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Tytuł:
Echa "Idź i patrz" Elema Klimowa w dwóch polskich filmach antywojennych – "Mieście 44" Jana Komasy oraz "Wołyniu" Wojciecha Smarzowskiego
Echoes of Elem Klimov’s 'Come and See' in two Polish anti-war films – Jan Komasa’s 'Warsaw 44' and Wojciech Smarzowski’s 'Wołyń'
Autorzy:
Szpulak, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/923129.pdf
Data publikacji:
2018-12-22
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Elem Klimow
Jan Komasa
Wojciech Smarzowski
war film
anti-war film
historical film
Polish film
Soviet film
Opis:
The subject of interest in this text are the relations between the famous Elem Klimow’s Come and See and two Polish movies made in the second decade of the 21st century – Jan Komasa’s Warsaw 44 and Wojciech Smarzowski’s Wołyń. These relations are considered at the genetic level, the level of historical references, the genological level and the plane of audiovisual material created in films. The analysis leads to the conclusion that genological issues play the most important role in building these relationships, among them the shape of the main character’s figure.The text can be treated as a contribution to reflection on the genre distinctiveness of the anti-war film.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 23, 32
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Mroczne żądło zdegenerowanej natury. Szkic o czarnoromantycznych inspiracjach Róży Wojciecha Smarzowskiego
The dark sting of degenerate nature. Sketch of the dark-romantic inspirations in Wojciech Smarzowski’s Rose
Autorzy:
SZPULAK, ANDRZEJ
Powiązania:
https://bibliotekanauki.pl/articles/920942.pdf
Data publikacji:
2016-11-03
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Wojciech Smarzowski
Rose
black romanticism
Romanticism in film
Polish historical film
war film
Opis:
The text presents Polish dark romanticism as an important source of inspiration for the images of violence, includ- ing sexual violence, in Wojciech Smarzowskis Rose. The author reveals the mechanisms of this inspiration: visual, dramatic, intellectual, and refers to specific literary texts, from the Romantic era and later, by Antoni Malczewski, Seweryn Goszczyński, Juliusz Słowacki and Włodzimierz Odojewski.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 265-272
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Orient w fabularnym polskim filmie powojennym. Rekonesans
Orient in Polish Post-War Feature Film. Reconnaissance
Autorzy:
Nowakowski, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/1182029.pdf
Data publikacji:
2013-12-02
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
orientalism
polish feature film
postcolonialism
orientalizm
polski film fabularny
postkolonializm
Opis:
Artykuł analizuje obecność wątków orientalnych (blisko- i dalekowschodnich) w polskim filmach fabularnych zrealizowanych po II wojnie światowej w perspektywie takich pojęć jak: orientalizm, postkolonializm i zderzenie kultur. Wynika z tych obserwacji, że obecność tych wątków w naszym kinie jest wciąż skromna, choć po przełomie politycznym z 1989 roku jest ich nieco więcej. Grupuje omawiane filmy w trzy typy: pokazujące egzotykę przestrzeni rodem ze Wschodu, przedstawiające bohatera który jest obcym i wrogiem oraz te, w których przybysz ze Wschodu zaczyna być rozumiany i akceptowany, co ma miejsce w utworach najnowszych.
In this paper, I intended to analyse Polish feature films devoted to three central categories: orientalism, postcolonialism and the clash of cultures (civilizations). This article presents the Polish cinema in the following three areas and types. First of all, there are works which show an exotic, oriental space. Secondly, there are films with a hero who is a stranger and an enemy. Finally, in the newest films the protagonist – a new comer from the East – becomes accepted and understood.
Źródło:
Porównania; 2013, 13; 167-178
1733-165X
Pojawia się w:
Porównania
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ten chudy Schlechter
That Thin Schlechter
Autorzy:
Maleszyńska, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/1533388.pdf
Data publikacji:
2013-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
pre-war Polish song
cabaret
comedy
Polish pre-war film
popular culture
Lviv ghetto
Holocaust
Polish-Jewish artist identity
Opis:
The article relates the life and work of a pre-war author who is almost unknown by name, but very popular because of his work, an author of songs, cabaret sketches, and film scrips. He was born in a family of assimilated Jews from Lviv. He made a great contribution to Polish language, both literary and colloquial, by writing song lyrics with phrasings that have become fixed expressions used in communication of the simplest and most universal feelings. Schlechter became a victim of the Holocaust, and his artistic work, which focused on joy and the bright side of life, did not protect him physically and mentally from the Nazi death machine. He was killed in Lviv ghetto, probably in 1943.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2013, 22; 55-70
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ważyk – Ford – Starski. Historia pewnego scenariusza
Ważyk – Ford – Starski. A story of a script
Autorzy:
Małgorzata Hendrykowska, Małgorzata Hendrykowska
Powiązania:
https://bibliotekanauki.pl/articles/923326.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
script
film short story, author’s explication
Adam Ważyk
Aleksander Ford
Ludwik Starski
screenplay
war film
action film
Opis:
The article presents the complicated story of a script, originally titled “ID Card”, was written in mid-1948 by Adam Ważyk. Had the script been approved for production, it would have been one of the first Polish post-war feature films. However, this did not happen. Apart from Adam Ważyk, Aleksander Ford, Jan Fethke and Ludwik Starski also worked on subsequent versions of the script. Due to complex political circumstances, none of the versions presented was approved by decision-makers. The author presents subsequent versions of the script which change along with social and political changes in Poland. The last version entitled “False Papers”, written by Ludwik Starski in 1968, contains clear elements of an action film. However, this was not a good time for this type of production. Over a period of 20 years, the script of “False Papers” underwent a peculiar metamorphosis: from a political pamphlet, to a didactic story, and finally, an action film with an unexplained mystery and war in the background. None of these versions became a film.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2019, 26, 35; 35-61
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Znane” i nieznane produkcje przedwojennego polskiego kina. Halka Konstantego Meglickiego i Sportowiec mimo woli Mieczysława Krawicza
‘Known’ and unknown pre-war Polish film productions: Konstanty Meglicki’s Halka and Mieczysław Krawicz’s Sportowiec mimo woli
Autorzy:
Pieńkowski, Michał
Powiązania:
https://bibliotekanauki.pl/articles/921219.pdf
Data publikacji:
2017-08-17
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
pre-war movies
silent cinema
digital preservation
filmographic studies
archive studies
Opis:
There are many Polish films from the pre-war period that are not known to the public today. Most oft en they simply did not make it to modern times or only fragments are preserved, their condition too poor to allow utilization. One of such films is Halka, directed by Konstanty Meglicki in 1929, which due to digital restoration has returned to the screen in November 2016, after decades-long break. In recent years, however, it’s been discovered that even some seemingly well-known films should in fact be considered unknown. Due to the research conducted at the National Film Archives, new facts came to light, revealing lost film fragments or alternative versions. One such example is a film from 1939 called Sportowiec mimo woli, until now only known for its post-war American adaptation, turns out to be very different from the unknown original version. Polish pre-war cinema, which was often treated with some disdain, is now perceived in a very different light. And recent discoveries allow us to re-examine the achievements of the early period of Polish cinematography.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 20, 29; 336-341
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Na białym szlaku. Zapomniany film o wojnie
“On the White Trails”: a forgotten film about the war
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/923318.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Jarosław Brzozowski
Andrzej Wróbel
film poetics
World War II drama
tough guys movie
genre
narration
Polish cinema
practice of film production
Opis:
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.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2019, 26, 35; 103-115
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Procesy emancypacyjne filmowego gatunku sf w powojennej Czechosłowacji a Lemowskie reperkusje. Wstępny rekonesans
Emancipatory Processes of The Sci-Fi film in Post-War Czechoslovakia and its Repercussions in Lem. An Introductiory In-Vestigation
Autorzy:
Nowakowski, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/1179631.pdf
Data publikacji:
2015-12-03
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
sci-fi
Stanisław Lem
adaptation
sci-fi literature
Czech film
fantastyka
adaptacja filmowa
literatura SF
film czeski
Opis:
Artykuł przedstawia pierwsze ważne filmy science fiction powstałe w Czechosłowacji w trzech dekadach – latach 40., 50. oraz 60. ubiegłego wieku, pokazując, że stanowią one podwaliny tego typu kina u naszych południowych sąsiadów. Wszystkie realizują odmienny model ekranowej fantastyki, lecz w odróżnieniu od Krakatit (1948). Otakara Vávry nadającego mu rys pesymizmu, inny od humanistycznego optymizmu literackiego pierwowzoru (powieść K. Čapka) i wtłaczającego go w kontekst powojennych zagrożeń atomowych, a także feerycznego, pełnego wdzięku XIX-wiecznej grawiury ilustrującej powieści Julesa Verne’a filmu Karela Zemana Diabelski wyna-lazek (1958), to właśnie najpóźniej powstała (niezaznaczona w napisach czołowych) adaptacja powieści Stanisława Lema Obłok Magellana, zatytułowana – Ikaria XB-1 (1963) w reżyserii J. Poláka okazał się najbardziej nowoczesnym, bo stawiającym na realizm, utworem czeskiego kina SF tamtego okresu.
The article presents the first important science fiction films made in Czechoslovakia in three decades, 40s, 50s and 60s of the 20th century, in order to show that they constitute the basis of this type of cinema-tography in Poland’s southern neighbour. They reflect various models of film fantasy from a pessimistic note in Krakatit (1948) by Otakar Vávra, different from the humanistic optimism of its literary prototype (novel by K. Čapek) put in the context of the post-war nuclear threats to a vivid and graceful 19th century gravure illustrating the novels of Jules Verne in the film by Karel Zeman Vynález zkázy (1958). The last to be made was an adaptation of Stanisław Lem’s novel Obłok Magellana, titled – Ikaria XB-1 (1963) (not mentioned in the opening credits) directed by J. Polák which turned out to be the most modern sci-fi film of the times because of its realism.
Źródło:
Porównania; 2015, 17; 67-75
1733-165X
Pojawia się w:
Porównania
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Filmowy Mińsk (1915–1918) – polskie doświadczenie podczas Wielkiej Wojny
Cinematic Minsk (1915–1918) – Polish experience during the Great War
Autorzy:
Guzek, Mariusz
Powiązania:
https://bibliotekanauki.pl/articles/923310.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Polish film
Great War
film in the Russian Empire
silent cinema
Opis:
Polish film life in the Eastern Borderlands of the former Republic of Poland is replete with numerous white spots. During World War One, however, activity was quite intense, as evidenced by book-length studies on Vilnius, Lviv and even Kiev. Minsk, the future capital of Belarus, also had its own film-related Polish culture. The article focuses on the functioning of Minsk cinemas and their repertoire, as well as the Polish accents associated with them, which repeatedly had a mobilizing and identitarian character around which the national community of this provincial city was organized. Minsk’s border status means its cinematographic ancestry can be claimed by various national cinematographies, including Russian and Belarusian, but the source query and resulting findings clearly indicate that in the years of the Great War, this center was most strongly associated with Polish culture
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2019, 26, 35; 147-158
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Parodia flmowa
Film Parody
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/917704.pdf
Data publikacji:
2014-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
parody
film parody
comic effect
catharsis
contemporary culture
dialogue
war games
rebellion
versus
subversivity
other speak
film poet
parodia
pariodia filmowa
Opis:
Film parodies are now attracting more popular interest than at almost any time in their history except the first two decades of the 20th century (golden era of film parody). The contemporary renewal of parody is an attractive phenomenon of popular culture. To analyse and recontextualize this renewal of parodistic paradigm in film supporting by new media (spontaneous net art) Hendrykowski has compiled a wide-ranging panorama and collection of classic examples made by many famous but also unknown film-makers. Underlying the entire collection is the author’s personal belief that parody can be divers and rich as particular form of cultural rebellion and social catharsis – by turns comic effect and confusing dialogue in polemical confrontation with common opinion and public point of view established by parodied original.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 14, 23; 5-14
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The trouble of gender sin in post-Yugoslav film – in the name of the father
Autorzy:
Bogojević, Maja
Powiązania:
https://bibliotekanauki.pl/articles/923151.pdf
Data publikacji:
2018-12-22
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
gender
film
Yugoslav
post-Yugoslav
war
auteur
gaze
patriarchy
cinematic representation
Opis:
Post-Yugoslav film art is, similarly to Yugoslav cinema, exemplary of masculine cultural domination, approaching socio-national themes in a highly gendered mode and reflecting a return to patriarchy, more brutal than that during the existence of Yugoslavia. A new generation of cinéasts explores, with a backlash mixture of contempt and compassion, the themes of violence, displaying a new assault on female emancipation, which seemed to be in line with the socio-political context of rising nationalist movements that led to the bloody events of the Yugoslav war in 1991. The female character is re-located to a place traditionally assigned to women not as the subject of narrative or discourse, but as the object of love and/or hatred by a masculine subject. The films chosen to be analysed here are full-length auteur feature films – Virgina, Grbavica, Djeca, Bure baruta, with a specific focus on the work by Danis Tanović – are not representative of post-Yugoslav cinema, but as rare exceptions demonstrate that, contrary to the dominant post-Yugoslav public opinion, both the Yugoslav wars and post-war traumatic realities remain cinematically unexplored.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 23, 32
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Metodologiczne problemy historii powojennego dokumentu filmowego w Polsce
The Methodological Problems of Studies on the History of Polish Postwar Documentary
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/920404.pdf
Data publikacji:
2015-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
documentary
genre
non-fiction film
editing
language of moving pictures
film history
historiography
social realism
post-war Polish cinema
Stalinism
film industry
film production
distribution
ideology
film poetics
rhetorics
Opis:
The Methodological Problems of Studies on the History of Polish Postwar Documentary The author discusses the narratives and stereotypical (ideological) point of view as a matrix for constructing an overly simple image of the Polish documentary in the postwar period (1944–1955) as shadowed in the untruth of political discourse. In Marek Hendrykowski’s opinion this particular period in Polish documentary film was much more complicated and multi perspectived (in a “dialogical” sense) as a research object posing new questions and opening new perspectives for film historians.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2015, 16, 25; 249-255
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pierwsza ekranizacja Pana Twardowskiego
The first film adaptation of Pan Twardowski
Autorzy:
Hendrykowska, Małgorzata
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/921333.pdf
Data publikacji:
2017-08-17
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
First World War
Skobielevski Committee
Russian cinema
Polish culture
film
legend
adaptation
Starewicz
mise-en-scène
Opis:
The article discusses the oldest recorded film adaptation of the legend of Pan Twardowski, found in the archives of the George Eastman House in Rochester, New York. The two-part feature film was filmed in Russia between 1916 and 1917, and its creator was the famed Polish filmmaker Władysław Starewicz.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 20, 29; 149-160
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Time networks: history and synchronicity in contemporary Croatian cinema
Autorzy:
Janica, Tomić
Powiązania:
https://bibliotekanauki.pl/articles/923164.pdf
Data publikacji:
2018-12-22
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
network narratives
Croatian film
Balkan cinema
synchronicity
war
cultural memory
Opis:
The paper demonstrates the prominence of network narratives (films with several autonomous storylines, globally popular since the mid-1990s) in post-Yugoslav, particularly Croatian, cinema, with examples such as Metastases (2009), The Reaper (2014), You Carry Me (2015), The Constitution (2016), The Trampoline (2017), etc. Unlike network narratives elsewhere, these films often thematize history, with parallel stories typically set during World War II and the Yugoslav Wars of the 1990s. This has been said to suggest as a circular, synchronic vision of history, a “transhistorical dance macabre” as a leitmotif of Balkan cinema. The films Witnesses (2003) and The High Sun (2015), together with a group of multi-narrative plays, i.e. The Last Link (1994), 3 Winters (2014) and Men of Wax (2016), are analysed as vehicles of counter-memory to such self-Balkanizing representations.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 23, 32
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Relationship Between Form and Content in Early Grzegorz Królikiewicz Documentaries
Autorzy:
Viren, Denis
Powiązania:
https://bibliotekanauki.pl/articles/918034.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Polish cinema
documentary film
avant-garde
Grzegorz Królikiewicz
offscreen cinema space
psychodrama
war films
Opis:
At first glance, the documentary films that the outstanding Polish filmmaker Grzegorz Królikiewicz was making at the turn of the 1970s, may seem less experimental than his feature films (one only needs to recall such innovative films as Through and Through or The Dancing Hawk). Viewed against the context of certain radical formal decisions, they may even strike one as traditional. Nevertheless, if one were to look closely at Królikiewicz’s early documentaries, one can see that they are more complicated than they seem and that what we have there is “unobvious” experimental cinema. An internal conflict is created by the relationship between form and content, the tension between them, and sometimes even discussion. This concerns his poetic short films (Don’t Cry, Brothers and Men), based in part on Królikiew- icz’s conception of “off-screen cinema space”, as well as his psychodramas (Fidelity, The Murderer’s Letter). The true message of these films has been carefully concealed, and has to be looked for in the way the director presents everyday reality to us. 
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 277-280
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
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