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    Wyświetlanie 1-14 z 14
    Tytuł:
    Między słowem a obrazem. Z notatnika reżysera
    Between script and film camera
    Autorzy:
    Gliński, Robert
    Powiązania:
    https://bibliotekanauki.pl/articles/919800.pdf
    Data publikacji:
    2011-01-01
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Word Camera
    Script
    Director
    Actor
    Rehearsals
    Opis:
    Between script and film cameraFor the film director the film is, in a way, “ready” before the shooting. Everything what is important for the film must be planned and worked out before its shooting. The interval between writing the script and the shooting the film is the intensive time of work for the director. He/she must decide what (kind of) movie he/she wants to do. The director must know how to organize the scenes for the shots, how the film should start and end. He/she must know who will play in the film and find a way to inspire the actors. The director prepares the rehearsals. He/she is also supposed to find interiors and exteriors for shooting, write the screenplay and draw the storyboard. The satisfy all these requirements of director has to be not only talented but work hard, be concentrated and persistent. Effects of his/her devotion to film are revealed in how the text of the script is turned into film.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 8, 15-16; 123-148
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Praca nad rolą - Ryszard III*
    Working on the role –Richard III
    Autorzy:
    KAŁUŻYŃSKI, MAREK
    Powiązania:
    https://bibliotekanauki.pl/articles/920949.pdf
    Data publikacji:
    2016-11-03
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    actor
    stage role
    director
    William Shakespeare
    translation
    Opis:
    The author describes the contexts for working on the title role of Shakespeares Richard III. He points to specific stages in working on the role: familiarising oneself with the original text and associated literature (research), creating the character (concealing intentions, plans and emotions from other characters in the play, the characters internal struggle, perceiving psychological truths); developing relationships with the director and other actors; the use of scenography, costumes, lighting and music to create characters for the stage, considering the meaning of translation and rapport with the audience.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 211-230
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Opowieść reżysera, który chce być reżyserowany
    A Tale of a Director Who Wants to Be Directed
    Autorzy:
    Pławuszewski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/920009.pdf
    Data publikacji:
    2012-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Jacek Bławut
    documentary
    movie character
    director
    dogmas
    Opis:
    The review A Tale of a Director Who Wants to Be Directed concerns a book written by Jacek Bławut (A Character in a Documentary). Notable Polish filmmaker sums up some of his artistic achievements (not without mentioning the future plans), trying to explain his view on a co-operation with a movie character (especially due to a documentary genre), but also on a directing itself. The review follows the vital points of the book, placing them under two general categories: “author” and “character”. It also recalls (with no abbreviation) something that’s been called as “Dogmas or what’s important for me” – these are ten “rules” that Jacek Bławut (as a director) tries to adapt to all of his film doings.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 10, 19; 174-177
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jestem twój
    I’m yours
    Autorzy:
    CZOP, IRENEUSZ
    Powiązania:
    https://bibliotekanauki.pl/articles/920950.pdf
    Data publikacji:
    2016-11-03
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    film role
    actor
    acting skills
    screenplay
    director
    Opis:
    The author analyses in detail the structure of the leading role based on the film “I’m yours” His analysis takes into account acting skills, the relations between the protagonists and adversaries and also cinematic time and space. He appreciates the role played by the screenwriter and establishes the principles for cooperation between actors and the director.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 199-210
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Fascynacje. Peter Brook*
    Fascinations. Peter Brook
    Autorzy:
    CZOP, IRENEUSZ
    Powiązania:
    https://bibliotekanauki.pl/articles/920995.pdf
    Data publikacji:
    2016-11-03
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    actor
    film role
    Peter Brook
    director
    screenplay
    Opis:
    The author analyses various aspects of acting in the context of Peter Brooks theory of acting. This discussion takes into account role construction, the authenticity and originality of the character, the problem of the actors identification with the character and the importance of cooperation between the actor and the director in the pre-production process and on the shoot.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 69-74
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    England in a Miniature in Mike Leighs "The Short and Curlies"
    Autorzy:
    Śliwińska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/920036.pdf
    Data publikacji:
    2012-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    short film
    student film
    Polish cinema
    film director
    Opis:
    Mike Leigh’s films are known for having kept the same tone and having played out the same melody for years. It is noteworthy that all the themes which Mike Leigh developed in his subsequent films, appeared in The Short and Curlies. Short scenes from the life of the English in The Short and Curlies can be seen in each scene of the film. From details such as a street with a perfectly straight terrace of houses with small gardens to social questions that are constant in the British culture. This ordinary, everyday observation gave rise to the plot of The Short and Curlies, revolving around a love affair of Joy (Sylvestra Le Touzel), a young woman working at a chemist’s and Clive (David Thewlis), a man who communicates with her only by means of his humourless jokes. Another story in the film is a complicated relationship of an eccentric hairdresser Betty (Alison Steadman), who is more interested in the life of the pharmacist than in the life of her own daughter Charlene (Wendy Nottingham). As Ewa Mazierska says: “Mike Leigh was once called the painter of miniatures – his films and TV productions for which he is equally praised and admired, concentrate on life of «small people with small gardens»”. Mike Leigh knows that his strengths are well written dialogues and this extraordinary skill to become a fictional character possessed by the actors he chooses.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 10, 19; 23-31
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    O przemieniającym życie mroku postaci
    On the darkness of the character that transforms life
    Autorzy:
    WIERZCHOWSKI, MARCIN
    Powiązania:
    https://bibliotekanauki.pl/articles/920976.pdf
    Data publikacji:
    2016-11-03
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    theatre role
    actor
    acting skills
    William Shakespeare
    director
    Opis:
    The author analyses the relationship between the actor's life and the character they create on stage. He points to the interdependencies between the actor and their role. He determines the conditions in which the role should be constructed and also discusses the on- and off-stage circumstances that determine the value of a particular role. This analysis is supported by the authors own experience as a theatre director.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 47-60
    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’s “Camera Buff”: a revised version of “First Love”
    Autorzy:
    Lubelski, Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/923208.pdf
    Data publikacji:
    2019-03-25
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    First Love
    Camera Buff
    documentary film
    fiction film
    ethics of film director
    Opis:
    The article develops its title thesis, which proposes interpreting Kieślowski’s Camera Buff (Amator, 1979), his second full-length feature film, as a revised version of his documentary First Love, made five years earlier. Both films have similar starting points ‒ the story of a couple expecting the birth of their first child. But the conclusion in each case also has something in common and results in the abandoning of a film project. The latter similarity meant that Kieślowski changed the character of the main protagonist in his full-length movie. It is no longer a documentary hero but the film auteur himself. This was probably the essence of the director’s artistic discovery made while shooting Camera Buff. It meant the abandonment of the documentary character when the prolonged relationship with him (and her) proved to be ethically dubious and his (and her) development predictable. At the same time, Kieślowski expressed his own creative experience as the film’s author creating a fictitious character in Camera Buff, inspired by various figures of real ‘prototypes’.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 129-136
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    "Wieczór" Edwarda Żebrowskiego - autorska kopia
    Edward Żebrowski’s “Evening” – the Creative Copy
    Autorzy:
    Szpulak, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/919986.pdf
    Data publikacji:
    2012-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    short film
    student film
    Polish cinema
    film director
    film krótkometrażowy
    etiuda
    kino polskie
    Edward Żebrowski
    Opis:
    The aim of this article is interpretation of the short film directed in 1964 by Edward Żebrowski, student of Film School in Łódź. Author is considering the many aspects of the relationships between study film and two years earlier debut of Roman Polanski, the famous Knife in the Water. He shows that by using the concept of feature of more experienced colleague, Żebrowski at the same time creates the foundations for his own film language and manifests its own perception of the world, as well as interpersonal problems, developed in further work.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 10, 19; 81-87
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Historia zespołów filmowych z dzisiejszej perspektywy
    A History of Polish Film Units from a present-day perspective
    Autorzy:
    Hendrykowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/920049.pdf
    Data publikacji:
    2013-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    film unit
    producer
    creative producer
    film production
    création collective
    auteur
    authorship
    director
    creativeness
    organization
    film industry
    Opis:
    Directors were central and outstanding figures in the creation of the postwar Polish film industry from the 1940s to the late 1980s. Educating young filmmakers, the Film School in Łódź fostered a documentary-realist style of narrative filmmaking, seen in the work of such talents as Munk, Wajda, Morgenstern, Polański, Zanussi, Skolimowski, Marczewski and Kieślowski. Since 1990, the producer system has replaced the traditional structure of Polish cinema connected with the director’s pursuits and primacy, and well as film units. Marek Hendrykowski’s critical study describes this process, covering selected historical, political and cultural events. The author discusses various aspects of this evolution and the idea of the creative producer, redefining its role for generations to come.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 341-351
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Między kulturą wysoką a kulturą popularną. O muzyce George'a Gershwina w „Manhattanie” Woody'ego Allena
    Between high culture and popular culture. The music of George Gershwin in Manhattan by Woody Allen
    Autorzy:
    Pomostowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/920083.pdf
    Data publikacji:
    2013-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    high culture
    popular culture
    film music
    Woody Allen
    George Gershwin
    Manhattan
    symphonic jazz
    identity
    New York City
    composer
    director
    Opis:
    The article focuses on the relationships between high culture and popular culture in relation to film music. To this end, the author conducted a thorough analysis of the works of George Gershwin used in Woody Allen’s film Manhattan. The article consists of two parts and a conclusion. In the first part, the author presents a brief history of the continuous grinding together of high and popular culture in music, resulting in symphonic jazz, which came about in the 1920s, and whose precursor was George Gershwin. The second part is a cinematic and musicological analysis of all the works of Gershwin appearing on the soundtrack of Manhattan, and an attempt to find associations between the director and composer. In conclusion, the author notes that the phenomenon of mixing of popular culture and mass culture (both on the music, as well as its use in the work of the film) is subordinated in both George Gershwin and Woody Allen’s work to attempts to find their own identity, and one of the sources of inspiration of both artists is the same New York City, which is a city-myth.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 243-255
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Jazzowość filmu - filmowość jazzu. O muzyce Krzysztofa Komedy w filmach krótkometrażowych Romana Polańskiego
    The Jazziness of a Film – the Filmicness of Jazz. About the Music of Krzysztof Komeda in the Short Films of Roman Polański
    Autorzy:
    Pomostowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/920007.pdf
    Data publikacji:
    2012-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    film music
    jazz music
    composer of the film soundtrack
    jazz composer
    film director
    short films
    shaping of the style
    element of improvisation
    Opis:
    The relationship between a film director and the composer of the film soundtrack is an exceptionally interesting research subject. Even more so in the context of Krzysztof Komeda’s music in Roman Polański’s film etudes. It is a rare case for the influence of music on a film and for the influence of the film on the music to be so significant in the shaping of the styles of two artists on the threshold of their careers, one of whom is a composer, the other one being a film director.In the article, the author attempts to prove that creating a film using directing solutions that refer to jazz music elements is just as possible as the transformation of a jazz composer (in the context of a film) into an author of music which also becomes a film soundtrack. What is more, the mutual inspirations translate into the artistic development of both artists which is noticeable in their subsequent joined works. Those are: Two Men and a Wardrobe (1958), The Fat and the Lean (1961) and Mammals (1961).The author performs a film study-musicological analysis of the films mentioned above on the basis of the works of Marek Hendrykowski, Alicja Helman, Zofia Lissa, and Emilia Batura; he also uses the opinions of the authors themselves on their shared films which are the subject of the analysis mentioned. Examining the role of Krzysztof Komeda’s music in Roman Polański’s short films proved that apart from functionalizing the basic element of a music piece (melodics, agogic, rhytmics, and meter), the element of improvisation – characteristic of jazz – can also occur in a film, present both in its visual as well as in the sound layer. Thus, the use (on both levels) of elements of two kinds of art different from each other (in an ontological sense) has a significant influence on the shaping of the unique style of both artists.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 10, 19; 95-103
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Scenariusz filmowy i jego odmiany: Studium przedmiotu.
    Screenplay, Its Kinds and Its Forms
    Autorzy:
    Hendrykowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/919921.pdf
    Data publikacji:
    2012-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    screenwriting
    screenwriter
    scenarist
    scenario
    screenplay
    script
    concept
    idea sketch
    log line
    novel
    story outline
    step outline
    continuity
    treatment
    synopsis
    draft
    first draft
    master-scene script
    storyboard
    director's draft
    final script
    shooting script
    Opis:
    Screenplay, Its Kinds and Its FormsScreenplay is a phenomenon located between two different worlds, spheres and cultures: literature and cinema. In his study, Marek Hendrykowski examines the meaning and functions of all crucial terms connected with film script and screenplay, among them: concept, log line, story, synopsis, treatment, draft, first draft, storyboard, director’s draft, final script and shooting script. The author sketches step by step each of these various forms of scenario in detail, explains what they are about and why they are necessary. He also stresses the importance of rewriting and script development in the process of film creation as a means of taking the achievement to a higher level.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 11, 20; 133-150
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Scenariusz filmowy jako inspiracja
    The film script as an inspiration
    Autorzy:
    Hendrykowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/917830.pdf
    Data publikacji:
    2014-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    theory of practice
    novel
    treatment
    scenario
    screenwriter
    script
    inspiration
    project
    literary version
    narrative
    narration
    poetics
    standard
    rhetoric of film
    art of film
    author
    authorship
    collectif work
    rewriting
    storyboard
    shooting script
    producer
    cereative producer
    director
    remodeling
    re-vision
    preproduction
    transition
    metamorphosis
    synergy
    shooting
    film production
    crash-test
    due diligence
    virtual viewer
    audience
    spectatorship
    film reception
    Opis:
    Screenplay is a multifunctional project written by screenwriter or screenwriters for preparing next phases of film production. Changing and many times transformed forms of screenplay belong to the nature of screenwriting. Literary vision of film changes several times being result of synergy and typical work in progress: from general idea and high concept, through story, treatment, scalette, first draft and certain number of drafts, to final draft, director’s draft and shooting script. Marek Hendrykowski’s study describes and explains these terms as forms of literary film creation in three complementary aspects: creative re-vision, rewriting and remodeling. 
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 14, 23; 211-218
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-14 z 14

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