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„Feministka jest, chociaż szyldu nie ma.” Moje spotkanie z Heleną Amiradżibi
No full textThis chapter introduces the reader to Helena Amiradżibi, a Georgian documentary filmmaker who, in the 1950s and 1960s, worked at the Documentary Film Studio in Warsaw, Poland. The author's rigorous analysis of four of Amiradżibi's last documentary films—Zambrów (1962), Who Wants a Dress (1963), The Career (1964) and The Weak Woman (1966)—argues that despite not claiming to follow a feminist ideology, retrospectively her documentaries can be classified as courageously feminist. As an unproclaimed but pioneering feminist filmmaker, unusually for her time, Amiradżibi looked at the live experiences of women under communism with care and humour. Through attention to details of individual, diverse women shown on her screen, skilled observation, audacious voice-over narration and creative editing, Amiradżibi was ahead of her time, with each film challenging the illusory gender equality the Communist Party propagated. The author of the text frames her as a trailblazer of the feminist consciousness associated with the Fourth Wave today.
This chapter aims to popularise these archival finds, which were made possible thanks to funding received from the Leverhulme Trust. The author rediscovered the discussed films, which numerous film historians had forgotten and omitted. She then screened them publicly in an invited, live-streamed lecture at a history museum in Warsaw in the autumn of 2023, with financial support from the Polish Female Filmmakers Association. Some financial support from the Polish Film Institute has also contributed to the publication of the book collection titled (in translation) (Un)Forgotten Women Filmmakers, where the chapter will appear in June 2025
The Other Sex of Polish Cinema. The Contribution of Female Filmmakers to Feature Film Production in the People’s Republic of Poland
Get PDFThe paper is dedicated to the Polish female filmmakers – contributors to feature film production from the period 1945–1989 in the Polish state film industry. The theoretical framework is based on women’s studies and production studies. Author presents and comments on the numbers from the quantitative research, including credits of feature films production, divided into key positions: director, scriptwriter, cinematographer, music, editor, production manager, set designer and assistant director, costume designer. The results are presented in graphics and commented in 5 years blocs. The analysis leads to the conclusions describing the specificity of emancipation in socialist Poland in the area of creative work.The paper is dedicated to the Polish female filmmakers – contributors to feature film production from the period 1945–1989 in the Polish state film industry. The theoretical framework is based on women’s studies and production studies. Author presents and comments on the numbers from the quantitative research, including credits of feature films production, divided into key positions: director, scriptwriter, cinematographer, music, editor, production manager, set designer and assistant director, costume designer. The results are presented in graphics and commented in 5 years blocs. The analysis leads to the conclusions describing the specificity of emancipation in socialist Poland in the area of creative work
Animated films by women in Polish (male) cinematography structures through a comparative perspective
No full textLink archiwalny https://depotuw.ceon.pl/handle/item/408
Restart of the Association of Enthusiasts of Artistic Film
No full textRecenzja książki Łukasza Biskupskiego Kinofilia zaangażowana. Stowarzyszenie Miłośników Filmu Artystycznego „Start” i upowszechnianie kultury filmowej w latach 30. XX w. (2017). Autor z powodzeniem dokonał rewizji wiedzy o przedwojennym stowarzyszeniu „Start” z punktu widzenia nowej historii filmu, a więc w wyniku powrotu do archiwalnych źródeł i krytycznej oceny dotychczasowych ustaleń. Przekonująco uzasadnił potrzebę reinterpretacji dokonań członków „Startu” z perspektywy historyka, który nie należy do tamtego pokolenia. Autor z powodzeniem uniknął nostalgii właściwej pierwszym historykom „Startu” czy tonu rozliczenia z pokoleniem komunistów. Wpisał ich inicjatywę w kontekst aktywności pierwszego pokolenia kinofilów w międzywojennej Europie. Ponadto przesunął akcent z ich działalności filmowej na działalność związaną z animowaniem kultury filmowej, zrekonstruował wewnętrzne dysputy estetyczne i polityczne w „Starcie”, zrewidował kalendarium oraz filmografię startowców. Tekst autorski wzbogacił wyborem artykułów prasowych startowców oraz ilustracji – do tej pory szerzej nieudostępnianych i niekomentowanych przez historyków kina.A review of Łukasz Biskupski’s book Kinofilia zaangażowana. Stowarzyszenie Miłośników Filmu Artystycznego „Start” i upowszechnianie kultury filmowej w latach 30. XX w. [Engaged Cinephilia. Association of Enthusiasts of Artistic Film “Start” and Dissemination of Film Culture in the 1930s] (2017). The author successfully re-examined the knowledge about the pre-war association “Start” from the point of view of the new history of the film, that is as a result of archival investigation and critical analysis of previous findings. He convincingly justified the need to reinterpret the achievements of “Start” members from the perspective of a historian who does not belong to that generation. The author successfully avoided the nostalgia of the first historians of “Start” or the tone of coming to terms with the generation of communists. He placed their initiative in the context of the activity of the first generation of cinephiles in interwar Europe. In addition, he shifted the accent from their film activities to activities related to the animation of film culture, he reconstructed internal aesthetics and political disputes in the “Start”, revised the timeline and filmography of its members. He enriched his own text by a selection of press articles by “Start” members and illustrations until now, not widely available and not commented on by film historians
Zastosowanie modeli sieci neuronowych w ocenie i prognozowaniu jakości powietrza Application of neural network models for assessment and forecasting of air quality /
No full textTyt. z nagł.Abstract: The paper deals on the air pollution assessment and forecasting method based on artificial neural network. For solving the problem the four-layer, feed-forward neural network is proposed. The method has good properties of generalisation and high speed of operation. In this aspect artificial neural network can be regarded as good instrument for prediction of smog state. The chosen type of the network seems to be the promised tool for assessment and forecasting of states, which influence people health and the surrounded environment. Streszczenie: W artykule przedstawiono metodę oceny i prognozowania jakości powietrza opartą na modelu sztucznej sieci neuronowej. Metoda ta ze względu na dobre właściwości uogólniające i szybkie osiąganie wyników nadaje się do rozwiązywania zadań predykcyjnych, których przykładem jest prognozowanie sytuacji ostrzegawczych. Dla rozwiązania postawionego zadania zaproponowano czterowarstwową, jednokierunkową sieć neuronową. Sieć tego typu jest obiecującym narzędziem oceny i prognozowania powietrza, zwłaszcza w sytuacjach podwyższonych stężeń zanieczyszczeń wpływających niekorzystnie na zdrowie ludzi i otaczające środowisko. Słowa kluczowe: powietrze, jakość powietrza, prognozowanie jakości powietrza, sieci neuronowe, sztuczne sieci neuronow
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Landscape in socialist realist film Joanna Kozicka's unfinished film along the bank of the Vistula
No full textVariations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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