Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Želimir Žilnik and Eastern European independent cinema
Get PDFIn my paper I will discuss the career of, a director born in 1942 in Nis in Yugoslavia, whose career, spanning over forty years and Yugoslavia, West Germany and Serbia, excellently illustrates the concepts of independent and transnational cinema and their interface. Žilnik’s career well illustrates the advantages and pitfalls of “independent filmmaking”, especially in the context of Eastern Europe. Hence, in my paper, I will use his case to examine this concept, drawing on Marx and Marxist thought, such as the critique of the “culture industry” by Horkheimer and Adorno and the concept of “critical media” by Christian Fuchs, and the history of Eastern Europe and its cinema, with its figure of “artist-dissident” and the specific case of Yugoslavia. My main point is that there is no “independent cinema” in absolute terms; cinema can only be independent from something, hence ‘independent cinema’ means different things in different cultural contexts
Praca w jednym ujęciu, czyli historia aktywności zawodowych XXI wieku widziana okiem kamery
Get PDFThe text deals with the topic of an international series of workshops initiated by Antje Ehman and Harun Farocki in 2011 under the auspices of the Goethe Institute and dedicated to the issue of labour. At present, ten workshops have been conducted of a planned fifteen (including Hanoi, Buenos Aires, Rio de Janeiro, Cairo, Berlin, Tel Aviv, Geneva and Lisbon). Łódź, representing Poland, was the ninth-place city. The Polish version of the workshop was attended by visual artists from the National Film School. The results of the workshop will be exhibited at the October exposition in 2013 and the Łódź Museum of Art. The curators of the project are Aleksandra Jach and Joanna SokołowskaLabor in a single shot: a history of 21st-century professional activities through a camera lensThe text deals with the topic of an international series of workshops initiated by Antje Ehman and Harun Farocki in 2011 under the auspices of the Goethe Institute and dedicated to the issue of labour. At present, ten workshops have been conducted of a planned fifteen (including Hanoi, Buenos Aires, Rio de Janeiro, Cairo, Berlin, Tel Aviv, Geneva and Lisbon). Łódź, representing Poland, was the ninth-place city. The Polish version of the workshop was attended by visual artists from the National Film School. The results of the workshop will be exhibited at the October exposition in 2013 and the Łódź Museum of Art. The curators of the project are Aleksandra Jach and Joanna Sokołowsk
Zjedz lub zostań zjedzony. Miasto Macunaímy
Get PDFMacunaíma, the trickster-hero from old Amerindian legends, was in the 1960s an icon of the Brazilian Cinema Novo – a new wave film movement that was a response by artists to class and racial disparities. Joaquim Pedro de Andrade, the director of Macunaíma (1969), moves the eponymous hero out of his jungle and puts him into the modern, mechanized and restless big city. Not only are social problems strongly emphasized in the film – equally important is here the aspect of myth itself. Macunaíma enters the new world as a real old-time god who sees the city as his opponent. During his battle – full of trickery and plotting – it emerges that the difference between the Amazonian jungle and the concrete jungle are barely visible.Eat or Be Eaten. The City of MacunaímaMacunaíma, the trickster-hero from old Amerindian legends, was in the 1960s an icon of the Brazilian Cinema Novo – a new wave film movement that was a response by artists to class and racial disparities. Joaquim Pedro de Andrade, the director of Macunaíma (1969), moves the eponymous hero out of his jungle and puts him into the modern, mechanized and restless big city. Not only are social problems strongly emphasized in the film – equally important is here the aspect of myth itself. Macunaíma enters the new world as a real old-time god who sees the city as his opponent. During his battle – full of trickery and plotting – it emerges that the difference between the Amazonian jungle and the concrete jungle are barely visible
Wielkomiejskie życie Drugiej Rzeczpospolitej w polskim filmie fabularnym okresu międzywojennego. Wstęp do tematu
Get PDFPolish feature films from the interwar period are to a great extent a reflection of the reality of that time. This can be seen mainly in the presentation of particular architectural objects and fashion from that time. The films are also a source of knowledge about the problems of the time: the impoverishment of the society, economic crisis, prostitution, etc. These pictures reflect reality, yet they are subject to numerous transformations, as the result of the conventions of the chosen genre.Big city life in the Second Commonwealth of Poland in Polish interwar feature films. An IntroductionPolish feature films from the interwar period are to a great extent a reflection of the reality of that time. This can be seen mainly in the presentation of particular architectural objects and fashion from that time. The films are also a source of knowledge about the problems of the time: the impoverishment of the society, economic crisis, prostitution, etc. These pictures reflect reality, yet they are subject to numerous transformations, as the result of the conventions of the chosen genre.
Zmiany percepcji w wyniku oddziaływania nowych mediów i nowych modeli odbioru dzieła filmowego
Get PDFMedialized way of perceiving and continual stuffing of reality with moving images have substantial impact on viewer’s perception, and thus on the interpretation of cinematic work. We cannot create contemporary cinema without understanding changes that the film and audiovisual audiences currently undergo. Contemporary audience has become nomadic more now than ever, and the spectator takes part in a grand spectacle that shapes their identity.Zmediatyzowany sposób postrzegania i sukcesywne wypełnianie naszej rzeczywistości ruchomymi obrazami mają znaczący wpływ na percepcję odbiorcy, a co za tym idzie na interpretację dzieła filmowego. Nie możemy być twórcami współczesnego kina nie rozumiejąc zmian, jakie zachodzą obecnie w widowni filmowej i audiowizualnej. Współczesna widownia stała się bardziej niż kiedykolwiek nomadyczna, a widz uczestniczy w wielkim spektaklu formującym jego tożsamość
Między kulturą wysoką a kulturą popularną. O muzyce George\u27a Gershwina w „Manhattanie” Woody\u27ego Allena
Get PDFThe article focuses on the relationships between high culture and popular culture in relation to film music. To this end, the author conducted a thorough analysis of the works of George Gershwin used in Woody Allen’s film Manhattan. The article consists of two parts and a conclusion. In the first part, the author presents a brief history of the continuous grinding together of high and popular culture in music, resulting in symphonic jazz, which came about in the 1920s, and whose precursor was George Gershwin. The second part is a cinematic and musicological analysis of all the works of Gershwin appearing on the soundtrack of Manhattan, and an attempt to find associations between the director and composer. In conclusion, the author notes that the phenomenon of mixing of popular culture and mass culture (both on the music, as well as its use in the work of the film) is subordinated in both George Gershwin and Woody Allen’s work to attempts to find their own identity, and one of the sources of inspiration of both artists is the same New York City, which is a city-myth.Between high culture and popular culture. The music of George Gershwin in Manhattan by Woody Allen The article focuses on the relationships between high culture and popular culture in relation to film music. To this end, the author conducted a thorough analysis of the works of George Gershwin used in Woody Allen’s film Manhattan. The article consists of two parts and a conclusion. In the first part, the author presents a brief history of the continuous grinding together of high and popular culture in music, resulting in symphonic jazz, which came about in the 1920s, and whose precursor was George Gershwin. The second part is a cinematic and musicological analysis of all the works of Gershwin appearing on the soundtrack of Manhattan, and an attempt to find associations between the director and composer. In conclusion, the author notes that the phenomenon of mixing of popular culture and mass culture (both on the music, as well as its use in the work of the film) is subordinated in both George Gershwin and Woody Allen’s work to attempts to find their own identity, and one of the sources of inspiration of both artists is the same New York City, which is a city-myth
Moskwa w bieli i czerni - trzy filmowe portrety miasta
No full textThis article presents the three different portraits of Moscow depicted in the Russian films Walking the Streets of Moscow by Georgy Danielija, Taxi Blues by Pavel Lungin and Moscow by Alexander Zeldovich. The times the films were made (the thaw period, the period after the collapse of the Soviet Union, and the decline during the 1990s) determine differences in the directors’ perceptions. The picture of the city becomes a reflection of both hope and of more contemporary fears and anxieties.Moscow in black and white - three film portraits of the city This article presents the three different portraits of Moscow depicted in the Russian films Walking the Streets of Moscow by Georgy Danielija, Taxi Blues by Pavel Lungin and Moscow by Alexander Zeldovich. The times the films were made (the thaw period, the period after the collapse of theSoviet Union, and the decline during the 1990s) determine differences in the directors’ perceptions. The picture of the city becomes a reflection of both hope and of more contemporary fears and anxieties
Intertekst w adaptacji filmowej
Get PDFThere are problems with discussing and interpreting film adaptation in the socio-cultural framework that is used for the semiotic, structural and aesthetic analysis of text. Even cinema as art often gives in to habit of talking about film “oeuvres” attributed to or identified in terms of an “author” and author’s cinema. It may be misleading to give too much weight and attention to the concept of “fidelity” of film adaptation, and it may be better to look at both – adapted piece of literature and its screen adaptation - as variously connected texts of culture confronting each other and participating in specific discourse. Marek Hendrykowski’s paper raises these questions, examines theoretical background of adaptation as form of communication, and reflects on the modelling linguistic aspects of intertextual analyses of film adaptation as a form of cultural translation.Dyskusja oraz interpretowanie adaptacji filmowej w społeczno-kulturowym odniesieniu, które jest typowym dla semiotycznej, strukturalistycznej oraz estetycznej analizy tekstu, bywa problematyczne. Nawet kino jako sztuka poddaje się zwyczajowi dyskutowania o filmowym dorobku przypisywanym lub identyfikowanym z „autorem” i kinem autorskim. Mylącym może być przecenianie i nadmierna uwaga poświęcana „wierności” adaptacji filmowej, a trafniejsze może okazać się spojrzenie zarówno na adaptowany utwór literacki, jak i jego wersję ekranową jako na połączone teksty kultury konfrontujące się wzajemnie i biorące udział w określonym dyskursie. Artykuł Marka Hendrykowskiego podnosi te kwestie, a następnie bada je w oparciu o teoretyczną podstawę, w ramach której postrzega się adaptację jako formę komunikacji oraz koncentruje się ona językowych aspektach analizy intertekstualnej adaptacji filmowej jako formy translacji kulturowej
Miasto na ludzką miarę
Get PDFThe Danish director Andreas M. Dalsgaard’s film The Human Scale (2012) is discussed in the context of recent documentaries on similar subjects that have been shown at human rights festivals. The Human Scale is primarily an excellent lecture on the ideas of Danish architect and urban planner Jan Gehl. The cognitive tools of persuasion and artistic means were equilibrated and combined in the film in order to convince the viewer of the value of Gehl’s concepts.The Human ScaleThe Danish director Andreas M. Dalsgaard’s film The Human Scale (2012) is discussed in the context of recent documentaries on similar subjects that have been shown at human rights festivals. The Human Scale is primarily an excellent lecture on the ideas of Danish architect and urban planner Jan Gehl. The cognitive tools of persuasion and artistic means were equilibrated and combined in the film in order to convince the viewer of the value of Gehl’s concepts