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    Wyświetlanie 1-7 z 7
    Tytuł:
    "Czeski błąd" i polski "Kret". O różnych filmowych obliczach lustracji
    Kawasaki’s Rose and The Mole. Two Film Faces of Lustration
    Autorzy:
    Pomostowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/919907.pdf
    Data publikacji:
    2012-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    lustration
    modern history
    The Mole
    Kawasaki's Rose
    Polish and Czech societies
    Central European cinematographies
    Jan Hřebejk
    Rafael Lewandowski
    Kret
    kino czeskie
    historia najnowsza
    lustracja
    kino środkowoeuropejskie
    Opis:
    The issue of settling accounts with modern history is a topic often taken up in contemporary Polish cinematography. The delicate and intriguing problems of lustration, memory, guilt, and forgiveness are, however, not only a Polish concern. In 2009, Kawasaki’s Rose, directed by Jan Hřebejku, was presented during the Berlinale. Almost a year later, Rafael Lewandowski’s debut film The Mole was released in Polish cinemas. Both the Czech and the Polish productions constitute attempts at facing the embarrassing problem faced by Poles and Czechs in terms of the problems mentioned above. A closer look at the phenomenon, viewed from two different perspectives (Polish in The Mole and Czech in Kawasaki’s Rose), provides a particularly interesting angle for analyzing this subject. In the article, the works of Rafael Lewandowski and Jan Hřebejk are compared in an effort to answer the question of what image of society emerges from these films. How do different historical and cultural conditions influence the process of shaping people’s attitudes in the face of similar problems. The author performs a film study analysis on these works, based on interviews with their authors and important reviews of them. Literary works that are topically connected with them, including Revised Edition by Péter Esterházy and The Curtain by Milan Kundera, constitute an essential context. 
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 11, 20; 83-92
    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:
    Film „Klasa” Laurenta Cantenta w świetle prądów i kierunków współczesnej pedagogiki
    Film Entre les murs by Laurent Cantent in the light of trends of contemporary pedagogy
    Autorzy:
    Pomostowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/459646.pdf
    Data publikacji:
    2018
    Wydawca:
    Fundacja Pro Scientia Publica
    Tematy:
    pedagogika
    rekonstrukcjonizm
    globalizm
    wielokulturowość
    szkoła
    performans
    improwizacja
    Klasa
    pedagogy
    reconstructionism
    globalism
    multiculturalism
    school
    performance
    improvisation
    Entre les murs
    Opis:
    Teza. Film Klasa poprzez rezygnację z klasycznej filmowej narracji staje się „papierkiem lakmusowym” samej rzeczywistości. Eksperyment psycho-społeczny ukazany w formie filmu ujawnia bolesne zderzenie współczesnych teorii pedagogicznych z zarejestrowaną okiem kamery szkolną quasi-rzeczywistością, w której możemy dojrzeć dynamicznie zachodzące procesy i przemiany społeczne w mikroskali. Omówienie koncepcji. Autor artykułu odwołuje się do takich kierunków i prądów współczesnej pedagogiki jak rekonstrukcjonizm, globalizm i edukacja międzykulturowa, a następnie zestawia je z filmem rozumianym jako tekst kultury, odzwierciedlający bolączki współczesnego społeczeństwa. Sporo uwagi poświęcono metodom formalnym, jakimi posłużono się w omawianym obrazie (performans, improwizacja) oraz ich wpływowi na ostateczny kształt dzieła. Wyniki i wnioski. Autor stwierdza, że rozwiązania formalne, które czynią film rodzajem eksperymentu psycho-społecznego, ujawniły pewne słabości ww. nurtów współczesnej pedagogiki. Rzeczywistość szkolna, którą rekonstruują twórcy filmu Klasa, nie radzi sobie z dynamicznie zachodzącymi w społeczeństwach przemianami, a jedną z przyczyn takiego stanu rzeczy jest nie nadążająca za owymi przemianami inteligencja emocjonalna. Oryginalność/wartość poznawcza podejścia. Nowatorskość w kontekście filmowego opowiadania nie jest celem samym w sobie, a jedynie środkiem do jego osiągnięcia – ujawnienie mechanizmów jakimi rządzi się współczesna szkolna rzeczywistość. Projekt Klasa okazuje się zatem niezwykle cenny zarówno z punktu widzenia pedagogiki, jak i filmoznawstwa.
    Thesis. The film Entre les murs by giving up the classic film narrative becomes a "litmus test" of reality itself. The psycho-social experiment presented in the film reveals a painful collision of contemporary pedagogical theories with a quasi-reality registered by camera, in which we can see dynamically occurring processes and social changes in a microscale. Discussed concepts. The author of the article refers to such trends of contemporary pedagogy as reconstructionism, globalism and intercultural education, and then combines them with a film which is understood as a text of culture, reflecting the problems of contemporary society. Much attention has been paid to the formal methods used in the discussed picture (performance, improvisation) and their influence on the final shape of the work. Results and conclusions. The author states that formal solutions that make the film a kind of psycho-social experiment revealed some weaknesses of the above-mentioned trends of contemporary pedagogy. School reality, which is reconstructed by the creators of the film Entre les murs, does not cope with dynamic changes in societies. One of the reason for this situation is emotional intelligence that is not keeping up with these changes. Originality/cognitive value of the approach. Innovation in the context of a film story is not a goal itself, but only a way to achieve it – revealing the mechanisms that are charakteristic of modern school reality. Entre les murs project, thus, turns out to be extremely valuable both from the point of view of pedagogy and film studies.
    Źródło:
    Ogrody Nauk i Sztuk; 2018, 8; 569-578
    2084-1426
    Pojawia się w:
    Ogrody Nauk i Sztuk
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Go West, czyli bracia Marx dosiadają żelaznego konia
    "Go West", or the Marx brothers, ride an iron horse
    Autorzy:
    Pomostowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/917966.pdf
    Data publikacji:
    2014-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Go West
    Marx Brothers
    western
    conventions
    Iron Horse
    American Indians
    film music
    slapstick
    Opis:
    The article is about the tenth image by famous Marx Brothers. Author of the text carried out a thorough analysis of the film Go West for the current in the game with western conventions. The text consists of five parts – introduction and four separate mini-chapters. In the first context the statement made b y the film Go West (by Edward Buzzel) the masterpiece of silent cinema – Iron Horse directed by John Ford, seeing the first image of a series of references to the other one. The second part is devoted to the image of Indians in the film Go West in the context of the existing schemes in the cinema of the thirties and forties. In the next section the author discusses the functions used in film music, and in the last – the final chase sequence, seeing in it references to the tradition of film slapstick. In conclusion, the author states that the game with conventions manifests itself not only in the film for a specific genre, but also the cinema in general, which in 1940 was an innovative solution. 
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 14, 23; 117-125
    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:
    Ocalić pamięć, ocalić duszę, ocalić sztukę - o zbawiennej roli muzyki Fryderyka Chopina w Pianiście Romana Polańskiego
    To Preserve Memory, to Save a Soul, to Save Art: Th e Saving Role of Chopin’s Music in Roman Polanski’s The Pianist
    Autorzy:
    Pomostowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/920903.pdf
    Data publikacji:
    2015-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Fryderyk Chopin
    collective memory
    Roman Polanski
    music
    Romanticism
    The Pianist
    Pianista
    pamięć zbiorowa
    Opis:
    The author examines the music from Roman Polanski’s The Pianist, focusing on the functions performed in the film by fragments of four compositions by Fryderyk Chopin: Nocturne in C-sharp minor (Posthumous), Grande Polonaise Brillante in E-fl at major (Op. 22 - Allegro molto), Ballade in G- minor (No 1, Op. 23) and Concerto in E-minor (No 1, Op. 11). Proposed are both a contextual view (Chopin’s music in the collective memory of Poles) and an analytical one (music as an element of the structure of a film). The symbolic and expressive functions of the compositions used in the film are placed at the forefront, as well as their connections with other elements of the soundtrack in the context of building meaning. In conclusion, the article states that Chopin’s music in The Pianist, compared to Polanski’s other movies containing classical music, has been functionalized in a most creative way.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2015, 17, 26; 119-127
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Director–Composer Duo: Polanski & Komeda’s Deconstruction of Film Music Conventions in Horror Cinema. "Fearless Vampire Killers" (1967) and "Rosemary’s Baby" (1968)
    Autorzy:
    Pomostowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/45462139.pdf
    Data publikacji:
    2023-12-31
    Wydawca:
    Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
    Tematy:
    film music
    Roman Polanski
    Krzysztof Komeda
    horror
    film genres
    Opis:
    This article looks at the relationship between music and image in the two final films that Roman Polanski made with Krzysztof Komeda. Fearless Vampire Killersand Rosemary’s Baby are cinematic examples of a very close collaboration between a director and a composer. The article deals with the function of music in relation to genre films. The most important question is the extent to which Krzysztof Komeda’s compositions adhere to or depart from the horror film music convention. A key issue in this context, and one that applies to both of the analyzed films, is the technique of leitmotifs which Polanski and Komeda developed already in their first short films. In Fearless Vampire Killers and Rosemary’s Baby, the jointly developed director-composer method evolved greatly, and Polanski’s collaboration with Komeda took on a very distinctive style, which the author of this article attempts to describe and define.
    Źródło:
    Załącznik Kulturoznawczy; 2023, 10, 10; 315-331
    2392-2338
    Pojawia się w:
    Załącznik Kulturoznawczy
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-7 z 7

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