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    Wyświetlanie 1-3 z 3
    Tytuł:
    Krzysztof Ptak. Oczy i twarze: Kornblumenblau – 300 mil do nieba – Cynga
    Krzysztof Ptak. Eyes and faces. Kornblumenblau – 300 miles to heaven – Cynga
    Autorzy:
    Taras, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/1047288.pdf
    Data publikacji:
    2021-03-31
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    debut
    film camera
    lens
    Auschwitz
    Soviet camp
    emigration
    Opis:
    In this text, I analyze Krzysztof Ptak’s contribution to such films as Kornblumenblau and Cynga by Leszek Wosiewicz, and 300 miles to heaven by Maciej Dejczera. These films belong to a time that can be characterized as a period of “hot times”, when Krzysztof Ptak was interested in using cinematographic methods to the limits of their possibilities. As far as the history of Polish cinema is concerned, it was then that Polish directors were looking for a new language to talk about the Polish past. Wosiewicz and Dejczer avoided the accusation of “americanization” of Polish cinema, which was charged to Władysław Pasikowski. This may be because Krzysztof Ptak was the cinematographer of their films.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 28, 37; 249-271
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Uważna kamera
    The mindful camera
    Autorzy:
    Taras, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/1857035.pdf
    Data publikacji:
    2020
    Wydawca:
    Narodowe Centrum Kultury
    Tematy:
    uważna kamera
    steadicam
    szwenkowanie
    film współczesny
    sztuka operatorska
    mindful camera
    camera operating
    contemporary cinema
    cinematography
    Opis:
    Trying to prove the existence of the mindful camera, a camera that seeks to direct the audience’s attention to what could otherwise be overlooked, the author contrasts the ‘mindful camera’ work with the ‘contemplating camera’. The former is like a partner, even committed to the story, while the latter remains distanced. The mindful camera can be static or dynamic, follow the actor’s moves, or record scenes without people. Although at times it doesn’t contribute much to the action, it always enriches the narrative. What makes the camera work ‘mindful’? Is it a result of the director’s instructions (which also determines the director’s style), the experience of the director of photography, or perhaps the intuition of the camera operator? Examples of films which employ the mindful camera are presented. Shame by Steve McQueen (2011) and Joker by Todd Phillips (2019) are discussed as two features that say a lot about human society in the first two decades of the 21st century. While the former tells the story of the ultimate consumer, the latter focuses on a rebellion of the excluded. The mindful camera shots in Shame confirm the original, often purely intuitive interpretation. In Joker, the mindful camera sometimes sympathises with the loneliness of the main character. In Wojciech Smarzowski’s The Dark House (in Polish: Dom zły, 2009), the nuanced shots of the mindful camera seem to depict not so much a crime scene investigation but a falsification thereof. In turn, Denis Villeneuve’s Incendies (2010) contains merely three, albeit extremely important, mindful camera shots. They inform the viewer of the myth that is being reinterpreted in a specific reality, with the viewer as a witness. Another film by the same director, Sicario (2015), goes even further and offers only two mindful camera shots to show us that in the modern world the individual’s rights don’t exist, whether in a clash with a drug cartel or with the state.
    Źródło:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2020, 110, 3; 136-147
    1230-4808
    Pojawia się w:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    O roli kamery w filmach Wojciecha Smarzowskiego
    The Role of the Camera in the Films by Wojciech Smarzowski
    Autorzy:
    Taras, Katarzyna
    Powiązania:
    https://bibliotekanauki.pl/articles/1187270.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
    Tematy:
    Wojciech Smarzowski
    digital camera
    operator’s art
    final shot
    Poland after ’89
    film image
    light in movie
    Opis:
    In this paper, I reflect on the role and function of the camera ‘acting’ (that is, the camera placed in the hands of the heroes of films by Wojciech Smarzowski) that appears on the screen as often as an ax – item strongly associated with this director’s cinema. I also refute the ‘digital’ legend of his debut, i.e. Wesele (Wedding), which has not been realized with the use of a digital camera, but a film one. A camera ‘casted’ in the films by Smarzowski can be considered as an extra, but a full-fledged hero, a witness seeing (and therefore recording) more than the character whose hands it is located in. This perfectly corresponds with the last shot – perhaps the most characteristic one for the author of the films discussed – the shot in which the One who reigns over the world, but does not interfere into it (since we have free will) gazes at the universe created by Wojciech Smarzowski.
    Źródło:
    Załącznik Kulturoznawczy; 2016, 3; 254-267
    2392-2338
    Pojawia się w:
    Załącznik Kulturoznawczy
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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