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Tytuł:
“The Intensity of Looking” at Karabasz, 2018
Autorzy:
Sapija, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/923205.pdf
Data publikacji:
2019-03-25
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
documentary film
Kazimierz Karabasz
Lodz Film School
WFD – Warsaw Documentary Film Studio
history
character in documentary
film observation
documentary ethics
Opis:
The origins of particular documentary films are sometimes difficult to determine, precisely locate and capture in time and space. It is like searching for the source of a river. What marked the beginning of Intensity of Looking, a film about the great documentary film director Kazimierz Karabasz? The beginning of a documentary film’s creation determines the artistic process and elements that shape its strength, energy and main thought. These elements, which sometimes verge on intuition, guide this process, shaping the subject of the film, as well as its meaning, climate and aura. There is a thread connecting the author and the protagonist of the film, something that binds them together during work on the film, and sometimes lasts much longer. The three variants of what initiates the process of making a particular documentary film are as follows. The first is an encounter with a person who could be a character in a documentary film. The second is a thought, idea or problem that a filmmaker wants to address and discuss in a documentary by means of a certain character and story. The third is a return to a character who had been portrayed in a previous documentary film, to tell more about him or her. All three of these variants were the case in the making of Andrzej Sapija’s Intensity of Looking.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 166-178
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Takim zapamiętałem Mietka”. Władysława Ślesickiego "Płyną tratwy" (1962)
"Ive remembered Mietek like that" Władysław Ślesicki. "The Rafts Sail" (1962)
Autorzy:
Pławuszewski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/918030.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
documentary film
Władysław Ślesicki
The Rafts Sail
documentary portrait
Opis:
The article That’s How I’ve Remembered Mietek aims to throw light on the origins and the final artistic form of Władysław Ślesickis documentary The Rafts Sail (1962). The movie depicts the story of a young Mazurian boy named Mietek, who crosses the line between childhood and adulthood (when, as a raftsman, he floats timber down the river). This film was probably the first time when the director’s poetic attitude towards filmmaking resulted in such a sublime documentary portrait, devoid of any words. Looking back, The Rafts Sail (awarded the Lion of San Marco at the Venice Film Festival in 1962) can be perceived as a clear symptom of Ślesickis masterpieces, such as Before Leaves Fall [1964] or The Family of Man [1966]. 
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 287-294
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kino obecności – analiza relacji między dokumentem a performance’em na wybranych przykładach
The Cinema of Presence: an analysis of the relationship between documentary film and performance based on selected examples
Autorzy:
Tes, Urszula
Powiązania:
https://bibliotekanauki.pl/articles/923090.pdf
Data publikacji:
2018-04-26
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
documentary film
presence
performance
Opis:
In my article, I examine the relationship between the documentary and performance. I focus special attention on Maciej Sobieszczański and Łukasz Ronduda’s film The Performer, which blurs the boundaries between film genres. Oskar Dawicki is a performer, and the protagonist of both a creative documentary and a feature film – this balancing on the borders of film genres and art is the focus of my reflections. The film’s authors took inspiration from the creative documentaries of Wojciech Wiszniewski and the plots of Grzegorz Królikiewicz, in which characters play themselves – in both cases, creative elements reveal the truth about each character. The most important aspect to me is the presence of the performer, which determines the form of the film and its reception. In my article I follow several themes which are key for understanding The Performer, among them the motif of disappearance and the relationship between the master and the disciple. I also deal with the problem of documenting performances – using the example of The Performer and the recording of Marina Abramović’s activities (Seven Easy Pieces by Marina Abramović, 2007). I also refer to the documentary film on Marina Abramović, The Artist Is Present, in which the performances recorded from 2010 go beyond the documentary formula.
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:
Holocaust Survivors. A Study on the Poetics of Documentary Films
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/919856.pdf
Data publikacji:
2011-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Holocaust
survivors
documentary film
Opis:
The essential study written by Marek Hendrykowski is a compact and straightforward guide aimed at anyone coming to the subject for the first time or just looking to improve their knowledge about documentaries relating to Holocaust. The paper offers both skimming and in-depth analysis of seven outstanding works made in the period 1993-2008 focused on key-problems of their distinctly different poetics. Author assembles evidence from the documentary film production of the time to describe the structure of message exposed in its narration, particular catches and figures, methods of lighting, framing, and editing as well as the collective feelings and emotions generated by these films. Hendrykowski considers the basic difference and fundamental conflict between two ways of thinking about manipulation in moving pictures language which establishes viewers’s approach to using (or over-using) of various stylistic catches, patterns of composition and narrative figures in this kind of documentary and generally in movies. Marek Hendrykowski’s provocative and open-minded study brings methodological revision of this important question. It will appeal to a large readership of filmmakers, cinemagoers, students and research workers interested in documentary film.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 9, 17-18; 29-52
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Patos w retoryce filmowej. Na podstawie "Yodok stories" Andrzeja Fidyka
Pathos in Film Rhetoric. On the Example of Andrzej Fidyk’s "Yodok Stories"
Autorzy:
Fiołek-Lubczyńska, Bogumiła
Powiązania:
https://bibliotekanauki.pl/articles/968032.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
pathos
documentary film
rhetoric
Opis:
The article relates to the use of rhetoric in documentary film. Pathos is one of many ways of creating a persuasive documentary. According to Andrzej Fidyk, modern documentary film must be attractive to the viewer, otherwise, nobody will watch it. Hence the director decided to use persuasive elements in his film. Pathos is a tool for arousing strong feelings in the viewer. The source of those feelings is the presentation of power and concentration camps in the form of a musical extravaganza.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2016, 31, 1
1505-9057
2353-1908
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dekolonizacja dokumentu
Decolonization of the documentary
Autorzy:
Borowski, Mateusz
Powiązania:
https://bibliotekanauki.pl/articles/889432.pdf
Data publikacji:
2020-06
Wydawca:
Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:
documentary film
decoloniality
performativity
ethnofiction
translation
Opis:
The article addresses the problem of the so-called documentary turn in contemporary art, especially in those practices that are related to the project of decoloniality. It examines how traditional documentary conventions, which constitute part of the Western epistemic code, are appropriated and dismantled for the purposes of the decolonialization of the image of cultural Others. From this perspective, I analyse the main strategies used by activist artists who seek to expose the typical mechanisms of knowledge production in non-Western cultures. I complement my interpretations with a genealogy of experimental ethnographic films, tracing contemporary artistic solutions back to the so-called ethnofictions of Jean Rouch. I use this as a background for analysing two video works by the Polish artist Wojtek Doroszuk (Prince, 2014, and Sape, 2016).
Źródło:
Didaskalia. Gazeta Teatralna; 2020, 157-158; 1-25
2720-0043
Pojawia się w:
Didaskalia. Gazeta Teatralna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Hitchcock wobec Holocaustu ("Memory of the Camps")
Autorzy:
Taras, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/1186316.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
Alfred Hitchcock
Sidney Bernstein
Holocaust
documentary film
Opis:
This sketch is a kind of commentary (gloss) to a little-known episode in Alfred Hitchcock’s work, which was the director’s collaboration on Memory of the Camps (the film producer Sidney Bernstein invited Hitchcock in the spring of 1945 to assist the filmmakers in giving the final shape to the documentary film made by American, British and Soviet frontline operators just after the liberation of several concentration camps). The author of the article poses questions about the contribution of the ‘master of suspense’ to this shocking, unfinished documentary, expressing the opinion that as a creator he was only interested in violence created in the space of fiction, in a world functioning according to the rules he invented.
Źródło:
Załącznik Kulturoznawczy; 2020, 7; 583-592
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Alternatywny scenariusz biografii muzyka rockowego – o życiu i twórczości Jasona Beckera
Autorzy:
Kosek, Jakub
Powiązania:
https://bibliotekanauki.pl/articles/951765.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
rock culture
musician biographies
documentary film
narratives
Opis:
The article focuses on the analysis of the biography of an American rock guitarist, namely Jason Becker. The main object of this study was the documentary „Jason Becker. Not Dead Yet” (2012) and some selected press news and information available on social media. The original biography of the musician, who within a few years has become famous in the world of rock music and since the age of 19 has had to confront the incurable disease – amyotrophic lateral sclerosis – is an interesting example of the alternative model of a biography in popular culture. It is also an educational story that teaches fundamental values, such as altruism, love, respect and friendship.
Źródło:
Kultura-Społeczeństwo-Edukacja; 2016, 10, 2; 191-200
2300-0422
Pojawia się w:
Kultura-Społeczeństwo-Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Historia bez pointy
The Story With No Punchline
Autorzy:
Górska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/920250.pdf
Data publikacji:
2009-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
documentary film
unmade project
dancing
deaf people
Opis:
The Story With No Punchline“To dance the silence” reveals the story of a documentary which could have been produced but it never was. The film was intended to present the world of silence trough three different characters working together ona dancing project – Caroline, Ann and Katherine. Caroline, 15, at that time, is outstanding ballet dancer. The dreams of her coach, Anna, is to train her so well so the girl will join the National Dance Theatre. But Caroline does not dream. For her – the future does not exist. As for the others who share her fate – the deaf people – who due to their deafness are deprived of abstract thinking. Catherine who is the costume designer of the dancing show “Other Worlds” has no such problem – even though she is deaf, she has learned how to speak and hear with the help of an hearing aid. She is a successful business woman with happy family. The idea of the film – and the article – was to explore Wittgenstein’s words “The borders of my language are the borders of my world”.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 322-325
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Human on fire as a gesture of self-offering in Polish documentary films
Autorzy:
Tes, Urszula
Powiązania:
https://bibliotekanauki.pl/articles/923247.pdf
Data publikacji:
2019-06-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
self-immolation
documentary film
history of Poland
Opis:
One of strongest acts of personal protest in the communist era was self-immolation, which was the subject of two Polish documentaries. Maciej Drygas in Hear My Cry invoked the figure of Ryszard Siwiec, who immolated himself on September 8, 1968 as a sign of protest against the Soviet army invasion of Czechoslovakia. In his documentary, Drygas shows a fragment of the film with the burning man, juxtaposing it with the testimony of witnesses to the tragedy and the account of the family. This documentary restores the memory of the whole society, who due solely to the film, learned about the radical gesture of a common man. Holy Fire by Jarosław Mańka and Maciej Grabysa in turn invokes the heroic but forgotten Walenty Badylak, who immolated himself in March of 1980 in Cracow as an expression of his objection to distortion of the truth about Katyń. Both acts of self-immolation had for many years been perceived as totally futile acts, while the directors show that the self-immolation of these now has a deep and symbolic meaning. In my analysis, I shall invoke historic and cultural contexts, conduct a multifaceted interpretation of self-immolation act and discuss the complex imagery included in the films.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2019, 25, 34; 172-179
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Film Document as a Testimony of the Present: A Sceptic at the Confessional
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/919709.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
documentary film
history of film
semiotics of film
Opis:
The semiotic mechanism of representing time present in documentary film has remained the same since the 19th century up to this very day. This is governed without exception in the cinematographic “message” by the choice and combination of visual and audio elements shown on the screen, together with the process of fragmentation and segmentation of images in respect to the reality being communicated. The nature of information contained in the moving pictures is one of communicating integrated experiences of the world, and experiences of civilization and culture. Thus conceptualised, information and the process of informing have a dimension that is par excellence anthropological. There in fact lies the broadly understood process of experience on the part of man and society - regardless of the changeability and ad hoc nature of the subjects raised in a given piece of subject matter - representing each time its ‘what’ and ‘how’. Regardless of the means of film expression used, there is always the same point of significance: the difference in the potential between what is known and that which is unknown. That is why the creative documentary proves on each occasion to be a mutual discovery of both known and unknown reality - one shared by the filmmaker and audience. 
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 91-98
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Between Documentary and Fiction: Authenticity and Voyeurism in the Cinema of Ulrich Seidl
Autorzy:
Granatowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/919720.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Ulrich Seidl
authenticity
Austrian cinema
documentary film
voyeurism
Opis:
The peculiarity of the films by Ulrich Seidl lies in the fact that the Austrian director combines freely the feature and documentary film techniques. This makes classifying his works not only impossible, but also pointless. Nevertheless, Seidl was perceived by critics as a documentary film director until he shot “Dog Days” in the year 2001. This film is regarded as a kind of a turning point in his career, a transition from documentary to fictional filmmaking. In fact it is hard to speak of a fundamental change in this instance. It seems more appropriate to perceive Seidl’s work as the director’s own consistently developed concept of cinema. The category of authenticity in meaning, contained in a definition formulated by the German film theoretician Manfred Hattendorf, proves to be very useful for describing the characteristic features of Seidl’s works. The techniques applied by Seidl in order to achieve the impression of authenticity by the viewer also bring to mind the voyeur’s perspective. 
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 61-70
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rosja w polskim filmie dokumentalnym na przykładzie projektu Rosja-Polska. Nowe spojrzenie
Russia in Polish documentary film as reflected in film project “Russia-Poland. New gaze
Autorzy:
Brzezińska, Marta
Powiązania:
https://bibliotekanauki.pl/articles/482356.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:
Russia
documentary film
images
stereotype
Polish filmmakers
Opis:
The aim of the article is to present images of Russia made by young Polish documentary filmmakers during the workshop project Russia-Poland. New gaze, which appears as the voice in the discussion about the mutual perception of Poles and Russians. Representations of Russia presented by Polish directors seems to me interesting in the context of film history and literary tradition, fragments of observed reality and its cinematic interpretation. As the result, we receive the record of relationship with the neighbor which involves a lot of contexts and is negotiated in tension between stereotype and the attempt of breaking it.
Źródło:
Acta Polono-Ruthenica; 2015, 1, XX; 17-23
1427-549X
Pojawia się w:
Acta Polono-Ruthenica
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:
Zapomniani czy niezapomniani dokumentaliści?
Forgotten or Unforgotten Documentary Filmmakers?
Autorzy:
Hučková, Jadwiga
Powiązania:
https://bibliotekanauki.pl/articles/31340416.pdf
Data publikacji:
2020
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
film dokumentalny
polscy dokumentaliści
film o sztuce
filmowcy emigranci
Holokaust
documentary film
Polish documentary filmmakers
film about art
emigrant filmmakers
Holocaust
Opis:
Recenzowany tom (Nie)zapomniani dokumentaliści (2020), pod redakcją Katarzyny Mąki-Malatyńskiej i Jolanty Lemann-Zajiček, wpisuje się w nurt zwrotu archiwalnego we współczesnym filmoznawstwie i stanowi cenną pozycję w badaniach nad polskim filmem dokumentalnym. Opis sylwetek twórczych powstał na bazie gruntownych studiów i głębokich analiz. Styl poszczególnych tekstów odpowiada charakterom bohaterów, reprezentujących różne osobowości i zainteresowania. Na uwagę zasługuje fakt, że przynajmniej czworo z nich to znani autorzy filmów o sztuce, przedstawiciele niegdysiejszej polskiej szkoły tego nurtu. Już same biografie stanowią bogate dopełnienie obrazu kinematografii polskiej i złożonych mechanizmów jej rozwoju, natomiast wiedza o największych dokonaniach w tej dziedzinie, niejednokrotnie potwierdzonych nagrodami na światowych festiwalach, powinna należeć do kanonu wykształcenia humanistycznego.
The reviewed volume (Nie)zapomniani dokumentaliści [(Un)forgotten Documentary Filmmakers] (2020), edited by Katarzyna Mąka-Malatyńska and Jolanta Lemann-Zajiček, is part of the archival turn in contemporary film studies. The book is a valuable contribution to research on Polish documentary film. Nine profiles of documentary filmmakers are based on thorough studies and in-depth analyses. The style of individual texts corresponds to the characters of documentary filmmakers, who represent different personalities and interests. At least four of the nine “(un)forgotten” documentary filmmakers are famous authors of films about art, representatives of the former Polish school of this genre. Even if we focus on the biographies of filmmakers only, they are a rich contribution to the image of Polish cinematography and the complex mechanisms of its development. Knowledge about their greatest achievements, in turn, often confirmed by awards at world festivals, should belong to the canon of humanistic education.
Źródło:
Kwartalnik Filmowy; 2020, 112; 256-262
0452-9502
2719-2725
Pojawia się w:
Kwartalnik Filmowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 61

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