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    Wyświetlanie 1-9 z 9
    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:
    "Without One Tree, a Forest Will Stay a Forest" by Dagmara Drzazga As a Religious and Historical Documentary
    Autorzy:
    Citko, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/918071.pdf
    Data publikacji:
    2014-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    martyrdom
    Nazi occupation
    history
    religion
    documentary
    Opis:
    Katarzyna Citkos article is an analysis of Dagmara Drzazga’s film Bez jednego drzewa las lasem zostanie (Without One Tree, a Forest Will Stay a Forest, 2012), an example of a religious and historical documentary. The article describes the film’s depiction of the tragic fate of Jan Macha, a priest who during the Nazi occupation of Poland organized help for victims of German oppression as a co-founder of the Scout organization Konwalia (Lilly). For his work, he was arrested and executed in a prison in Katowice by means of a guillotine that was installed there in 1941. The article also analyses film-making techniques characteristic to documentaries, as well as the specific forms of expression which situate Drzazga’s work in the realm of religious cinema. These documentary techniques include combining photos and archival documentaries, interviews with people who knew Macha, and the opinions of experts, such as historians, clergymen and journalists. Other interesting techniques employed by the director make it possible to describe the film as belonging to religious cinema of the transcendental style, as described by Paul Schrader, which abandons unnecessary suspense in favour of poetic images; focuses on the dynamics and drama of the events rather than an in-depth psychological analysis of characters’ motivations; interweaves first- and third-person narration, which is carried out by means of both voice-over and by people speaking in the film; uses suggestive image editing combined with music which employs the theme of Agnus Dei. All of these features helped Drzazga’s interesting and thought-provoking film win a number of awards at international Catholic film festivals. 
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 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:
    Reportaże z pamięci. O rekonstruowaniu rzeczywistości minionej w filmach dokumentalnych Mariana Marzyńskiego
    Reports from Remembering. Marian Marzyński’s Documentary Reconstructions of the Past Reality
    Autorzy:
    Jazdon, Mikołaj
    Powiązania:
    https://bibliotekanauki.pl/articles/919899.pdf
    Data publikacji:
    2012-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    documentary
    autobiography
    Holocaust
    history
    Polska
    Marian Marzyński
    Opis:
    The article focuses on autobiographical films by Polish-American documentary filmmaker whose most personal project is Never Forget to Lie (2012) about Jews rescued from the Warsaw ghetto in their early childhood. Marzyński is a Holocaust survivor himself and a television reporter who emigrated from communist Poland in 1969. He has been gradually transforming the style of the documentary films he made in the West to make them more and more personal by referring to his biography. Marzyński’s cinéma vérité techniques include initiating emotional in-front-of-the-camera interviews with Holocaust survivors and witnesses of History in the meaningful surrounding of historical places. In this way, the filmmaker makes the architecture, landscape and personal objects “speak” about the past or uses them to stimulate the memory of the interviewed people. The only quoted film material, or found footage, comes from his own archives, where he has been collecting his released documentaries together with never used scenes and takes.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 11, 20; 65-74
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nowy dokument historyczny
    Methodology of New Film History
    Autorzy:
    Hendrykowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/920910.pdf
    Data publikacji:
    2015-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    history
    documentary
    found footage film
    montage
    narration
    Opis:
    The article’s author, based on various examples taken from the European documentary tradition, seeks to determine how the particular position of a new generation of found footage films is allocated and viewed in Polish cinemas and in relation to Polish contemporary audiovisual culture. Marek Hendrykowski redefines film editing (found footage film, compilation) as a historical narrative with its own, attractive poetics and successful way of negotiating its prestige and popularity in the public sphere.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2015, 17, 26; 67-77
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Sztandar wolności” Ryszarda Ordyńskiego jako filmowy pomnik Józefa Piłsudskiego
    “Sztandar wolności” by Ryszard Ordyński as a Film Monument to Józef Piłsudski
    Autorzy:
    Rogowski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/31340423.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    historia
    produkcja filmowa
    film dokumentalny
    history
    film production
    documentary film
    Opis:
    Autor próbuje odtworzyć proces produkcyjny i dystrybucyjny jednego z najważniejszych filmów dokumentalnych dwudziestolecia międzywojennego – Sztandaru wolności (reż. Ryszard Ordyński, 1935). Badając zawiły proces produkcyjny, stara się odpowiedzieć na pytania: kto, w jakim celu i w jakich okolicznościach politycznych wyprodukował film, jaka była jego percepcja w Polsce i za granicą, a w końcu – jak działały mechanizmy jego eksportu. Autor oparł badania na informacjach prasowych, ale także na niebadanych dotychczas materiałach z Archiwum Akt Nowych oraz Archiwum Stanu Nowy Jork w Albany.
    The author reconstructs the history of the production and distribution of one of the most important documentary films of the interwar period: Sztandar wolności (Banner of Freedom, 1935) by Ryszard Ordyński. By examining the intricate production process, he seeks to determine who produced the picture, for what purposes, and in what political circumstances, what was its perception in Poland and abroad, and finally how the mechanisms of its export worked. The research is based on press articles and on previously unexplored materials from the Archiwum Akt Nowych (Central Archives of Modern Records in Warsaw) and the New York State Archive in Albany.
    Źródło:
    Kwartalnik Filmowy; 2020, 112; 128-149
    0452-9502
    2719-2725
    Pojawia się w:
    Kwartalnik Filmowy
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Man, History and Poetry. Dominant Tendencies in Lithuanian 21st-Century Documentary Films
    Autorzy:
    Mikonis-Railiene, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/919711.pdf
    Data publikacji:
    2014-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Lithuanian documentary film
    the Henrikas Sablevicius School
    history
    humanism
    poetic style
    Opis:
    This brief study presents the main streams in Lithuanian documentary film in our century. It discusses the most interesting work of three generations of Lithuanian directors, and the nature of their politics and narrative structure. Although film expression in the Lithuanian documentary has become more varied at the turn of this century in terms of subject matter, nonetheless, an attempt to return to the film aesthetics of the 1960s through the poetic fusion of the visual with documentary information from the outside world still dominates. The search for formal constructs, the painstaking composition of the visual aspect, narrative lyricism, and an authorial point of view are all typical traits of the contemporary documentary in Lithuania. One could argue that the history of the Lithuanian documentary film is one that is imbued with a poetical style that creatively interprets the world outside. It places at the very centre of the world out there humanity’s fate, and draws reflections on its condition in the contemporary world. Documentaries devoted to history and biography constitute a separate group that introduces variety and, consequently, broadens the field of subject matter featured in the Lithuanian documentary. In addition, one of the important changes that has taken place in Lithuanian films is the subject of the Holocaust in Lithuanian culture and interpreting reality from the perspective of the woman's “patient eye”. 
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 77-90
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Means of reproducing the individual past in W. Sebald’s novel Austerlitz
    Autorzy:
    Megela, Ivan
    Powiązania:
    https://bibliotekanauki.pl/articles/2177874.pdf
    Data publikacji:
    2022-03-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    bricolage
    photography
    memory
    trauma
    storytelling
    history
    documentary
    fiction
    verbal
    visual
    Opis:
    The article is devoted to the coverage of the problem of bricolage as a method of memory reconstruction in the novel “Austerlitz” by the greatest German writer Winfried Sebald. The article notes that “Austerlitz” marks the transition from trauma to conscious identity as part of the historical memory of the Holocaust. It shows how the hero of the work, Jacques Austerlitz, acquires his identity by assembling from scattered information his personal history, reflecting a significant part of the collective tragedy. The genre feature of the work as a travelogue, memoir, investigation, as literature bordering on documentary and artistic experience, where the real is combined with the fictional, is highlighted. The article describes in detail the content of the technique of bricolage as a form of “wild”, “pre-rational” way of thinking, as a technique of fitting auxiliary materials (old photographs, newspaper clippings), a montage of disparate episodes, the technique of collage. The structure of the work’s storytelling is analyzed when the narrator does not tell the story but describes what he hears from Jacques Austerlitz. It is as if it is not a text, but the story itself, which someone tells, and also shows pictures for authenticity. The functions of the hero in the novel gradually shift from people to things, documents, bearers of the memory of individual and collective civilizational catastrophe. These indescribable witnesses break the blockade of traumatic silence around the childhood of Austerlitz, embodied in images of blindness, dumbness, oblivion. Before the protagonist of the work, the “man without a past,” the history of his family, the ghostly happy childhood that was rudely cut short by the separation from his biological parents, is suddenly revealed. Sebald demonstrates a contemporary form of novel narrative in which the truthfulness of the Holocaust narrative is revealed by incorporating the exile’s personal authorial biography, pain, and guilt into the memory of this tragedy. The role of photographs and descriptions of architectural structures in revealing the immanent semantic content of the subject, not manifested verbally, is analyzed. The latter is the key document that unites and structures the important for the writer themes of memories, memory, indifference, oblivion, return to the ghostly past, overcoming of the psychological trauma. Based on the analysis the author concludes that the attitude to the reader as a co-author brings Sebald’s novel closer to the tradition of the European intellectual novel and postmodern hypertexts, in which meaningful units are not presented in a traditional linear sequence, but as a multiplicity of links and transitions. The author notes that the acute experience of humanitarian catastrophe, the multilayered text, the density of meaningful meanings make this work a notable phenomenon in the context of artistic comprehension of traumatic memory.
    Źródło:
    Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe; 2022, 4(1); 81-86
    2543-9227
    Pojawia się w:
    Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dlaczego nie ma taśm z powstania wielkopolskiego?
    Why there is no film reels from Wielkopolska Uprising of 1918–1919?
    Autorzy:
    Hendrykowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/1955302.pdf
    Data publikacji:
    2021-06-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    history
    Wielkopolska Uprising 1918–1919
    Józef Piłsudski
    Ignacy Jan Paderewski
    film
    documentary
    iconography
    filmography
    film archive
    representation
    image
    reconstruction
    Opis:
    The article is a monographic study of the moving picture of Wielkopolska Uprising 1918–1919. The author indicates the reasons of a lack of film archives concerning Posnanian War.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2021, 29, 38; 265-273
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Filmowa Łódź w oczach studentów i profesorów PWSFTViT
    Cinematic City Łódź through eyes of the Film School. Students and Professors
    Autorzy:
    Hendrykowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/920096.pdf
    Data publikacji:
    2013-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    city
    town
    myth
    demitologization
    memory
    history
    process
    contemporary society
    change
    aesthetics
    student film
    etude
    location filming
    documentary film
    fiction film
    Łódź
    Opis:
    Łódź is often called “the capital of Polish film”. The cultural history of this town from the end of World War Two to the present day is closely connected with the movie industry. Marek Hendrykowski’s study on Łódź as a cinematic city offers the first comprehensive critical guide to the many films, interviews, published writings and individual memoirs of the Film School’s students and professors. This panoramic view presents the process of the historical transformation of cinematic images from Łódź between 1945 and 2013, as well as the profound influence this town had on many filmmakers. It serves as a reference work that will allow readers to navigate the subject’s wide range of examples: from Antoni Bohdziewicz, Jerzy Bossak, Kazimierz Kutz and Andrzej Wajda to Krzysztof Kieślowski, Wojciech Wiszniewski, Janusz Kijowski and Polish filmmakers of new generation.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 227-241
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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