127 research outputs found
The Director–Composer Duo: Polanski & Komeda’s Deconstruction of Film Music Conventions in Horror Cinema. "Fearless Vampire Killers" (1967) and "Rosemary’s Baby" (1968)
No full textThis article looks at the relationship between music and image in the two final films that Roman Polanski made with Krzysztof Komeda. Fearless Vampire Killersand Rosemary’s Baby are cinematic examples of a very close collaboration between a director and a composer. The article deals with the function of music in relation to genre films. The most important question is the extent to which Krzysztof Komeda’s compositions adhere to or depart from the horror film music convention. A key issue in this context, and one that applies to both of the analyzed films, is the technique of leitmotifs which Polanski and Komeda developed already in their first short films. In Fearless Vampire Killers and Rosemary’s Baby, the jointly developed director-composer method evolved greatly, and Polanski’s collaboration with Komeda took on a very distinctive style, which the author of this article attempts to describe and define
The Director–Composer Duo: Polanski & Komeda’s Deconstruction of Film Music Conventions in Horror Cinema. "Fearless Vampire Killers" (1967) and "Rosemary’s Baby" (1968)
No full textThis article looks at the relationship between music and image in the two final films that Roman Polanski made with Krzysztof Komeda. Fearless Vampire Killers and Rosemary’s Baby are cinematic examples of a very close collaboration between a director and a composer. The article deals with the function of music in relation to genre films. The most important question is the extent to which Krzysztof Komeda’s compositions adhere to or depart from the horror film music convention. A key issue in this context, and one that applies to both of the analyzed films, is the technique of leitmotifs which Polanski and Komeda developed already in their first short films. In Fearless Vampire Killers and Rosemary’s Baby, the jointly developed director-composer method evolved greatly, and Polanski’s collaboration with Komeda took on a very distinctive style, which the author of this article attempts to describe and define.This article looks at the relationship between music and image in the two final films that Roman Polanski made with Krzysztof Komeda. Fearless Vampire Killers and Rosemary’s Baby are cinematic examples of a very close collaboration between a director and a composer. The article deals with the function of music in relation to genre films. The most important question is the extent to which Krzysztof Komeda’s compositions adhere to or depart from the horror film music convention. A key issue in this context, and one that applies to both of the analyzed films, is the technique of leitmotifs which Polanski and Komeda developed already in their first short films. In Fearless Vampire Killers and Rosemary’s Baby, the jointly developed director-composer method evolved greatly, and Polanski’s collaboration with Komeda took on a very distinctive style, which the author of this article attempts to describe and define.
The text is a translation of an excerpt from the chapter "Nieustraszeni zabójcy wampirów i Dziecko Rosemary, czyli filmowe wyzwanie dla jazzmana, który przestaje nim być” [The Fearless Vampire Killers and Rosemary’s Baby, or a film challenge for a soon-to-be ex-jazzman] in the book Reżyser na ścieżce dźwiękowej. Funkcje muzyki w twórczości filmowej Romana Polańskiego [The director on the soundtrack: functions of music in Roman Polański’s films] published by Wydawnictwo Naukowe UAM, Poznań 2018
“It’s official old buddy, I’m a has-been”: Rick Dalton, Hollywood, and the Aging Star
No full textAuthor: Douglas Rasmussen University of Saskatchewan Download PDF version Set in 1969 Los Angeles over the span of a few days in the months leading up to Sharon Tate’s murder on the night of August 9, 1969, Once Upon A Time in... Hollywood (Tarantino, 2019) traces the day-to-day activities of aging actor Rick Dalton (Leonardo DiCaprio) and his friend/stunt double Cliff Booth (Brad Pitt). Rick lives on Cielo Drive as a neighbor to Roman Polanski and his wife Sharon Tate, geographically repres..
Polański i symulacje. Na marginesie tekstu Ewy Mazierskiej "Roman Polański (i inni) przed sądem"
No full textThe text is a commentary on the article by Ewa Mazierska “Roman Polanski (and Others) on Trial.” Using Baudrillard’s concept of simulation, the author shows that discussions on Polanski’s personal conduct do not lead to finding meaning.Polanski and Simulations: A Few Remarks on Ewa Mazierska’s essay “Roman Polanski (and Others) on Trial”
The text is a commentary on the article by Ewa Mazierska “Roman Polanski (and Others) on Trial.” Using Baudrillard’s concept of simulation, the author shows that discussions on Polanski’s personal conduct do not lead to finding meaning
Polański i symulacje. Na marginesie tekstu Ewy Mazierskiej <i>Roman Polański (i inni) przed sądem</i>
No full textThe text is a commentary on the article by Ewa Mazierska “Roman Polanski (and Others) on Trial.” Using Baudrillard’s concept of simulation, the author shows that discussions on Polanski’s personal conduct do not lead to finding meaning
Muzyczny eklektyzm w trzech etiudach Romana Polańskiego. Rozbijemy zabawę, Lampa i Gdy spadają anioły
No full textAuthor of the article, juxtaposing together three studies school of Roman Polanski, discusses the functions of music used in each of them. Due to the fact that the entire work the author of the Pianist’s is characterized by musical eclecticism – which is the main thesis of the article – it is proposed to look at the film music of early Polanski films, and to try to find a specific lineage of this eclecticism. Break Up the Dance, Lamp and When Angels Fall titles, which in the light filmic and musicological investigations differ from each other. Do not change the fact that each of these works “signs” that the director – the creator of not only the visual layer, but also (not forgetting the work of the composer) sound. In his early work Roman Polanski begins to create a kind of “range of methods” in relation to functions of music in the work of the film. The article is an attempt to systematize them and to find the film and the music key.Author of the article, juxtaposing together three studies school of Roman Polanski, discusses the functions of music used in each of them. Due to the fact that the entire work the author of the Pianist’s is characterized by musical eclecticism – which is the main thesis of the article – it is proposed to look at the film music of early Polanski films, and to try to find a specific lineage of this eclecticism. Break Up the Dance, Lamp and When Angels Fall titles, which in the light filmic and musicological investigations differ from each other. Do not change the fact that each of these works “signs” that the director – the creator of not only the visual layer, but also (not forgetting the work of the composer) sound. In his early work Roman Polanski begins to create a kind of “range of methods” in relation to functions of music in the work of the film. The article is an attempt to systematize them and to find the film and the music key
Grangeville crew portrait, 1988
No full textA group portrait of the crew for the Grangeville Smokejumper base.
Front Row: Pete Stoffle, Al Hall, Tom Evans, Robin Embry, Jeff Martinsen, Mike Briceno, Tim Tevebaugh, Aaron Aylsworth.
Back Row: Alan Caldwell, Dick Thompson, Rudy Trujillo, Pat Wilson, Dirk Reese, Doug Simler, Bill Martin, Randy Nelson, Ken Wabaunsee, Buzz Kopczynski, Bart Hoag, Frank Hill, Jon Foland, Tom Wilks & Alex Smith.
Not Pictured: Alonzo Bringsyellow, Walt Currie, John Davis, Tim DeHaas, Pete Eelkema, Geof Hochmuht, Dick Hulla, Bill Joslin, Steve Kimm, Don Polanski, & Ed Ward.https://dc.ewu.edu/nsa_crewpics/1380/thumbnail.jp
Polański, Hitchcock i MacGuffin
No full textThe main subject of the article is the relationship between the creative method of Roman Polanski and Alfred Hitchcock and the attitude of the Polish director to genre cinema. The author of the text, critically analyzing the earlier diagnoses of Polish monographers of Polanski’s work (Grażyna Stachówna, Mariola Dopartowa), prove that these problems are difficult to reduce to the MacGuffin issue today, because they “loop” at many levels and in various interpretative concepts, consistently eluding easy generalizations.The main subject of the article is the relationship between the creative method of Roman Polanski and Alfred Hitchcock and the attitude of the Polish director to genre cinema. The author of the text, critically analyzing the earlier diagnoses of Polish monographers of Polanski’s work (Grażyna Stachówna, Mariola Dopartowa), prove that these problems are difficult to reduce to the MacGuffin issue today, because they “loop” at many levels and in various interpretative concepts, consistently eluding easy generalizations
Some Remarks on the Correctness of Language
No full textThis article written by Professor Kazimierz Polanski has been selected for the inclusion
in this volume posthumously. Its Author is no longer with us thus it is important
once again to go back and consider his signi cant contribution not only to
the development of Slavonic studies in Poland and worldwide but also to general
linguistics
Kat, ofiara i świadek w "Śmierci i dziewczynie" Romana Polańskiego
No full textThis paper analyzes the cinematographic means used by Roman Polanski in Death and the Maiden to portray the characters of the movie and the relationship between them. It discusses how Polanski toys with the thriller convention to create a cognitive dissonance in the viewer and uses artistic devices to reflect the process of restoring the identity by the protagonist. In particular, the author examines the frame of the movie and its compositional and semantic functions and compares selected scenes with René Magritte’s paintings to show how the director depicts the experience of the main character and the blurring of boundaries between the perpetrator and the victim. Also, colors, props, and landscape motifs associated with each character are analyzed to explain their symbolic and dramatic function in the film.The Perpetrator, the Victim, and the Bystander in Roman Polanski’s Death and the Maiden (1994)
This paper analyzes the cinematographic means used by Roman Polanski in Death and the Maiden to portray the characters of the movie and the relationship between them. It discusses how Polanski toys with the thriller convention to create a cognitive dissonance in the viewer and uses artistic devices to reflect the process of restoring the identity by the protagonist. In particular, the author examines the frame of the movie and its compositional and semantic functions and compares selected scenes with René Magritte’s paintings to show how the director depicts the experience of the main character and the blurring of boundaries between the perpetrator and the victim. Also, colors, props, and landscape motifs associated with each character are analyzed to explain their symbolic and dramatic function in the film
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