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    Wyświetlanie 1-11 z 11
    Tytuł:
    Krzysztof Kieślowski’s film props in the triptych “Three Colours”
    Autorzy:
    Otto, Wojciech
    Powiązania:
    https://bibliotekanauki.pl/articles/923212.pdf
    Data publikacji:
    2019-03-25
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Krzysztof Kieślowski
    film properties
    Three Colours trilogy
    Opis:
    Krzysztof Kieślowski employed film properties in a creative way in his Three Colours (Trois couleurs, 1993–94) trilogy. They play various roles in Blue (Bleu, 1993), White (Blanc, 1993) and Red (Rogue, 1994): they make the presented world more probable, co-create images of heroes, build dramaturgy and convey symbolic content. Such a treatment of film props is shaped by the director’s film style and creates a specific cinematic atmosphere.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 73-85
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Inflancka Travelogue: 10 Short Essays on “Decalogue”
    Autorzy:
    Kickasola, Joseph G.
    Powiązania:
    https://bibliotekanauki.pl/articles/923220.pdf
    Data publikacji:
    2019-03-25
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Krzysztof Kieślowski
    Decalogue
    motor intentionality
    spatial dynamics
    phenomenology
    embodiment
    Opis:
    Kieślowski scholar Joseph G. Kickasola documents his efforts to find and explore the Warsaw apartment complex where Krzysztof Kieślowski filmed his Decalogue series. His startling, unexpectedly emotional experience at such an ordinary place becomes an opportunity to reflect on the films, theorize on the function of place in them, and consider the way that human life and cinema feed into each other. Fictional stories and their cinematic constructions can deepen our experience, and make the world feel more lived in, more true. Nothing magical happened, but everything ordinary happened in all its fullness, like a kind of prophecy, fulfilled.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 19-38
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kieślowski in Spain: History, Reception and Inspiration
    Autorzy:
    Bardzińska, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/923209.pdf
    Data publikacji:
    2019-03-25
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Krzysztof Kieślowski
    Spain
    San Sebastián
    Valladolid
    festival
    DVD
    Blu-ray
    Three Colours
    Decalogue
    Opis:
    The films of Krzysztof Kieślowski arrived in Spain comparatively late, and when they did so this was mainly due to the Film Festivals at San Sebastián and Valladolid, as well the efforts of independent producers like the brothers José María and Miguel Morales of Wanda Films. In 1988, A Short Film About Love was presented at the San Sebastián Festival, where it won the Special Prize and the FIPRESCI Prize, and caught the attention of Spanish critics. To this day, Kieślowski remains the Polish director best-known to the Spanish – as was made clear in 2016, by the numerous events and screenings marking the 20th anniversary of his death. There can be no doubt that, in the homeland of Buñuel, no other Polish director evokes as much enthusiasm. Considering the Spanish reaction to the maker of the Three Colours, this article focuses on the distribution of Kieślowski’s works in Spain, as well as the director’s presence at the Spanish Festivals. Further subjects of analysis are reviews by Spanish critics and the state of research into Kieslowski’s creative output in the Spanish language, as well as the release of his films on DVD and Blu-Ray. The above focus on festivals, the attitudes of critics, and the popularity among the Spanish viewing public is supplemented by a study of the impact of Kieślowski’s output on the work of Spanish directors, as well as efforts to discern the direct influence of the former’s films in offering the latter inspiration.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 117-127
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Party in Krzysztof Kieślowski’s Films
    Autorzy:
    Zwierzchowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/923207.pdf
    Data publikacji:
    2019-03-25
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Krzysztof Kieślowski
    Polish cinema
    film and politics
    images of Polish United Workers’ Party
    Opis:
    Probably no other Polish filmmaker has devoted as much attention to the Polish United Workers’ Party (PZPR) as Krzysztof Kieślowski did in his films. Early on, he perceived the party as an organization where one could meet people with different desires, motivations and modus operandi. Kieślowski’s perspective could be defined as such: do not judge the whole, focus on individuals. His subsequent films present a change in this perspective. Workers and devoted members of the communist party were in the center of the director’s interest in some of his early films. Later, he focused more and more on individuals, especially those who had to face the party as a structure and hierarchy. Kieślowski’s films made in the early 1980s show party leaders and people in charge who eventually turn out to be losers. Kieślowski perceived various aspects and forms of being a party member, not only as a stepping stone for one’s career. He saw and presented the everyday life of PZPR, relations between the authorities and society, and its members and representatives of the party apparatus. He was quite critical about the party and people in charge, but also tried to see and present the reasons motivating their conduct. Social and political changes in Poland in the early 1980s made this kind of approach increasingly difficult for Kieślowski.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 137-153
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    "Night with the General" - a Democratic Documentary
    Autorzy:
    Piepiórka, Michał
    Powiązania:
    https://bibliotekanauki.pl/articles/918077.pdf
    Data publikacji:
    2014-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    political documentary
    Maria Zmarz-Koczanowicz
    Krzysztof Kieślowski
    political nature
    post-politics
    talking heads
    democracy
    Opis:
    The film is one of few examples of political documentaries produced in Poland after 1989. It is not limited to merely outlining the political argument over General Jaruzelski’s decision to impose martial law. Although it concerns events in Polish history, it is not a historical documentary, as it brings forth present-day political conflicts that have arisen around historical events. Trying to reconstruct this current political argument, Zmarz-Koczanowicz reaches for a method developed in the 1970s by the so-called “Kraków School” led by Krzysztof Kieślowski. ^e “talking heads” method was meant to help documentary filmmakers in the Polish People’s Republic reach what the person in the street actually thought and avoid the distortions of propaganda. For Kieślowski, however, the overriding aim was conciliation and an attempt to understand both sides of the political barricade - the authorities and the vox popu- li. His attitude, according to the terminology suggested by Chantal Mouffe, was a post-political one striving for an agreement through a rational dialogue. Zmarz-Koczanowicz’s aim, however, is different: she is intent on showing a clash of different hegemonies that do not strive for consensus. Their agonistic argument, played out in the political register, rather than a moral one, is a guarantee, according to this Belgian philosopher of politics, that democracy will continue to exist. 
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 119-128
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Krzysztof Kieślowski and Ingmar Bergman – once again about a certain artistic relationship
    Autorzy:
    Dąbrowski, Radosław
    Powiązania:
    https://bibliotekanauki.pl/articles/923211.pdf
    Data publikacji:
    2019-03-25
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    disease
    documentary film
    fiction film
    death
    Krzysztof Kieślowski
    Ingmar Bergman
    Polish cinema
    Swedish cinema
    Opis:
    Krzysztof Kieślowski and Ingmar Bergman belonged to different generations of film authors, but there was a certain artistic kinship between them. They were both interested in issues related to human existence, but their films also seem similar in terms of their aesthetic dimensions, in particular, their cinematographic style. Both directors also created films deriving from their private experience, often creating characters on screen who seem to be in some respect their alter egos. This articles deals with various similarities between the cinema of Kieślowski and Bergman.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 87-107
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Affirmation, Acceptance and Rejection: Polish Contemporary Documentary Filmmakers and their Relation to Poland’s Documentary Film Tradition
    Autorzy:
    Mąka-Malatytńska, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/918060.pdf
    Data publikacji:
    2014-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    contemporary Polish documentary film
    Tomasz Wolski
    Marcin Koszałka
    Wojciech Staroń
    Krzysztof Kieślowski
    dramaturgy
    film tradition
    Opis:
    This paper attempts to define the complex attitude to the tradition in Poland of fact-driven cinema shared by members of the young generation of Polish documentary filmmakers. The examples of films by Marcin Koszałka and Wojciech Staroń, and Tomasz Wolski’s The Lucky Ones, discussed in greater detail, illustrate various shades of this complex attitude, oscillating between affirmation and opposition. The article argues against criticism that demands contemporary cinema take up certain issues and discard others. 
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 155-164
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dokumentalne etiudy szkolne lat 50. i 60.
    Documentary school films of the 50s and 60s
    Autorzy:
    Mąka-Malatyńska, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/923081.pdf
    Data publikacji:
    2018-04-26
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    short film
    school film
    documentary film
    staging in documentary film
    observational documentaries
    Andrzej Wajda
    Krzysztof Kieślowski
    Marek Piwowski
    Ryszard Ber
    Witold Sobociński
    Opis:
    The subject of the article are the poetics of films made in the Lodz Film School in the first years of its existence. Analysis of selected films allows us to trace the metamorphoses of documentary forms which were sometimes parallel to changes being observed in mainstream documentaries, sometimes preceding them, sometimes imitating them. Documentary school films from this period illustrate one of the most important phenomena in the history of Polish documentary cinema: the transition from a persuasive document to an observation film whose poetics are the basis for defining the documentary in Poland.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 21, 30
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    To film an inconceivable reality: the manifesto of the young Kieślowski
    Autorzy:
    Jazdon, Mikołaj
    Powiązania:
    https://bibliotekanauki.pl/articles/923206.pdf
    Data publikacji:
    2019-03-25
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Krzysztof Kieślowski
    Kazimierz Karabasz
    André Bazin
    documentary film
    film and literature
    non-fiction cinema classics
    dramaturgy of reality
    documentary film ethics
    Polish cinema
    film theory
    Opis:
    In his master’s thesis, Documentary Film and Reality, Krzysztof Kieślowski dealt with a number of problems that turned out to play a vital role in his future film career, and its documentary period in particular. This range of topics includes the concept of ‘the dramaturgy of reality’, one of the methods for factual filmmaking he intended to put into practice, but also such ideas as the relation between film and literature, between documentary film and ethics, and the difference between reportage and documentary filmmaking. These concepts had an influence on his documentary filmmaking andled him to develop other concepts and methods for documentary filmmaking. From the perspective of Kieślowski’s creative oeuvre, the thesis Documentary Film and Reality reads as a manifesto by the young filmmaker.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 155-166
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dokumentarzyści i krytyk. Zygmunt Kałużyński a dokumentaliści „nowej zmiany”
    The Documentarians and The Critic, Zygmunt Kałużyński and Documentary Filmmakers of „The New Change”
    Autorzy:
    Jazdon, Mikołaj
    Powiązania:
    https://bibliotekanauki.pl/articles/921330.pdf
    Data publikacji:
    2017-08-17
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Zygmunt Kałużyński
    Krzysztof Kieślowski
    Tadeusz Różewicz
    Tomasz Zygadło
    Polityka weekly magazine
    censorship
    film criticism
    documentary film
    Polish School of Documentary Film
    film festival
    ‘Cracow Circle’ of documentary filmmaking
    Opis:
    The article offers the analysis of how Zygmunt Kałużyński, the film critic of Polityka weekly magazine, described and stigmatized documentary films by Krzysztof Kieślowski, Tomasz Zygadło, Grzegorz Królikiewicz and Krzysztof Gradowski presented at the Cracow short film festival in 1971. Kałużyński criticized and mocked the aesthetics of the Polish “new wave” documentary cinema in a series of articles published in Spring and Summer of 1971. He presented films by brave and talented directors, contradicting the current social and political situation, as the unreflective imitation of the banal television documentary style based on in-front-of-the-camera interviews. The author compares Kałużyński’s proceedings to actions of a British journalist Robert Pitmann described by Tadeusz Różewicz in his essay A Journalist and the Poet. Pitmann conducted a sneering interview with T.S. Eliot for Sunday Express in 1958 and Różewicz comments on the possible effects of his text for its readers.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 20, 29; 15-46
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “Ledwosz, where is the key?”, or people and animals in Iwona Siekierzyńska’s short student film “Missy”
    Autorzy:
    Przybylski, Krystian
    Powiązania:
    https://bibliotekanauki.pl/articles/923199.pdf
    Data publikacji:
    2019-03-25
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Iwona Siekierzyńska
    Krzysztof Kieślowski
    Missy
    Three Colours
    Red
    Lodz Film School
    school movie
    artistic supervisor
    animals
    dog
    Student Academy Award
    Sylwia Karczmarczyk
    girl
    priest
    growing up
    love
    loneliness
    anointing of the sick
    spiritu
    Opis:
    Iwona Siekierzyńska school film Missy takes up the theme of a girl’s unfulfilled love for a priest. Her dog named Ledwosz not only accompanies her in the experience of encountering the man in cassock, while his anointing of a sick neighbor, but also triggers the situation that caused her infatuation. This brief and accidental contact with the priest turns out to be a breakthrough experience for the teenage girl looking for love and attention. It means her entering the adult world in which it is easy to miss a crucial moment, or hurt somebody’s feelings quite unconsciously. The young girl’s experience of the brief encounter will remain in her forever. The relation between the female character and her dog from the short film was the inspiration to consider the similarities between Missy and Three Colors: Red, by Krzysztof Kieślowski, who was the artistic supervisor of Siekierzyńska’s film. In both films it is a dog that initiates the process resulting in metaphysical experience for the main characters.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 185-196
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-11 z 11

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