgrounds for production culture research. In conclusion she points also the persepctive originated in organisational science (subdivision of management studies) as a worthy tool to aplication in film production studies. This approaches is based on close examining of organization also in emotional and sensual terms. Ostrowska argues that emotional dimension of cinema, which is traditionally highlightened, could be also connected with production process and work of film crews
Studia Filmowe „Wir” i „Kronika”, czyli kilka uwag na temat produkcji filmów dokumentalnych po 1989 roku
No full textThe article provides an overview of a history of the two institutions involved in the production of documentary films - Film Studio "Kronika" and Film Studio "Wir". Their example can verify the general statements about the condition of Polish cinema after 1989. Discussion of the economic context and market regulation, about realities of teamwork, gives a more complete picture of how the producers of documentaries and newsreels were fighting to survive in a market of free media. The author analyzes and discusses legislation and financial reports, showing that the specific economic situation and sources of funding for "Kronika" and "Wir" had a direct impact on the quantity and quality of the completed documentary and archival notations. Reflections on the execution of particular projects, illustrate the survival strategy of institutions focused on production of non-commercial films. Discussion of the circumstances of the fall of the Film Studio "Wir" and the various stages of commercialization and privatization Film Studio "Kronika", leads to the conclusion that the Law on Cinematography in 2005 (giving revolutionary solution in production financing area for the Polish cinematography, introducing clear rules of the game between film producers), contains provisions unfavorable for institutions under the supervision of the state.Artykuł zawiera zarys dziejów dwóch instytucji filmowych zajmujących się produkcją filmów dokumentalnych – Studia Filmowego „Kronika” i Studia Filmowego „Wir”. Ich przykład pozwala zweryfikować ogólne stwierdzenia na temat kondycji polskiej kinematografii po 1989 roku. Omówienie kontekstu ekonomicznego, rynkowego i regulacji prawnych oraz realiów twórczości zespołowej, daje pełniejszy obraz tego, w jaki sposób producenci filmów dokumentalnych i kroniki filmowej walczyli o przetrwanie na rynku wolnych mediów. Autorka analizuje i omawia akty prawne oraz raporty finansowe, wykazując, że specyficzna sytuacja ekonomiczna i źródła finansowania "Kroniki" i "Wiru" miały bezpośredni wpływ na ilość i jakość zrealizowanych filmów dokumentalnych oraz na archiwalne notacje. Refleksje na temat warunków realizacji poszczególnych projektów obrazują strategię przetrwania instytucji nastawionych na produkcję filmów niekomercyjnych. Omówienie okoliczności upadku Studia Filmowego "Wir" oraz poszczególnych etapów komercjalizacji i prywatyzacji Studia Filmowego "Kronika", prowadzi do wniosku, że ustawa o kinematografii z 2005 roku (dająca polskiej kinematografii rewolucyjne rozwiązania w zakresie finansowania produkcji, wprowadzająca przejrzyste reguły gry pomiędzy producentami filmowymi), zawiera przepisy niekorzystne dla instytucji pozostających pod nadzorem państwowym