Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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„The End" i projekt happy endu. O funkcji piosenki w "Czasie Apokalipsy" F.F. Coppoli
Get PDFIn his brilliant analysis and interpretation of the famous song The End of The Doors Werner Faulstich showed that this piece is built on the formal structure of Greek tragedy. This article is an attempt at developing his idea by putting it in context of Francis Ford Coppola’s film, Apocalypse Now: beginning with the description of the structure and dramaturgy of film exposition, then showing the place of the song in the film narration and composition, at last stressing its connection with the plot – not only with the prologue and the end of Coppola’s work, but also with mythological subject and message of his film„The End” and a Project of Happy End. On the Function of Song in F.F. Coppola’s „Apocalypse Now”In his brilliant analysis and interpretation of the famous song The End of The Doors Werner Faulstich showed that this piece is built on the formal structure of Greek tragedy. This article is an attempt at developing his idea by putting it in context of Francis Ford Coppola’s film, Apocalypse Now: beginning with the description of the structure and dramaturgy of film exposition, then showing the place of the song in the film narration and composition, at last stressing its connection with the plot – not only with the prologue and the end of Coppola’s work, but also with mythological subject and message of his fil
"Dr House" - gra i semiologia
Get PDFThe paper describes how the characters of House, M.D. interact and relate to each other; it also discusses the role played by specific, semantically charged means of constructing narration. On one hand, the show largely maintains the model of a conventional medical drama, on the other, it deconstructs many of the characteristics inherent in the genre. The paper also attempts to explain the show’s huge popularity (for a certain time in the United States alone it reached 27 million viewers) achieved in spite of going beyond what an average viewer would expect, primarily by the show’s construction and by evoking ideas outside a classic medical drama.The paper describes how the characters of House, M.D. interact and relate to each other; it also discusses the role played by specific, semantically charged means of constructing narration. On one hand, the show largely maintains the model of a conventional medical drama, on the other, it deconstructs many of the characteristics inherent in the genre. The paper also attempts to explain the show’s huge popularity (for a certain time in the United States alone it reached 27 million viewers) achieved in spite of going beyond what an average viewer would expect, primarily by the show’s construction and by evoking ideas outside a classic medical drama
Nostalgiczny uśmiech. Autobiograficzny film Mateja Bobrika Self(less) Portrait
Get PDFThe auto-documentary has a very short tradition in Polish cinema. The first films of this type were produced in Poland in the 1990s, when students of the National Film School in Łódź started making short films about themselves. In my essay, I focus on one such film, Self(less) Portrait, made by Matej Bobrik in 2012. The film tells the story of two young people: she is from Japan; he is from Slovakia and is the film’s director. They both studied film directing at the NFS in Łódź, and now live together in Warsaw. In the film, Bobrik shows the difficult relationship that exists between the two characters and members of their families, who live far away. It is a story about closeness, endearment, loneliness and death. In Self(less) Portrait, seriousness, sadness and nostalgia meet with humour and the grotesque. The article concentrates on the construction of the film, and the use of symbolism and humor in it. This is an exceptional film in contemporary Polish cinema because Bobrik does not engage in self-therapy – he does not accuse or talk about traumatic experiences, as Marcin Koszałka or Paweł Jóźwiak-Rodan do in their auto-documentaries.A Nostalgic Smile. Autobiography in the Documentary Film Etude Self(less) Portrait by Matej BobrikThe auto-documentary has a very short tradition in Polish cinema. The first films of this type were produced in Poland in the 1990s, when students of the National Film School in Łódź started making short films about themselves. In my essay, I focus on one such film, Self(less) Portrait, made by Matej Bobrik in 2012. The film tells the story of two young people: she is from Japan; he is from Slovakia and is the film’s director. They both studied film directing at the NFS in Łódź, and now live together in Warsaw. In the film, Bobrik shows the difficult relationship that exists between the two characters and members of their families, who live far away. It is a story about closeness, endearment, loneliness and death. In Self(less) Portrait, seriousness, sadness and nostalgia meet with humour and the grotesque. The article concentrates on the construction of the film, and the use of symbolism and humor in it. This is an exceptional film in contemporary Polish cinema because Bobrik does not engage in self-therapy – he does not accuse or talk about traumatic experiences, as Marcin Koszałka or Paweł Jóźwiak-Rodan do in their auto-documentaries
”Wielka Brytania, wielkie nadzieje”: reprezentacja polskiej migracji w Londyńczykach
No full textFollowing the 2004 expansion of the European Union (EU), Polish migrant workers began arriving in the United Kingdom on an unprecedented scale. Londoners (Londyńczycy, 2008-9) was a response to this. Exploring the lives of Polish migrants in London, the series became an instant success on Polish television, regularly attracting around four million viewers. This article explores how Londoners represents Britishness and Polishness to its target Polish audience. It will argue that the series negotiates questions of Polish national identity, which over the past 20 years has been undergoing fundamental redefinition as a result of the ending of the Cold War and Poland’s accession to the EU.‘Great Britain, Great Expectations’: The Representation of Polish Migration to Great Britain in Londyńczycy/LondonersFollowing the 2004 expansion of the European Union (EU), Polish migrant workers began arriving in the United Kingdom on an unprecedented scale. Londoners (Londyńczycy, 2008-9) was a response to this. Exploring the lives of Polish migrants in London, the series became an instant success on Polish television, regularly attracting around four million viewers. This article explores how Londoners represents Britishness and Polishness to its target Polish audience. It will argue that the series negotiates questions of Polish national identity, which over the past 20 years has been undergoing fundamental redefinition as a result of the ending of the Cold War and Poland’s accession to the EU
Patrzenie poprzez fragmenty. Komiksowy dziennik Aleksandra Zografa "Pozdrowienia z Serbii"
Get PDFn his comic Greetings from Serbia. A Journal in Comics Written During the Conflict in Serbia, Aleksander Zograf’s choice of form is associated with the periodical form of the diary in drawings kept by the author. By means of a series of episodes, Zograf shows selected fragments of daily life in Serbia: the realities of living in a country under sanctions, being bombed by NATO aircraft, and struggling with post-war chaos.A characteristic feature of the anthology Greetings from Serbia. A Journal in Comics Written During the Conflict in Serbia is – in the words of the author – “observation through fragments”. The poetics of the fragment, the autonomization of the individual elements that comprise the open composition, and the breaking up of the plot’s cohesion are all associated with the worldview that emerges from Zograf’s comics. The reality observed turns out to be chaotic, incoherent and irrational. It becomes impossible to fully embrace or provide any overarching sense to the events, and thus fictionalize and express them by means of a traditional narrative form. By choosing the form of the comic book, and abandoning a comprehensive, ordered point of view, the author attempts to describe the whole by means of fragments.In his comic Greetings from Serbia. A Journal in Comics Written During the Conflict in Serbia, Aleksander Zograf’s choice of form is associated with the periodical form of the diary in drawings kept by the author. By means of a series of episodes, Zograf shows selected fragments of daily life in Serbia: the realities of living in a country under sanctions, being bombed by NATO aircraft, and struggling with post-war chaos.A characteristic feature of the anthology Greetings from Serbia. A Journal in Comics Written During the Conflict in Serbia is – in the words of the author – “observation through fragments”. The poetics of the fragment, the autonomization of the individual elements that comprise the open composition, and the breaking up of the plot’s cohesion are all associated with the worldview that emerges from Zograf’s comics. The reality observed turns out to be chaotic, incoherent and irrational. It becomes impossible to fully embrace or provide any overarching sense to the events, and thus fictionalize and express them by means of a traditional narrative form. By choosing the form of the comic book, and abandoning a comprehensive, ordered point of view, the author attempts to describe the whole by means of fragments
Małe analizy. Etiudy w PWSFTviT
Get PDFPerforming as a lecturer and artistic tutor of students’ etudes requires creation of a common platform for discussion and constructive criticism. The above text is an example of didactic pact between the teacher and the student. Analysis of the Rafał Skalski etude Żeby nie było niczego is also an excuse to discuss the composition, construction of the characters and acting roles, as well as so-called "Zatorski spiral", interpretation of ‘becoming’ and truth in dialogue. Discussed scenes of the etude allow to understand the importance of internal tension – a kind of punctum – creating a dramatic and visual potential of the film.Little tiny analysis. Etudes in The Polish National Film, Television and Theatre SchoolPerforming as a lecturer and artistic tutor of students’ etudes requires creation of a common platform for discussion and constructive criticism. The above text is an example of didactic pact between the teacher and the student. Analysis of the Rafał Skalski etude Żeby nie było niczego is also an excuse to discuss the composition, construction of the characters and acting roles, as well as so-called "Zatorski spiral", interpretation of ‘becoming’ and truth in dialogue. Discussed scenes of the etude allow to understand the importance of internal tension – a kind of punctum – creating a dramatic and visual potential of the film
Etiudy Agnieszki Osieckiej
Get PDFIn 1957, the famous young Polish poet and song lyrics writer Agnieszka Osiecka (1936-1998) began studying in the Film School in Łódź. She studied film directing in 1957-1961. After graduating in film arts, she decided not to pursue a professional career in cinema. This analytical essay charts the history of the Film School in Łódź in the 1950s, the student works of Osiecka, and the inspiring confluence of audiovisual culture and film. The essay also explores in detail a wide spectrum of Polish film art of that period, providing original interpretations of eight études made by the young and talented artist during her film directing studies in Łódź.Agnieszka Osiecka’s Student FilmsIn 1957, the famous young Polish poet and song lyrics writer Agnieszka Osiecka (1936-1998) began studying in the Film School in Łódź. She studied film directing in 1957-1961. After graduating in film arts, she decided not to pursue a professional career in cinema. This analytical essay charts the history of the Film School in Łódź in the 1950s, the student works of Osiecka, and the inspiring confluence of audiovisual culture and film. The essay also explores in detail a wide spectrum of Polish film art of that period, providing original interpretations of eight études made by the young and talented artist during her film directing studies in Łódź