993 research outputs found
Pokoleniowy dystans
No full textAlicja Helman pisze o książce Rafała Syski Zachować dystans. Filmowy świat Roberta Altmana (2008), będącej jednocześnie rozprawą habilitacyjną autora. Helman zaznacza, że szeroko prowadzone badania Syski nad kinem amerykańskim i nad monografistyką, a także jego doświadczenie jako redaktora kilku serii tomów zbiorowych stanowiły solidne przygotowanie tak cennej monografii. Aby opisać reżysera tak trudnego i nie poddającego się klasyfikacjom, Syska starał się (i uczynił to z powodzeniem) połączyć kilka różnych zadań i podejść metodologicznych, by uzyskać całość tak kompletną i wyczerpującą, jak to tylko możliwe. Helman koncentruje się na strukturze książki Syski, przybliżając tym samym jego metodę jako monografisty
Polowanie jako spektakl i metafora: rola scen myśliwskich w filmach fabularnych
No full textThe author discusses hunting scenes in film representing a variety of genres not for their iconography, but rather for their metaphorical impact. Filmmakers use hunting as a metaphor to speak about completely different issues. They explore political topics, expose their ideological and ethical aspects, focus on instances of customary behaviour. Alicja Helman points out the link between hunting and death. According to her, people who are capable to kill animals are also capable to kill people – not only at war, but for other reasons as well. The article focuses mainly on the works which became models for later films belonging to the traditions of ethno-fiction, western, horror, and psychological drama
The Decade of Fear
No full textRewolucja Kulturalna (1966-1976) – jedna z największych tragedii, jakiej doświadczył naród chiński - przyniosła dotkliwe straty i nieodwracalne zmiany zarówno w sferze politycznej, jak i społecznej, kulturalnej czy moralnej. Spustoszyła wielowiekowe dziedzictwo materialnej i duchowej kultury Chin. Alicja Helman przedstawia echa tego okresu w filmach najważniejszych twórców V generacji: Chena Kaige (Żegnaj, moja konkubino, 1993), Tiana Zhuanghuanga (Niebieski latawiec, 1993) i Zhanga Yimou (Aby żyć, 1994). Analizując wybrane sceny, autorka zwraca uwagę, że filmy te nie opowiadają w bezpośredni sposób o wydarzeniach Rewolucji Kulturalnej. Poruszanie tego tematu było oczywiście źle postrzegane przez chińską władzę. Dlatego też Rewolucja Kulturalna stanowi jedynie tło dla losów bohaterów. Według Helman siła tych filmów wynika z licznych aluzji werbalnych, umiejętnie skonstruowanych podtekstów oraz posłużenia się siatką ikon i znaczeń, które są czytelne także dla odbiorców spoza kręgu kultury chińskiej, nieznających historii tego narodu.The Cultural Revolution (1966-1976) - one of the greatest tragedies experienced by the Chinese people, caused great losses and permanent changes in the political, social, cultural and the moral sphere of life. It devastated the great material and spiritual legacy of the traditional Chinese culture. The author of the article presents the echoes of this period in the films of the most important representatives of the fifth generation: Chen Kaige (Farewell my Concubine, 1993), Tian Zhuangzhuang (The Blue Kite, 1993) and Zhang Yimou (To live, 1994). Through the analysis of particular scenes, Helman points to the fact that these films do not speak directly about what happened during the Cultural Revolution, as of course this topic was strongly disapproved of by the Chinese state. That is why Cultural Revolution is barely a back drop for the lives of the main characters of the films. According to Helman, the strength of these films lies in their many verbal allusions, subtexts, and a complex network of icons and meanings, that are also readable for the Western viewer, who is neither Chinese nor aware of the history of the Chinese nation
Охота как спектакль и метафора: роль охотничьих сцен в художественных фильмах
No full textThe author discusses hunting scenes in film representing a variety of genres not for their iconography, but rather for their metaphorical impact. Filmmakers use hunting as a metaphor to speak about completely different issues. They explore political topics, expose their ideological and ethical aspects, focus on instances of customary behaviour. Alicja Helman points out the link between hunting and death. According to her, people who are capable to kill animals are also capable to kill people – not only at war, but for other reasons as well. The article focuses mainly on the works which became models for later films belonging to the traditions of ethno-fiction, western, horror, and psychological drama.The author discusses hunting scenes in film representing a variety of genres not for their iconography, but rather for their metaphorical impact. Filmmakers use hunting as a metaphor to speak about completely different issues. They explore political topics, expose their ideological and ethical aspects, focus on instances of customary behaviour. Alicja Helman points out the link between hunting and death. According to her, people who are capable to kill animals are also capable to kill people – not only at war, but for other reasons as well. The article focuses mainly on the works which became models for later films belonging to the traditions of ethno-fiction, western, horror, and psychological drama.В статье рассматриваются сцены охоты в фильмах разных жанров. Анализ проводится нес точки зрения их иконических достоинств, а в аспекте содержащегося в них метафорического заряда. Создатели используют охоту как метафору, чтобы сказать о чем -то другом. В связи с этим они поднимают политические темы, обращая особое внимание на идеологические, этические и моральные мотивы. Автор подчеркивает прежде всего связь охоты и смерти. В рассматриваемых фильмах вербально или имлицитно передается то, что если кто -то сегодня убивает животных, завтра сможет убивать людей, не только на войне, но также и по многим другим причинам. В статье анализируются главным образом фильмы, которые сформировали модели и образцы, перенятые затем кинокартинами таких жанров, как этно -фикция, вестерн, фильм ужасов, а также психологическая драма
Riddles of a certain biography : Chinese-Japanese relations in the film "The Go Master" by Tian Zhuangzhuang
No full textAlicja Helman’s text is dedicated to one of the most important works of Tian Zhuangzhuangh. The author carefully analyses the complicated structure of the film, the aesthetics of the picture specific and questions of genre. The most important subject touched upon in this article is the attempt to highlight the history of the main character in the context of Chinese- Japanese relations, which determined his biography.</p
Pajęcza gra miłosna, czyli o strategiach adaptacji Bernarda Bertolucciego
No full textHelman przedstawia recenzję książki Bożeny Kudryckiej Ukryte spojrzenia w filmach Bernarda Bertolucciego (2016), wskazując, że jest to monografia ujmująca całokształt twórczości reżysera. Kudrycka pisze w swej książce przede wszystkim o strategiach adaptacji w wybranych ośmiu filmach reżysera, dla których punktem wyjścia był materiał literacki. Omawiając konstrukcję tej publikacji i charakter samych analiz filmowych, Helman zwraca uwagę, że interpretacje Kudryckiej bywają skrajne, co przesądza o ich atrakcyjności, przy czym niektóre z nich sięgają rejonów nadinterpretacji. Mimo to recenzentka zauważa, że te najbardziej skrajne interpretacje są najciekawsze, bowiem zostały napisane z niesłychaną śmiałością i wirtuozerią. Helman odnosi niektóre z rozpoznań Kudryckiej do swoich własnych upodobań i odczytań filmowych, a w podsumowaniu notuje: Lektura książki Bożeny Kudryckiej jest dla czytelnika pasjonującą przygodą intelektualną. Autorka prowadzi nas przez meandry niełatwej przecież w odbiorze twórczości Bertolucciego z nieomylnym wyczuciem kierunku
Melodramat po chińsku
No full textMelodrama in ChineseMelodrama is a form deeply rooted in the tradition of Chinese arts. In the Mao Zedong era it was almost the main genre made by socrealistic directors. The filmmakers of The Fifth Generation, for instance Chen Kaige, Zhang Yimou, Tian Zhuandzhuang, wanted to be different, i.e. Non-melodramatic. They identified the melodramatic forms with the dark epoch of the Cultural Revolution. However, the rebellion has not succeeded. It was too difficult to separate completely from the cultural legacy that is older than communistic output. The movies of the eighties and nineties made by the directors from the Fifth Generation have been called by Jerome Silbergeld “the children of melodrama”. These include the following titles: Yellow Earth 1984 and King of Children 1987 by Chen Kage, The Black Cannon Incident 1985 by Huang Jianxin, Red Sorghum 1987, Ju Dou 1991, Raise the Red Lantern 1992 by Zhang Yimou. Some of the films are deconstructive towards the form of melodrama as, for example, Kage’s Temptress Moon 1996. Alicja Helman discusses in her essay Zhang’s Ju Dou because of its special complexity – “on one side it can be told like the most simple Hollywood melodrama, and on the other side it consists of some references and messages read on at least a few levels”. To analyze and interpret the film, Helman calls for some important motives of Chinese Confucianism and mythology the myth of Fuxi. Ju Dou is an adaptation of a short story Fuxi, fuxi by Liu Heng so the author of the essay writes also on the relation between the two works. In the movie Zhang has vividly tried to strengthen the melodramatic structure of the literary, rather realistic, plot. He has sharpened the conflicts, simplified the psychology of characters. Zhang has omitted the political allusions present in the short story but this does not mean that the film has not got any metaphorical or allegorical sense. However, this sense is simply broad. Allegorical, indirect speaking is a way of communicating deeply rooted in the Chinese cultural, aesthetical tradition. Helman also takes into account the artistic, sensual form of the Zhang’s movie, especially setting off redness, yellow and gold which can be viewed as emulating the tradition of the Chinese paintings.Melodrama in ChineseMelodrama is a form deeply rooted in the tradition of Chinese arts. In the Mao Zedong era it was almost the main genre made by socrealistic directors. The filmmakers of The Fifth Generation, for instance Chen Kaige, Zhang Yimou, Tian Zhuandzhuang, wanted to be different, i.e. Non-melodramatic. They identified the melodramatic forms with the dark epoch of the Cultural Revolution. However, the rebellion has not succeeded. It was too difficult to separate completely from the cultural legacy that is older than communistic output. The movies of the eighties and nineties made by the directors from the Fifth Generation have been called by Jerome Silbergeld “the children of melodrama”. These include the following titles: Yellow Earth 1984 and King of Children 1987 by Chen Kage, The Black Cannon Incident 1985 by Huang Jianxin, Red Sorghum 1987, Ju Dou 1991, Raise the Red Lantern 1992 by Zhang Yimou. Some of the films are deconstructive towards the form of melodrama as, for example, Kage’s Temptress Moon 1996. Alicja Helman discusses in her essay Zhang’s Ju Dou because of its special complexity – “on one side it can be told like the most simple Hollywood melodrama, and on the other side it consists of some references and messages read on at least a few levels”. To analyze and interpret the film, Helman calls for some important motives of Chinese Confucianism and mythology the myth of Fuxi. Ju Dou is an adaptation of a short story Fuxi, fuxi by Liu Heng so the author of the essay writes also on the relation between the two works. In the movie Zhang has vividly tried to strengthen the melodramatic structure of the literary, rather realistic, plot. He has sharpened the conflicts, simplified the psychology of characters. Zhang has omitted the political allusions present in the short story but this does not mean that the film has not got any metaphorical or allegorical sense. However, this sense is simply broad. Allegorical, indirect speaking is a way of communicating deeply rooted in the Chinese cultural, aesthetical tradition. Helman also takes into account the artistic, sensual form of the Zhang’s movie, especially setting off redness, yellow and gold which can be viewed as emulating the tradition of the Chinese paintings
Cultural Contexts of Glauber Rocha’s Filmmaking
No full textHelman prezentuje minimonografię twórczości brazylijskiego reżysera Glaubera Rochy w kontekście specyfiki nurtu filmowego Cinema Novo. W ujęciu autorki Glauber Rocha jawi się jako niestrudzony rewolucjonista, kontestator i eksperymentator. Helman prezentuję biografię artysty, wybrane elementy historii Brazylii istotne z punktu widzenia twórczości Rochy, a także sam ruch Cinema Novo, będący dla reżysera ważnym punktem odniesienia. Następnie koncentruje się na pełnometrażowych filmach fabularnych tego reżysera, swą uwagę skupiając zasadniczo na przedstawieniu jego strategii artystycznych i analizie strony formalnej jego filmów, która – wedle Helman – stanowi ważny czynnik przekazu problematyki politycznej, społecznej i kulturowej (mity, obrzędy, rytuały) obecnej w filmach Rochy. W zakończeniu artykułu Helman notuje: Lektura tekstów naukowych, krytycznych, wypowiedzi odbiorców niemal za każdym razem potwierdza, że eksplikacja znaczeń filmów Rochy wymaga wiedzy spoza tekstu, sięgnięcia do kontekstów nieraz bardzo odległych i rozległych. Jeśli filmy Rochy zaskakiwały i dezorientowały widzów lat 60. i 70., to czy dziś, po wielu latach i tylu nowych doświadczeniach w zakresie języka i form kina, nie powinny się przed nami otworzyć? Nie otwierają się. Rocha nie współkształtował uniwersalnego języka, którym mówi dziś współczesne kino. Tworzył swój własny. I takim ten język pozostał.Helman presents the mini-monograph of the work of Brazilian director Glauber Rocha in the context of the specificity of Cinema Novo. According to the author, Glauber Rocha appears as a tireless revolutionist, a contestant and experimenter. Helman presents the biography of the artist, selected elements of the history of Brazil relevant from the point of view of Rocha’s work, as well as the Cinema Novo movement itself, which is an important reference point for the director. Then she focuses on the director’s feature films, focusing mainly on presenting his artistic strategies and analysing the formal side of his films, which - according to Helman - is an important factor in dealing with political, social and cultural issues (myths, rituals and ceremonies) present in Rocha’s films. At the end of the article, Helman notes: The reading of scientific and critical texts and the opinions of the recipients almost every time confirm that the explication of meanings of Rocha’s films requires knowledge from outside of the text, and reaching for contexts that are often very distant and extensive. If Rocha’s films surprised and confused viewers of the 1960s and 1970s, then today, after many years and so many new experiences in the language and form of cinema, should not they be more transparent to us? No. Rocha did not shape the universal language that is the language of today’s cinema. He created his own language. And the language remained his own
Difficult Development of Unused Potential
No full textRecenzja książki Kamili Żyto Film noir i kino braci Coen (2017). Jak pisze Helman, autorka poświęciła pierwszą, stosunkowo obszerną część pracy rozważaniom teoretycznym na temat pojęć noir i neo-noir, wykraczając daleko poza przedstawienie literatury przedmiotu, czyli zdanie sprawy z tego, co na interesujący ją temat napisano wcześniej. W jej ujęciu noir to przede wszystkim kwestia światopoglądu filozoficzno-ideologicznego (także estetycznego), czego dowodzi, odwołując się do takich źródeł inspiracji, jak egzystencjalizm (również w jego wersji amerykańskiej) i psychoanaliza, do których przywiązuje duże znaczenie. Jak zauważa recenzentka, książka składa się z poprzedzonych wstępem dwóch części. Pierwsza jest poświęcona teoretycznym rozważaniom wokół fenomenu noir, druga wybranym filmom braci Coen, udowadniającym wysuniętą w pierwszej części tezę. Po przeczytaniu części pierwszej czytelnik jest już doskonale zaznajomiony z warsztatem i narzędziami, które posłużą Kamili Żyto w części drugiej. Choć „kino braci Coen” to drugi człon tytułu, jest to w istocie główny przedmiot zainteresowań autorki, skądinąd wyraźnie zafascynowanej kinem noir. Przedstawiwszy konstrukcję książki i jej główne założenia, Helman dyskutuje z niektórymi tezami Żyto. Ponadto przybliża czytelnikowi analizy filmów przeprowadzone przez autorkę, a także sygnalizuje, że zakończenie książki przynosi próbę zlokalizowania kina neo-noir i twórczości braci Coen w kontekście paradygmatu modernistycznego.Book review of Kamila Żyto’s Film noir i kino braci Coen [Film noir and Coen brothers’ cinema] (2017). According to Helman, the author devoted the first, relatively large part of the work to theoretical considerations on the concepts of noir and neo-noir, going far beyond the presentation of the literature on the subject. In her view, noir is primarily a matter of philosophical-ideological (also aesthetic) world-view, which is proved by referring to such sources of inspiration as existentialism (also in its American version) and psychoanalysis, to which she attaches great importance. The book consists of two parts preceded by an introduction. The first one is devoted to theoretical considerations around the noir phenomenon, the second - to the selected films of the Coen brothers. After reading the first part, the reader is already perfectly familiar with the research methods and concepts that will be used by Kamila Żyto in the second part. Although the Coen brothers’ cinema is the second part of the title, it is in fact the main subject of interest of the author, clearly fascinated by the noir cinema. Having presented the design of the book and its main assumptions, Helman discusses some theses of Kamila Żyto. In addition, she introduces the reader to the analysis of films carried out by the author, and also signals that the ending of the book is an attempt to locate the neo-noir cinema and the creativity of the Coen brothers in the context of the modernist paradigm
Drangsong 170: gza’ skar ngan pa bzlog thabs bzhugs so/
No full textDrangsong 170: gza’ skar ngan pa bzlog thabs bzhugs so/This dataset contains photographs of the manuscript pages with handwritten text. It is a part of the royal Drangsong collection from Mustang, Nepal.The manuscript Drangsong 170 contains ritual for the repulsion of inauspicious planets and stars.It is composed of 3 folios.File naming convention within Drangsong_170.zip archive: Drangsong_170_001r.jpgDrangsong_170 → collection name and number 001 → page numberr / v → recto / versoDRANGSONG PROJECTThe data included here were produced by the members and collaborators of the Drangsong project conducted in the years 2019-2024. Translations of titles and colophons were done by Charles Ramble and Naljor Tsering, transcriptions of selected texts by Nyima Drandul. The features such as bookbinding style, format and layout of manuscripts, as well as the type of paper illustrated with close-up and microscopic images, were taken by Agnieszka Helman-Ważny. The illustrations were described by Nils Martin, and the photographic documentation taken in situ was done by Thomas Schrom and Rinchen Loden Lama. Detailed studies and laboratory analyses of paper samples were carried out by Agnieszka Helman-Wazny in collaboration with the Interdisciplinary Laboratory of Archaeometric Research at the University of Warsaw (Barbara Wagner, Agata Szubartowska, Alicja Święcicka, and Bartłomiej Witkowski) and Warsaw University of Technology (Grażyna Zofia Żukowska), using integrated methods such as microscopic fibre analysis, Reflectance Transformation Imaging/Polynomial Texture Maps (RTI / PTM), and X-ray fluorescence spectrometry (XRF). The C14 analyses were performed at the Poznań Radiocarbon Lab (Tomasz Goslar).PROJECT DETAILSThe Project No. UMO-2018/30/M/HS3/00372 funded by The National Science Centre, Poland, in the framework of the HARMONIA 10 program, hosted by the Faculty of Journalism, Information and Bibliology, Department of Books, and Media History, University of Warsaw, Poland in a partnership with the École Pratique des Hautes Études and the Centre de recherche sur les civilisations de l'Asie orientale (CRCAO), Paris.Title: Protecting the Kingdom with Tibetan Manuscripts: codicological and historical analysis of the royal Drangsong collection from Mustang, Nepal.Project PI: Agnieszka Helman-Ważny hagniwaz@gmail.comProject co PI: Charles RambleThe aim of this project was to carry out a codicological and text-historical study of a unique collection of manuscripts, named Drangsong, belonging to the Bön religion of Tibet. It is named after the lineage of Bönpo priests in whose house it is kept. The collection, consisting of 340 different items with a total of 3,477 folios, cards, or individual sheets of paper, represents the ritual repertoire of the priests of the kings of Mustang, once a Tibetan kingdom and now a district of Nepal. The manuscripts exemplify the variety of forms, scripts, decorations, materials and other codicological features. The texts have not been used since the priestly line ended in the 1950s or 60s. The value of this collection is twofold: first, the collection was assembled from different parts of Tibet and the Himalaya over six centuries, and offers a rich body of material which can be retrieved by material and codicological analyses that will contribute to our understanding of book and paper making traditions in the region, as well as social aspects of Tibetan manuscript production; and secondly, in terms of its content, it offers a window onto the nature of royal religion in a Tibetan kingdom. These manuscripts were used in rituals for the protection and prosperity of the kingdom of Mustang, its subjects and members of royal lineage; knowledge of the materials and ritual practices involved in the creation of physical objects will help to understand the interaction between religion, patronage and political authority in Tibetan society.DATASET FILESThe dataset contains files:• Drangsong_170.zip (master scans of the manuscript pages with color checker),• Drangsong_170.pdf (containing presentation images of the manuscript pages),• Drangsong_170_001v.png (manuscript page sample),• Drangsong_170_backlites.zip (backlit samples),• Drangsong_170_XRF_analysis.png (X-ray fluorescence spectrometry).DESCRIPTION OF THE MANUSCRIPTDetailed information on writing, materials, format, and layout is provided in a Readme.txt file attached to this dataset.</p
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