1,721,040 research outputs found
Reality as a feeling – a feeling as reality. On the film by Joseph Cedar, Footnote
Full text linkHendrykowski Marek, Reality as a feeling – a feeling as reality. On the film by Joseph Cedar, Footnote. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 57–xx. ISSN 1731-450X. DOI 10.14746/i.2019.34.04.
This analytical study by Marek Hendrykowski is an attempt to re-read one of the most valuable contemporary films of Israeli production, Footnote, written and directed by Joseph Cedar. The author paid particular attention to the specific way of conducting a seemingly dependent narration, skillfully combining the image of external reality with the sphere of thought and the feelings of the main character.Hendrykowski Marek, Reality as a feeling – a feeling as reality. On the film by Joseph Cedar, Footnote. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 57–xx. ISSN 1731-450X. DOI 10.14746/i.2019.34.04.
This analytical study by Marek Hendrykowski is an attempt to re-read one of the most valuable contemporary films of Israeli production, Footnote, written and directed by Joseph Cedar. The author paid particular attention to the specific way of conducting a seemingly dependent narration, skillfully combining the image of external reality with the sphere of thought and the feelings of the main character
Na białym szlaku. Zapomniany film o wojnie
Full text linkHendrykowski Marek, Na białym szlaku. Zapomniany film o wojnie [“On the White Trails”: a forgotten film about the war]. „Images” vol. XXVI, no 35. Poznań 2019. Adam Mickiewicz University Press. Pp. 103–115. ISSN 1731-450X. DOI 10.14746/i.2019.35.05.
The article is an analytical and interpretative study of behind-the-scenes aspects and the poetics of a little-known feature film titled On the White Trails, directed by Jarosław Brzozowski and Andrzej Wróbel.Hendrykowski Marek, Na białym szlaku. Zapomniany film o wojnie [“On the White Trails”: a forgotten film about the war]. „Images” vol. XXVI, no 35. Poznań 2019. Adam Mickiewicz University Press. Pp. 103–115. ISSN 1731-450X. DOI 10.14746/i.2019.35.05.
The article is an analytical and interpretative study of behind-the-scenes aspects and the poetics of a little-known feature film titled On the White Trails, directed by Jarosław Brzozowski and Andrzej Wróbel
Kilka refleksji o Rashomonie
Full text linkHendrykowski Marek, Kilka refleksji o Rashomonie [A few Reflections on Rashomon]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 129–141. ISSN 1644-6763. DOI 10.14746/pt.2019.32.6.
A masterpiece of Japanese and world cinema, Akira Kurosawa’s Rashomon (1950) refers to a new model of narration in film, and broadens horizons in mid-20th-century film but also film in current imes. Rashomon set out new paths and fields of exploration in film art and began a new era in modern narration in moving pictures. This study re-evaluates Kurosawa’s work as an innovative, trans-national and trans-cultural approach to world cinema.Hendrykowski Marek, Kilka refleksji o Rashomonie [A few Reflections on Rashomon]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 129–141. ISSN 1644-6763. DOI 10.14746/pt.2019.32.6.
A masterpiece of Japanese and world cinema, Akira Kurosawa’s Rashomon (1950) refers to a new model of narration in film, and broadens horizons in mid-20th-century film but also film in current imes. Rashomon set out new paths and fields of exploration in film art and began a new era in modern narration in moving pictures. This study re-evaluates Kurosawa’s work as an innovative, trans-national and trans-cultural approach to world cinema
Dlaczego nie ma taśm z powstania wielkopolskiego?
Full text linkThe article is a monographic study of the moving picture of Wielkopolska Uprising 1918–1919. The author indicates the reasons of a lack of film archives concerning Posnanian War.The article is a monographic study of the moving picture of Wielkopolska Uprising 1918–1919. The author indicates the reasons of a lack of film archives concerning Posnanian War
Kino pod presją
Full text linkCinema under pressureThe article contains a synthetic look at the issue of film censorship, taking into account its various forms. The author combines the perspective of a contemporary synchronous with the diachronic perspective, dating back to the distant origins of cinema and filmmaking, in conjunction with politics and ideology.Cinema under pressureThe article contains a synthetic look at the issue of film censorship, taking into account its various forms. The author combines the perspective of a contemporary synchronous with the diachronic perspective, dating back to the distant origins of cinema and filmmaking, in conjunction with politics and ideology
Semiotyka dziwactwa
Full text linkThe author assumes that the curiosity is a type of human expression. It can manifest in various languages and people’s behaviors, e.g.: verbal, mimic, gestural, costume and also by props, hairstyles, makeup etc. Regardless of differences between particular manifestations of the curiosity it is always semiotic. Freaks, eccentrics and weirdos disturb human community’s order and call into question established norms. They do that by their specific behaviors, appearances and individualism. They rectify, transform and change the social reality. The artistic curiosity not infrequently turn out to be the metaphor of an individual lifestyle (e.g. Witkacy, Dali). Freaks in the world of culture are not either savages or barbarians. They express themselves as well as they express their distance from the cultural system. In connection to this thesis, the author assumes that the curiosity is culture-producing.The author assumes that the curiosity is a type of human expression. It can manifest in various languages and people’s behaviors, e.g.: verbal, mimic, gestural, costume and also by props, hairstyles, makeup etc. Regardless of differences between particular manifestations of the curiosity it is always semiotic. Freaks, eccentrics and weirdos disturb human community’s order and call into question established norms. They do that by their specific behaviors, appearances and individualism. They rectify, transform and change the social reality. The artistic curiosity not infrequently turn out to be the metaphor of an individual lifestyle (e.g. Witkacy, Dali). Freaks in the world of culture are not either savages or barbarians. They express themselves as well as they express their distance from the cultural system. In connection to this thesis, the author assumes that the curiosity is culture-producing
Trudna przestrzeń. O filmie Roberta Stando Strach ma wielkie oczy
No full textThe article analyses and interprets Robert Stando’s little-known educational film Strach ma wielkie oczy [Fear has large eyes]. The film was made in 1965 and produced by the Documentary Film Studio in Warsaw. The author explores the original character of the film, reconstructing the stylistic and compositional techniques used by filmmakers, among others, in the field of cinematography (underwater photography), editing, word function, music, sound effects etc.The article analyses and interprets Robert Stando’s little-known educational film Strach ma wielkie oczy [Fear has large eyes]. The film was made in 1965 and produced by the Documentary Film Studio in Warsaw. The author explores the original character of the film, reconstructing the stylistic and compositional techniques used by filmmakers, among others, in the field of cinematography (underwater photography), editing, word function, music, sound effects etc
Zelig jako docufiction
No full textThis close-reading analysis and interpretation examines the original form of Woody Allen’s masterpiece Zelig (1983). The author combines a film studies approach with an investigation of epistemological and semiotic reflections on moving images. The author emphasises that more than three decades ago Allen gave to a wide audience a critical, sceptical and ironic vision of the “documentary” (esp. regarding the “truth”) status of moving pictures. This study also introduces also important terminological distinction between “mockumentary” (“fake-documentary”) and a contrasting category, that is, “documentary fiction” (also called “docufiction”), giving an instructive and precise definition of both.This close-reading analysis and interpretation examines the original form of Woody Allen’s masterpiece Zelig (1983). The author combines a film studies approach with an investigation of epistemological and semiotic reflections on moving images. The author emphasises that more than three decades ago Allen gave to a wide audience a critical, sceptical and ironic vision of the “documentary” (esp. regarding the “truth”) status of moving pictures. This study also introduces also important terminological distinction between “mockumentary” (“fake-documentary”) and a contrasting category, that is, “documentary fiction” (also called “docufiction”), giving an instructive and precise definition of both
W cieniu mistrza. O etiudzie Stanisława Latałły Święta rodzina
No full textThe text contains an analysis of Stanisław Latałło’s short film The Holy Family, shot at the ŁódźFilm School in the autumn of 1969. The author reconstructs the parabolic structure of this work and reveals the historical context of its realization, tied to the events of March 1968.The text contains an analysis of Stanisław Latałło’s short film The Holy Family, shot at the ŁódźFilm School in the autumn of 1969. The author reconstructs the parabolic structure of this work and reveals the historical context of its realization, tied to the events of March 1968
O właściwościach narracji filmowej
Full text linkThe aim of the article is to present a synthetic conception of film narrative both in the theoretical and practical context. The author considers the subject in terms of film theory and history. He also examines features of film narrative by using both the synchronous and diachronic method.The aim of the article is to present a synthetic conception of film narrative both in the theoretical and practical context. The author considers the subject in terms of film theory and history. He also examines features of film narrative by using both the synchronous and diachronic method
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