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    Tytuł:
    Uśpiony temat. O (nie)obecności problemu Marca 1968 roku w kinie dokumentalnym okresu PRL
    Dormant topic. About the absence of the events of March 1968 in Polish documentary films before 1989
    Autorzy:
    Pietrzak, Maciej
    Powiązania:
    https://bibliotekanauki.pl/articles/923321.pdf
    Data publikacji:
    2019-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    March ‘68
    Polish documentary films
    film and politics
    film and propaganda
    Opis:
    The vast majority of documentary films relevant to the events of March ‘68 and its consequences were created after 1989, when the abolition of censorship and the opening of previously hidden archives allowed Polish filmmakers to explore previously prohibited topics. The article focuses on the earlier period, and its main objective is to find echos of this political crisis in documentary films created before the collapse of the communist regime in Poland.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2019, 26, 35; 63-75
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Tropem modlitwy, czasem dwóch. Chrześcijaństwo w kinie polskim (do roku 1989)
    Following the Prayer, Sometimes One, Sometimes More: Christianity in Polish Cinema until the Year 1989
    Autorzy:
    KORNACKI, Krzysztof
    Powiązania:
    https://bibliotekanauki.pl/articles/1047453.pdf
    Data publikacji:
    2020-01-13
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II
    Tematy:
    film polski, kino II RP, polskie kino powojenne, religia w filmie, modlitwa w filmie, Jerzy Kawalerowicz, Andrzej Wajda, Krzysztof Kieślowski
    Polish movies, the cinema of the Second Republic of Poland, Polish post-war feature films, religion and film, prayer and film, Jerzy Kawalerowicz, Andrzej Wajda, Krzysztof Kieślowski
    Opis:
    Z okazji 1050. rocznicy Chrztu Polski autor przygląda się obecności chrystianizmu w kinie polskim do 1989 roku. Dla zilustrowania ewolucji tego zagadnienia autor wykorzystał metodę pars pro toto – w różnych okresach historii rodzimego kina starał się odnaleźć scenę modlitewną (bądź scenę z modlitwą związaną), która byłaby reprezentatywna nie tylko dla filmu, ale także dla szerszego tła historyczno-filmowego, a zarazem religijnego i społeczno-politycznego. Prokatolickość i promaryjność filmu Drugiej Rzeczypospolitej ilustruje scena z filmu Pod Twoją obronę (1933, reż. E. Puchalski, J. Lejtes), ofensywę ideologiczną marksizmu – scena zbiorowej modlitwy różańcowej z filmu Ostatni etap (1948, reż. W. Jakubowska). Skrajnie negatywną ocenę religii w okresie stalinizmu autor odnajduje w scenach z filmu Uczta Baltazara (1954, reż. J. Zarzycki). O erozji religijności nowego pokolenia twórców filmowych z roczników 20. – tak zwanych Kolumbów – świadczy zaś Pokolenie (1955, reż. A. Wajda). Kampanię antyklerykalną lat 60. (także na gruncie kina) ilustruje scena modlitwy z filmu Matka Joanna od aniołów (1961, reż. J. Kawalerowicz). Zmianę podejścia do religii katolickiej kolejnego pokolenia twórców (z roczników 30.) symbolizuje scena z filmu Iluminacja (1973, reż. K. Zanussi). W scenach modlitw z filmów powstających na przełomie lat 70. i 80., takich jak Człowiek z żelaza (1981, reż. A. Wajda), Przypadek (1981, reż. K. Kieślowski), Przewodnik (1984, reż. T. Zygadło) i cyklu Dekalog (1988, reż. K. Kieślowski), autor odnajduje ślady uznania przez twórców rangi katolicyzmu i Kościoła katolickiego w Polsce w różnych aspektach: politycznym, społecznym, moralnym oraz metafizycznym.
    On the occasion of the 1050th anniversary of the baptism of Poland the author looks at the manifestations of Christianity in Polish cinema until the year 1989. In order to illustrate the evolution of this subject, the author uses the pars pro toto method applied to various periods of the national cinematography: in each case he attempts to find a scene of prayer (or one related to a prayer) in a particular film that might be considered as representative not only of the movie in question, but also of a broader background comprising the history of Polish cinematography as well as the social and political reality of the given period. Thus, there is a scene in the movie Pod Twoją obronę [“Beneath Thy Protection”] (1933, by E. Puchalski and J. Lejtes) in which one can clearly see a favorable climate for Polishness and for the cult of the Virgin Mary, whereas another scene showing a Rosary prayer, one from the movie Ostatni etap [“The Last Stage”] (1948, by W. Jakubowska), illustrates the ideological offensive of Marxism. The author finds an extremely negative assessment of religion in the times of Stalinism, particularly in the discussed scene from Uczta Baltazara [“Balthazar’s Feast”] (1954, by J. Zarzycki). Furthermore, the piece Pokolenie [“A Generation”] (1955, by A. Wajda) tells us a lot about the erosion of the religiousness of today’s artists born in the 1920’s (of the so-called generation of Columbuses). Matka Joanna od aniołów [“Mother Joan of the Angels”] (1961, by J. Kawalerowicz) in turn clearly presents the campaign against ‘clericalism’ characteristic of the 1960’s in Poland. A scene from Iluminacja [“The Illumination”] (1973, by K. Zanussi) shows how the attitude towards religion shifted in the Polish cinema. In the scenes of prayers present in the movies of the turn of the 1980’s, such as Człowiek z żelaza [“Man of Iron”] (1981, by A. Wajda), Przypadek [“Blind Chance”] (1981, by K. Kieślowski), Przewodnik [“The Guide”] (1984, by T. Zygadło), and the series Dekalog [“The Decalogue”] (1988, by K. Kieślowski), the author can see hints of the appreciation of the rank of Catholicism and the Catholic Church in Poland in the aspects of politics, society, morality and metaphysics.
    Źródło:
    Ethos; 2016, 29, 3 (115); 214-234
    0860-8024
    Pojawia się w:
    Ethos
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Translating Wordplay in Mel Brooks’ Spaceballs and Robin Hood: Men In Tights
    Autorzy:
    Mikołajczak, Jolanta
    Powiązania:
    https://bibliotekanauki.pl/articles/1194007.pdf
    Data publikacji:
    2015
    Wydawca:
    Przedsiębiorstwo Wydawnictw Naukowych Darwin / Scientific Publishing House DARWIN
    Tematy:
    AVT
    DVD edycji
    Polish television
    Robin Hood: Men in Tights
    Sherwood
    Spaceballs
    films
    literature
    Opis:
    The present thesis aims at presenting wordplay in selected films by an American director Mel Brooks and comparing the original items with their Polish translations found in the dialogue lists prepared for the needs of Polish television and DVD edition by Elżbieta Gałązka-Salamon (TV version of both films), Janusz Kiezik (the DVD edition of “Robin Hood: Men in Tights”) and Gelula and Co., Inc. (DVD edition of “Spaceballs”). The films chosen for the needs of the analysis are “Spaceballs” released in 1987 and “Robin Hood: Men in Tights” released in 1993. The first one is a science-fiction story of a space pilot and his crew fighting against evil creatures in order to save a peace-loving planet and its beautiful princess. The main plot is enriched by witty observations on the problem of merchandizing and cowardly presidents of the whole nations as well as popular motives of power, friendship and love. The other film exploits an ageless story of a famous English hero of Sherwood who defended the poor, robbed the rich and opposed Prince John the Lackland’s brutal policy. Although the story follows well-known legends and stories along with Maid Marian and a famous fight over the toll, it is somehow twisted to suit contemporary viewers’ tastes by removing dark features of mediaeval times such as cruelty, religious intolerance or overwhelming dirt and introducing characters not commonly associated with Robin Hood like Arab exchange students or a witch called Latrine. Apart from the name of the director and the screenwriter Mel Brooks, both of the discussed films have several other features in common. Firstly, they are parodies of certain types of popular films and therefore present a lot of verbal and situational humour. This generic feature makes them a reasonable choice as it is the word games that mostly contribute to the idea of verbal humour and a lot of such structures can be found in those two films. Secondly, the films selected as the basis of Mel Brooks’ parodies were huge blockbusters at certain times and the majority of movie-goers will probably be familiar with them. This can be noticed in the case of the jokes which make fun of George Lucas’ “Star Wars” or Ridley Scott’s “Alien” in “Spaceballs” or Kevin Costner’s “Prince of Thieves” which is the foundation for “Robin Hood: Men in Tights”. Finally, the majority of Mel Brooks’ works follow the same pattern when forming puns or other types of jokes. Thus, the choice of the films can be considered justified. The author of the present thesis is going to examine the most representative examples of word games selected from the two films and compare them with their Polish equivalents focusing on the translation strategies and the differences between voice-over and subtitles forms of the same wordplay. The author’s reasons for choosing this topic are twofold. Firstly, it is the scientific motive as not too much literature concerning the issue can be found in Poland. Although the name of Mel Brooks and the titles of his most famous films are easily recognizable as they have been shown on TV several times, no study on the difficulties a translator can encounter while working on humour-based items in the discussed productions has been found by the author. Therefore, one can hope the thesis will help to call scholars’ attention to the problem. Secondly, it is an opportunity to analyze various types of wordplay and discuss the proficiency of Polish professional translators at remaining true to the original literal meaning of the item but simultaneously evoking the same joyful reaction from Polish viewers as it is in the case of source language ones. The personal reasons for choosing the topic of translating word games in Mel Brooks’ films are simple. Comedies are meant to be funny and make people laugh, but the reactions certain films evoked in different cultures, which the author had opportunity to observe, made her wonder how much the translation strategies applied for the needs of particular word games change the implicit meaning of the discussed items and consequently trigger different responses. The character of the following thesis will be strictly descriptive. The theoretical part is going to be divided into two chapters. The first chapter will be devoted to the notion of audiovisual translation. As the features of various types of AVT greatly influence the way the translation is carried out, voice-over, subtitling and dubbing will be circumstantiated, focusing on their advantages and constrains. The next chapter will deal with the issue of wordplay. The author is going to concentrate on the definition and numerous classifications found in the literature pointing out their use for the needs of the present thesis. This will be promptly followed by the notion of untranslatability and the strategies applied for translating wordplay as they are presented in numerous works by prominent linguists and theoreticians of translation. Those two chapters are to form a theoretical background needed for the next section. The third chapter will introduce a detailed analysis of selected word games focusing on their meaning to the plot, the techniques used for creating a humorous effect on source language viewers and then comparing them with the Polish translation. As two types of audiovisual translation will be discussed here, the differences between subtitles and the voice-over version will be considered as well. Finally, the conclusions will be drawn based on the previous discussion along with the brief summary of the findings. It will also provide an opportunity for the author of the thesis to reflect on the value of good film translation and to attempt the comparison of the works of Polish specialists in the field of AVT.
    Źródło:
    World Scientific News; 2015, 8; 97-175
    2392-2192
    Pojawia się w:
    World Scientific News
    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
    Tytuł:
    Polska wieś z kobiecej perspektywy. Realny socjalizm w twórczości filmowej Ireny Kamieńskiej – wybrane aspekty
    Polish countryside: The female perspective. Real socialism in Irena Kamieńska’s film productions (selected aspects)
    Autorzy:
    Grzywacz, Małgorzata
    Kulig, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/2152455.pdf
    Data publikacji:
    2021-12-15
    Wydawca:
    Narodowe Centrum Kultury
    Tematy:
    PRL
    wieś
    kino dokumentalne
    Irena Kamieńska
    Polish People’s Republic (PRL)
    countryside
    documentary films
    Opis:
    The period of the Polish People’s Republic (communist Poland, in Polish: Polska Republika Ludowa, PRL) was a difficult time for the Polish rural population, marked by dynamic changes. Nevertheless, the impact of socialist ideology on Polish agriculture was not as profound as the patterns of Soviet collectivisation present in the official propaganda until the end of the Stalin era could indicate. Traditional family farms operated alongside the nationalised production plants of the new type. The revision and modification of the long-established family and social patterns proved difficult. In the times of rapid industrialisation, young people left their hometowns and villages for the city to find better conditions for personal and professional development. In the 1950s, documentaries started playing the role of a seismograph of social change, with many directors addressing rural issues and adopting a critical and interventional approach to the contemporary situation. This article focuses on Irena Kamieńska, one of the most famous Polish documentary filmmakers, and her capturing of the social aspects of life in the PRL through the prism of historical anthropology. The female perspective, as indicated in the title, can be found in the specific character of Kamieńska’s productions that can be read not only as films documenting the social life of that period but also as universal stories of the excluded, the poor, and the lonely, regardless of age. Kamieńska presents socialism, proclaimed a system of opportunities and development, in equivocal terms. Rather than offer ready answers or fixed instructions the director encourages a deeper reflection and thus subscribes, as a documentary filmmaker, to the larger movement of the Polish cinema of moral anxiety.
    Źródło:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2021, 116, 4; 92-107
    1230-4808
    Pojawia się w:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Półka filmowa 2019
    Film shelf 2019
    Autorzy:
    Tambor, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/511493.pdf
    Data publikacji:
    2020
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    film
    Polish films
    2019
    cinema
    Opis:
    The paper presents the most important and the most interesting Polish films of 2019. The text covers titles such as: Corpus Christi, Icarus. The Legend of Mietek Kosz, (Nie)znajomi, Mr Jones, Politics, Their Lucky Stars, Spoor, and Playing Hard. The author presents particular films from a point of view interesting for foreigners – people learning Polish as a foreign language and interested in Polish culture.
    Źródło:
    Postscriptum Polonistyczne; 2020, 25, 1; 285-308
    1898-1593
    2353-9844
    Pojawia się w:
    Postscriptum Polonistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Półka filmowa 2016 (i trochę 2017)
    Autorzy:
    Tambor, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/510873.pdf
    Data publikacji:
    2017
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    contemporary Polish cinema
    Polish movie market
    Polish films
    Polish movie
    Opis:
    The article summarises the 2016 film season and mentions a few films that have been released in 2017. The author presents the advantages and disadvantages of certain films regarded as material to Polish culture. The article describes the following movies: Jarocin, po co wolność?, Jestem mordercą, Maria Curie, Ostatnia rodzina, Planeta singli, Powidoki, Smoleńsk, Szczęście świata, Sztuka kochania.
    Źródło:
    Postscriptum Polonistyczne; 2017, 1 (19) W kręgu badań językoznawczych; 275-288
    1898-1593
    2353-9844
    Pojawia się w:
    Postscriptum Polonistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Overrated and overlooked. The critical reception of Czechoslovak cinema in Poland in the 1950s and 1960s based on Karel Kachyňa’s Smugglers of Death
    Autorzy:
    Szymański, Karol
    Powiązania:
    https://bibliotekanauki.pl/articles/2235083.pdf
    Data publikacji:
    2020
    Wydawca:
    Polska Akademia Nauk. Instytut Historii im. Tadeusza Manteuffla PAN w Warszawie
    Tematy:
    recepcja krytyczna filmów w Polsce
    Przez zieloną granicę (Král Šumavy)
    Karel Kachyña
    Pierwsza Fala w kinie czechosłowackim
    polska krytyka filmowa
    dystrybucja filmów w Polsce
    kino gatunków
    critical reception of films in Poland
    Smugglers of Death (Král Šumavy)
    Karel Kachyňa
    First Wave in Czechoslovak cinema
    Polish film criticism
    distribution of films in Poland
    genre cinema
    Opis:
    Wprowadzony do dystrybucji w polskich kinach w 1960 r. film Karela Kachyni Przez zieloną granicę krytycy potraktowali jako czołowe dokonanie kinematografii czechosłowackiej. Skupiali się jednak na walorach rozrywkowych i rzemieślniczych dzieła (traktując je jako udany film gatunkowy z ambicjami), zupełnie zaś pomijali milczeniem jego genezę i zawartość ideologiczną oraz wydźwięk polityczny. Przez zieloną granicę stało się na przełomie lat pięćdziesiątych i sześćdziesiątych – obok m.in. Romea, Julii i ciemności Jiříego Weissa oraz Diabelskiego wynalazku Karela Zemana – jednym z najwyżej ocenianych oraz najobszerniej omawianych w polskiej prasie filmów czechosłowackich. W tym samym czasie jednak polska krytyka (zaskakująco nisko oceniając np. Tu są lwy Václava Krški czy Przystanek na peryferiach Jána Kadára i Elmara Klosa) przegapiła lub zbagatelizowała znaczenie „odwilżowych” filmów Pierwszej Fali, które w końcu lat pięćdziesiątych zrywały w Czechosłowacji z socrealistycznym schematyzmem oraz próbowały nowego języka i współczesnej tematyki.
    Kachyňa’s Smugglers of Death, first screened in Polish cinemas in 1960, was considered by critics as one of the top achievements of Czechoslovak film-making. Their focus, however, was on the entertainment and technical aspects of the work (treating it as a successful, ambitious genre film), glossing over its genesis, ideological content and political message. In the late 1950s and early 1960s, Smugglers of Death, along with such pictures as Romeo, Juliet and Darkness by Jiří Weiss and Invention for Destruction by Karel Zeman, became one of the most highly rated and most extensively discussed Czechoslovak films in the Polish press. Yet in the meantime, Polish film critics (who gave surprisingly low ratings to Hic Sunt Leones by Václav Krška and At the Terminus by Ján Kadár and Elmar Klos) overlooked or downplayed the importance of the “thaw-era” pictures produced by the Czechoslovak First Wave, which burst the socialist realism straitjacket and experimented with new language and contemporary topics in the late 1950s.
    Źródło:
    Studia z Dziejów Rosji i Europy Środkowo-Wschodniej; 2020, 55, 3; 75-102
    2353-6403
    1230-5057
    Pojawia się w:
    Studia z Dziejów Rosji i Europy Środkowo-Wschodniej
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Mitologia polityczna wczesnych filmów Jerzego Kawalerowicza
    Autorzy:
    Nieć, Mateusz
    Powiązania:
    https://bibliotekanauki.pl/articles/781530.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    political mythology
    political culture
    propaganda
    totalitarianism
    Polish literature
    Jerzy Kawalerowicz's films
    mitologia polityczna
    kultura polityczna
    totalitaryzm
    literatura polska
    filmy Jerzego Kawalerowicza
    Opis:
    The author refers to Roland Barthes’s early concept of mythology in analyzing the films of Jerzy Kawalerowicz, one of the most outstanding Polish directors of the twentieth century. He interprets three of Kawalerowicz’s films, Pociąg [Night Train], Matka Joanna od Aniołów [Mother Joan of the Angels] and Faraon [Pharaoh], which are read in the mythological register and in the political context. First the statements of the director in regard to each film are presented, then the judgments of film critics are provided, and finally the author gives his own interpretation. Night Train is shown as a film addressing the wrongs of the Stalinist era, and the problem of a totalitarian state. Mother Joanne of the Angels questions the sense of ideology in a totalitarian world, and is partially the director’s search for political identity, while Pharaoh is a look at the post-October reformers and the reasons for their failure. Pharaoh also provides a new vision of the state.
    Źródło:
    Kultura i Społeczeństwo; 2019, 63, 3; 171-201
    2300-195X
    Pojawia się w:
    Kultura i Społeczeństwo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Izraelczycy spoglądają na Polaków przez obiektyw kamery filmowej
    Israelis Look at Poles via the Lens of the Cine‑ Camera
    Autorzy:
    Bauer, Ela
    Powiązania:
    https://bibliotekanauki.pl/articles/699508.pdf
    Data publikacji:
    2018
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    ocaleni z Holokaustu w filmach izraelskich
    Holokaust w kinie izraelskim
    relacje polsko-żydowskie podczas II wojny światowej
    Holocaust survivors in Israeli films
    Holocaust in Israeli cinema
    Polish-Jewish relations during Second World War
    Opis:
    Próba zrozumienia różnych sposobów ukazywania Holokaustu w kinie izraelskim była już podejmowana w licznych opracowaniach naukowych. Chociaż badania te wyróżniają się szerokim zakresem tematów, procesów i perspektyw, nie zawierają one odniesień do różnych ujęć relacji polsko‑żydowskich obecnych w kinie izraelskim. Niniejszy artykuł rozpoczyna dyskusję nad sposobami ukazywania relacji polsko‑żydowskich na podstawie takich filmów dokumentalnych i fabularnych, jak: Aba’le Bo La‑lonapark Nitzy Gonen z 1995 roku, Wiosna 1941 Uriego Barbasha z 2007 roku, Pizza b’Auschwitz (Pizza w Auschwitz) Mosha Zimmermana z 2008 roku, Ema Shel Valentina (Matka Walentyny) Arika Lubzkiego i Mattiego Hararriego z 2009 roku czy Hakatayim (Past Life) Aviego Neshera z 2016 roku. Proponowana dyskusja o postrzeganiu relacji polsko‑żydowskich zaprezentowana w powyższych filmach może wzbogacić naszą wiedzę o nich po II wojnie światowej i w jej trakcie.
    There is already wide range of studies that aim at understanding the different ways in which the Holocaust is presenting in Israeli cinema. Although these studies present wide spectrum of themes, processes and points of view regarding this issue, this rich corpus of research does not include references to the various ways in which Polish-Jewish relations are portrayed in Israeli films. This article is interesting to open scholarly discussion on the ways in which Jewish-Polish relations are presenting in in several documentary and fictional Israeli films: Aba'le Bo La-lonapark (Daddy Come to the Amusement Park), directed by Nitza Gonen in 1995; Spring 1941, directed by Uri Barbash in 2007; Pizza b'Auschwitz (Pizza in Auschwitz) by Mosh Zimmermanh in 2008; Ema shel Valentina (Valentina's Mother), directed by Arik Lubzki and Matti Hararri in 2009; and Hakatayim (Past Life) directed by Avi Nesher in 2016. A discussing  on the perception  of Polish Jewish relations at this collection of films can add an additional angle to the topic of Polish-Jewish relations during and after the Second War World. 
    Źródło:
    Narracje o Zagładzie; 2018, 4; 113-137
    2450-4424
    Pojawia się w:
    Narracje o Zagładzie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Czym jest film – definicja w prawie polskim i szwedzkim
    Autorzy:
    Janicki, Paweł
    Powiązania:
    https://bibliotekanauki.pl/articles/2197929.pdf
    Data publikacji:
    2018-06-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    prawna definicja filmu
    ochrona pracy filmowej
    prawa autorskie w filmie
    polskie i szwedzkie prawa autorskie w filmie
    definition of film in law
    protecting a film work
    copyright in film
    Polish and Swedish copyrights in films
    Opis:
    The definition of what is a film in Polish and Swedish law has been evolving over the years since the emergence of the phenomenon of moving pictures that give the illusion of vivid images. The development of copyright and its international codification in the form of conventions gave the definition of film an international character. In their legislation, Poland and Sweden have introduced protection for the film work, drawing inspiration from the definitions contained in the conventions. The current law protecting a film work redefines the film taking into account the rapid development of works containing moving pictures.
    Źródło:
    Themis Polska Nova; 2018, 1(13); 148-156
    2084-4522
    Pojawia się w:
    Themis Polska Nova
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Confronting the Past. Trauma, History and Memory in Wajda’s film
    Autorzy:
    Bondebjerg, Ib
    Powiązania:
    https://bibliotekanauki.pl/articles/919957.pdf
    Data publikacji:
    2012-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    historical films
    heritage film
    Polish cinema
    Andrzej Wajda
    memory
    Opis:
    Historical films are important carriers of collective memory, and as a genre historical films can activate both strong feelings and strong debate. Historical fiction films often tell very accurate and almost documentary stories, but fictional films have the freedom to make historical reality in quite another way than factual historical films. This article deals with some of the most important historical film genres and uses a general theory of genres, emotions, memory and history to analyse the historical films of Polish film director Andrzej Wajda, especially those made post 1989. Dealing with both his heritage drama Pan Tadeusz (1999) and critical historical drama Katyń (2007), the article analyses the ways in which Wajda uses historical narratives to comment on both history and contemporary society, and how this strategy is reflected in all his historical films. The article argues that the traumatic and contrast-filled history of Poland makes historical films especially important and interesting as a critical part of public debate and the reframing and reinterpretation of the past.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 11, 20; 37-51
    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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