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Tytuł:
O właściwościach narracji filmowej
Features of film narrative
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/923142.pdf
Data publikacji:
2018-12-22
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
narration
narrative
narrator
language of moving pictures
art of film
comparative analysis
Opis:
The aim of the article is to present a synthetic conception of film narrative both in the theoretical and practical context. The author considers the subject in terms of film theory and history. He also examines features of film narrative by using both the synchronous and diachronic method.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 23, 32
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Aktor jako cyfrowa marioneta, czyli Edward Gordon Craig w kinie przyszłości
An Actor as a Digital Marionet, or Edward Gordon Craig in the Cinema of the Future
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/921346.pdf
Data publikacji:
2018-04-26
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
actor
character
acting
metamorphosis
virtual reality
digital phantom
the art of film
Opis:
Screen actor as a digital puppet? From one point of view, that potentially becomes an interesting platform for modern way of spectacularity and for communications. From another, it’s something destructive and dangerous for the film art. Marek Hendrykowski’s essay analyzes possible consequences of new era of digital actorship in the shadow of its fundamental question and challenge: what happens with man in this form of moving pictures creation.
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:
Osiem i pół Zbigniewa Osińskiego
Zbigniew Osiński’s Eight and a Half
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/1040964.pdf
Data publikacji:
2019-11-05
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
8½
art of film
artist
personality
author
authorship
myth
romanticism
modernism
art
science
experience
Opis:
A close reading analysis of a brilliant paper devoted to Federico Fellini’s Otto e mezzo written in 1965 by the famous Polish theatrologist, Zbigniew Osiński (1939-2017).
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2019, 35; 487-501
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ansambl aktorski
Actors’ ensemble
Autorzy:
HENDRYKOWSKI, MAREK
Powiązania:
https://bibliotekanauki.pl/articles/920958.pdf
Data publikacji:
2016-11-03
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
actor
actress
acting
star
star system
team
collective creation
ensamble
casting
cast direction
art of film
semiotics
Opis:
The article analyses how actors’ ensembles function as an alternative to the star system of actors’ participation in film.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 19, 28; 135-146
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dwaj ludzie z szafą w perspektywie genologicznej
Two People With a Wardrobe in a Genological Perspective
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/918057.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
short film
art of film
genre
film of fiction
reality
construction
composition
condensation
language of moving images
narrator
narrative
story
plot
continuity
discontinuity
heroes
conflict
coincidentia oppositorum
Opis:
Parabola is the essence of the short film Two Men and a Wardrobe (and likewise Mammals and The Fat and the Lean). Parabola is dominant of the genre, not merely an occasional and distinguishing attribute. In its interior, we find traces of other genres. These include noir comedy, slapstick burlesque, existential drama, the thriller, and drama of the absurd, grotesque and macabre. The poetic dimension of Polanski’s short film, in which reality confronts and permeates the skilfully constructed and captivating fantasy presented by the artist, allowing all the elements of the genre to be combined into a common whole.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 171-180
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Z historii polskiego performansu. Happening, performans, intermedialność
From the history of Polish performance. Happening, performance, intermediality
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/1040129.pdf
Data publikacji:
2019-01-31
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
film
television
new media
intermediality
transmediality
corespondance des arts
Gesamtkunstwerk
contemporary art
off cinema
student counter-culture
performance
happening
spontaneity-discipline conflict
art of film
metaphor
irony
sarcasm
Opis:
Marek Hendrykowski’s case study shows the original idea of The Salon Niezależnych’s performances, one of the most spectacular events of 1970s Polish student counter-culture.
Źródło:
Przestrzenie Teorii; 2018, 29; 343-356
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Scenariusz filmowy jako inspiracja
The film script as an inspiration
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/917830.pdf
Data publikacji:
2014-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
theory of practice
novel
treatment
scenario
screenwriter
script
inspiration
project
literary version
narrative
narration
poetics
standard
rhetoric of film
art of film
author
authorship
collectif work
rewriting
storyboard
shooting script
producer
cereative producer
director
remodeling
re-vision
preproduction
transition
metamorphosis
synergy
shooting
film production
crash-test
due diligence
virtual viewer
audience
spectatorship
film reception
Opis:
Screenplay is a multifunctional project written by screenwriter or screenwriters for preparing next phases of film production. Changing and many times transformed forms of screenplay belong to the nature of screenwriting. Literary vision of film changes several times being result of synergy and typical work in progress: from general idea and high concept, through story, treatment, scalette, first draft and certain number of drafts, to final draft, director’s draft and shooting script. Marek Hendrykowski’s study describes and explains these terms as forms of literary film creation in three complementary aspects: creative re-vision, rewriting and remodeling. 
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 14, 23; 211-218
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Poetyka etiudy Klary Kochańskiej Lokatorki
The poetics of Klara Kochańska’s film etude Lodgers
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/923079.pdf
Data publikacji:
2018-04-26
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Polish Nation Filmschool in Łódź
student film
film etude
short feature
film style
poetics
narrative
narration
voice-over
social drama
hero
character
the art of the short film
style
fiction
direction
author
authorship
Opis:
The article provides a comparative analysis of the style and composition of Klara Kochańska’s student short feature film Lodgers. (produced by the Polish Nation Filmschool in Łódź in 2015) as an example of film narrative practices typical of the academic exercises of students today.
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:
Biuro, natura, wyobraźnia, wiejska chata, fabryczna hala. Wizerunki artystycznej pracowni w dokumentalnym filmie o sztuce czasów PRL-u
Autorzy:
Juszkiewicz, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/909469.pdf
Data publikacji:
2018-09-19
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Polish film on art
documentary film
representation of artists
medium of film
Polish People's Republic
Opis:
Artists’ studios turned into museums are always specific representations of thepast – spatial images reflecting some idea of art and the artist, as well as his or herworks, and even the position of the spectator imagined as a visitor, admirer, insider,outsider or pilgrim.When a studio is shown through a film, its status of representation comes to theforeground very distinctly just because of the properties of the medium. A filmic representationof the studio is a result of combining images into a sequence, while individualimages attract the spectator’s attention to particular places, areas or aspectsof the space of creation, thus making him or her follow a certain trajectory of meaning.What is more, such a sequence does not have to be limited to the studio’s interiorsince the cinematic montage allows the director to expand it freely by adding somehistoricizing or contextualizing frames. Finally, film allows one to meet the artist inhis or her space through an interview, representation of the creative process or anactor-impersonator.In the first I discuss briefly three issues: the general idea of the present paperand its historical and theoretical contexts.First, my objective is to provide information on my research on Polish documentaryfilm on art in 1948–1989, which was financially supported by the Ministry ofScience and Higher Education. I was doing this research with help of a small team ofyoung scholars – phd students and a younger collegue from Institute of Art History atAdam Mickiewicz University in Poznań. In this article I will not address generalproblems related to the filmic representation of artists’ studios, but discuss severalindividual cases.Second, the historical context is connected with the hopes of totalitarian statesto use mass culture, and particularly film, to manipulate the masses. Even though inparticular decades of the 20th century, and in different countries, those hopes wereput into practice in different ways, their ideological and practical implementation hada common basis. That basis can perhaps be best described by Walter Benjamin’s ideathat a modern wish to regenerate the world requires the destruction of the auratic artand influencing the masses with some other kind of artistic creation that could organizethem according to a fixed political purpose. Benjamin believed that the most usefulin that respect would be film, which in his opinion was both technical and massoriented.The masses could receive film with little effort so that it would imperceptiblyform their mental and imaginative habits, and therefore also a political bias.My point is that the filmic representations of artists’ studios must be approachedin the general context of the role assigned to film in the communist Poland, eventhough one should also remember that artists had various attitudes and censors keptchanging their criteria of appropriateness. Still, the research focused on the representationof the artist, his or her studio, and the ideas of art will reveal an officially acceptedpicture to be transmitted into the public space. One the other hand, oneshould remember that within precisely defined political limits Polish documentary(and other) filmmakers could ignore commercial aspects and refer to the acknowledgedhigh position of art, experimenting in different ways with a relationship betweenfilm and the visual arts.Third, my theoretical context is related to the status of the documentary or, thatof reality represented in documentary films. In my view, shared also by a number ofscholars, documentaries have an element of creation and their reality is alwaysprocessed in one way or another. My examples will include studio as office, nature,space of imagination, village hut or cottage, and engine room.
Źródło:
Artium Quaestiones; 2015, 26; 149-169
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Technology of Attraction of Film Art Works in The Spiritual Values Education Process of High School Students
Autorzy:
Lappo, Violetta
Powiązania:
https://bibliotekanauki.pl/articles/1997712.pdf
Data publikacji:
2017-09-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
education of students
spiritual values
film art works
Opis:
The article concerns the problem of formation of the spiritual and valuable sphere of the student’s personality by film art works. The place of film art has been outlined in the modern information space. Attention was focused on the educational potential of film works as a factor of the pedagogical process of high school. The technology to watch and discuss films in terms of academic group was presented. The most important stages of the organization and holding of educational events were described. The factors which facilitate the education and self-education of students in the process of acquaintance with film art works was concretized.
Źródło:
The New Educational Review; 2017, 49; 213-222
1732-6729
Pojawia się w:
The New Educational Review
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przeświecanie idei Boga w sztuce, czyli o symbolice katedry gotyckiej w Nostalgii Andrieja Tarkowskiego
Autorzy:
Przybysz, Hanna
Powiązania:
https://bibliotekanauki.pl/articles/2131270.pdf
Data publikacji:
2021-09-01
Wydawca:
Polskie Towarzystwo Religioznawcze
Tematy:
Andrei Tarkovski
Nostalghia
the idea of God in art
Hegel
symbolism of light
Gothic cathedral
mysticism in art film
metaphysics in art film
Opis:
“Nostalghia” (1983) by Andrei Tarkowski is an outstanding materialization of Hegel’s concept of a work of art. Te flm is that pretense which is a bridge between perceptually perceptible matter and inexpressible idea. It is a work of art that, in a mediated way, abolishes the dialectics of sensory and conceptual experience and becomes in itself a beauty shining through a metaphysical, even mystical thought, elusive and elusive. Nothing essentially defnes Tarkowski’s cinema, and in particular “Nostalgia”, whose main symbolic heroine is a gothic temple that embodies the idea that shines through through the symbolism of light. Inexpressible for centuries, intuition of the Soul, God, Creator – is realized through the gothic cathedral. Tere is a great return to the sources, to the Absolute – to the worlds of Plato, Pseudo-Dionysius Aeropagita and divine light. Te idea behind Tarkowski found a material, architectural medium, which with its majesty expresses the heart and soul – speaking in silence with eternity. Perhaps a work of flm art, as a synthesis of arts, can be the most perfect medium known to man, which allows, by uniting a variety of rich means of expression, to capture and visualize the inexpressible. Te idea of God.
Źródło:
Przegląd Religioznawczy; 2021, 3/281; 55-66
1230-4379
Pojawia się w:
Przegląd Religioznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tańczące muzy. Kino i korespondencja sztuk
Dancing muses. Cinema and the correspondance of arts
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/920365.pdf
Data publikacji:
2009-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
film history
film art
correspondence of arts
film practice
theory of film
collective creation
filmmaking
teoria filmu
korespondencja sztuk
Opis:
How traditional arts are used and adapted by film? In what ways do they correspond and cooperate as structural elements supporting a fully coherent piece of film? These fundamental questions open many areas of film research. The paper examines three competing definitions of cinema as polimorfic art and gives overview of various versions and modes of coexistence of arts in film. Author argues that ambivalence is evidenced between policy of adapting established arts and policy of modelling new art by filmmakers. The role of film practice in orchestrating individual strategies is used to highlight this ambivalence. Aspirations good for one separate art can be wrong for film as specific medium and kind of art. „The play’s the thing”. As far as symbiosis of many different arts is important for cinema, culture of adaptation remains key question in film practice and filmmaking.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 5-14
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rozwój sztuki operatorskiej w latach 60. i w pierwszej połowie lat 70. Europa, USA, Polska
The Development of the Art of Cinematography in the 1960s and in the First Half of the 1970s. Europe, USA, Poland
Autorzy:
Maron, Marcin
Powiązania:
https://bibliotekanauki.pl/articles/31340626.pdf
Data publikacji:
2019
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
sztuka operatorska
technologia filmowa
art of cinematography
technology of film
Opis:
W artykule podjęty został problem wzajemnej zależności rozwoju technologii filmowej i przemian estetycznych w filmie artystycznym w okresie tzw. kina modernistycznego, w latach 60. i w pierwszej połowie lat 70. XX w. W pierwszej części artykułu przedstawiona została rola operatorów francuskich (m.in. Raoul Coutard), angielskich (m.in. Walter Lassally), włoskich (m.in. Carlo di Palma, Vittorio Storaro) i amerykańskich (m.in. Haskel Wexler, Adam Holender) w powstawaniu nowatorskich efektów ekranowych. Druga cześć artykułu dotyczy rozwoju technologii i sztuki operatorskiej w Polsce. Przypomniane zostały m.in. przełomowe dokonania Jerzego Wójcika w zakresie filmu czarno-białego oraz przemiany zachodzące w filmie polskim na przełomie lat 60. i 70., związane z wykorzystaniem przez polskich autorów zdjęć filmowych, zwłaszcza Zygmunta Samosiuka i Witolda Sobocińskiego, artystycznych możliwości taśmy barwnej Kodaka. Połowa lat 70., mimo trudnej sytuacji ekonomicznej polskiej kinematografii, jawi się jako okres nowych tendencji i możliwości filmu polskiego związanych z wysoką świadomością artystyczną polskich operatorów, przyswajaniem przez nich zmian technologicznych, a także z nowymi, neoawangardowymi trendami pojawiającymi się w tym okresie w sztuce polskiej (Warsztat Formy Filmowej).
The article addresses the problem of the mutual dependence of the development of film technology and aesthetic changes in the artistic film during the so-called modernist cinema, in the 1960s and in the first half of the 1970s. In the first part of the article the role of French (including Raoul Coutard), English (including Walter Lassally), Italian (including Carlo di Palma, Vittorio Storaro) and American cinematographers (including Haskel Wexler, Adam Holender) in the creation of innovative screen effects is presented. The second part of the article deals with the development of technology and the art of cinematography in Poland. We are reminded of, among others, Jerzy Wójcik’s ground breaking achievements in the field of black and white film and the changes taking place in the Polish film at the turn of the 1960s and 1970s, related to the use of artistic possibilities of Kodak colour tape by Polish cinematographers, especially Zygmunt Samosiuk and Witold Sobociński. Mid-1970s, despite the difficult economic situation of Polish cinema, appears as a period of new tendencies and possibilities of Polish film connected with high artistic consciousness of Polish cinematographers, absorption of technological changes, as well as new, neo-avant-garde trends appearing in this period in Polish art (Film Form Workshop).
Źródło:
Kwartalnik Filmowy; 2019, 105-106; 261-273
0452-9502
2719-2725
Pojawia się w:
Kwartalnik Filmowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Na dnie oka. Dziesiąta Muza z perspektywy stulecia
At the bottom of the eye. The Tenth Muse from the perspective of a century
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/32052781.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
The Tenth Muse
aesthetics
cinema
film
art of moving picture
correspondence of arts
film culture
ready-mades
Źródło:
Przestrzenie Teorii; 2022, 37; 145-157
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Jupiter and Beyond the Infinite. 2001: Odyseja kosmiczna Stanleya Kubricka
“Jupiter and Beyond the Infinite”. 2001: A Space Odyssey by Stanley Kubrick
Autorzy:
Kozłowski, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/1047197.pdf
Data publikacji:
2020-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Mieczysław Jahoda
art of cinematography
film space
Stanisław Lenartowicz
Wojciech J. Has
Polish Film School
Opis:
The article deals with the relationship between film and painting, as well as the sciences (physics, cosmology) of the 20th century. It introduces the historical context important for the time when Kubrick’s film was made, and addresses the issue of abstraction in cinema, contemporary painting and cosmology, confronting artistic and scientific ideas (the models of the Universe). The starting point for the detailed analysis was “autonomous abstract film” (Alicja Helman), which as a film inside a film combines various cinematic types and genres. The analysis of takes and sequences of this film inside a film made it possible to decipher the director’s idea, which is expressed in intra-film references. The particular results of the research were compared with the possible iconographic context (Gerhard Richter). The inclusion of a diagnosis obtained on the basis of materials examined in the Kubrick Archives in London (Kamil Kościelski), and references to cultural tradition (Plato), supplement the aforementioned considerations in an important way.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 27, 36; 117-128
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Functions of screen space in shots by Mieczysław Jahoda in the example of his first feature films: Zimowy zmierzch and Pętla
Autorzy:
Maron, Marcin
Powiązania:
https://bibliotekanauki.pl/articles/1047223.pdf
Data publikacji:
2020-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Mieczysław Jahoda
art of cinematography
film space
Stanisław Lenartowicz
Wojciech J. Has
Polish Film School
Opis:
The text is devoted to discussing the formation methods and the functions of screen space in shots by Mieczysław Jahoda in the films Zimowy zmierzch (directed by S. Lenartowicz) and Pętla (directed by W.J. Has). Mieczysław Jahoda is presented as one of the main initiators of stylistic changes in the films of Polish School in the mid 1950s. The analysis concerns the camera means applied by Jahoda in order to obtain screen effects: light, frame composition, photographic optics and perspective transformation. The film shots by Mieczysław Jahoda are characterized by an exceptional ability to evoke mental space, emotions, memory and imagination via the shapes of screen space. Their feature is a special esthetization aimed at creating the atmosphere of films, as well as symbolic and cultural references.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2020, 27, 36; 129-142
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Refleksy na powierzchni klosza. Otwórczości filmowej Kornela Filipowicza
Reflections on the surface of the lampshade. The film works of Kornel Filipowicz
Autorzy:
Lipowski, Wojciech
Powiązania:
https://bibliotekanauki.pl/articles/920252.pdf
Data publikacji:
2009-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Adaptation
Art of writing
Artistic creativity
Existence
Film
Film company
Film crew
Genre
Literary work
Scenario
Screenplay
Story
Writer
Opis:
 This is an overall review of little-knownpart of artistic creation of Kornel Filipowicz(1913–1990), writer of short stories, novels,scenarios, but also a poet. This reassessment isbased on his scenarios, which were created incollaboration with the film director StanisławRóżewicz and his brother, the poet Tadeusz.Informal company formed jointly created tenscenarios completed, Filipowicz participatedin the implementation of five titles. The textsdiscussed in the article mark the major stagesin the development of Filipowicz’s writingtechnique, illustrate his imaginative use ofvarious points of view and of various genresin the construction of film story, and exemplifythe wide range of his themes and interests.The article draws also the unpublished screenplaywritten by Kornel Filipowicz andStanisław Różewicz Sunset.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 308-313
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O Jerzym Mierzejewskim
About Jerzy Mierzejewski
Autorzy:
HENDRYKOWSKI, MAREK
Powiązania:
https://bibliotekanauki.pl/articles/921121.pdf
Data publikacji:
2016-10-09
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Jerzy Mierzejewski (1917-2012)
Film School in Łódź
Polish art of cinematography
Opis:
For many years the excellent painter-formist Jerzy Mierzejewski (1917-2012) was the eminent figure of artistic life in postwar Poland. He was also an academic, a professor at the famous Film School in Łódź. The article presents the significance of Mierzejewski in paving the path for Polish cinematographic art and for the international successes of many Polish filmmakers (i.e. Andrzej Wajda, Roman Polański, Adam Holender, Krzysztof Zanussi, Krzysztof Kieślowski, Zbigniew Rybczyński and many others).
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 18, 27; 247-258
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Etiudy Andrzeja Brzozowskiego
Andrzej Brzozowski’s Film Etudes
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/919841.pdf
Data publikacji:
2011-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
excersise
student film
student étude
image
sound
composition
music
film direction
cinematography
film style
film poetics
film art
documentary
fiction
35 mm tape
experiment
laboratory work
aesthetics
artistic values
the art of the short
Opis:
 Marek Hendrykowski presents in his study the earliest fiction and documentary films made by Andrzej Brzozowski (1932-2005), excellent Polish filmmaker, 1971-2005 professor of the famous Film School in Łódź (PWSFTviT). “Sunflowers” (1953), “Escape” (1954/55), “Legend” (1957), “Jazz Talks” (1957) – these short films, preserved in the collection of Film School Archive, are almost unknown for wider audience in Poland and abroad. In the second part of his study Hendrykowski gives also an accessible overview of the historical evolution of the filmmaker through the close examination of another two outstanding short films made by him: By the Railway Track (1963) and Medallions (1966). Last two were adaptations of short stories written in 1945 by Zofia Nałkowska, a masterpiece of antinazi world lterature. The article deals with the most important values and close-reading thematic and stylistic areas of Brzozowski’s early works: those developing in the 1950’s and early 1960’s but having deep impact in the poetics of academic short film in Poland, whose form and course they have fundamentally redirected.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 9, 17-18; 137-158
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dilip Kumar: An Auteur Actor
Dilip Kumar: autor-aktor
Autorzy:
Rehman, Sharaf
Powiązania:
https://bibliotekanauki.pl/articles/1812188.pdf
Data publikacji:
2021-08-31
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Howard Becker
Dilip Kumar
film studies
sztuka i kultura
socjologia pracy
film i kultura
Film Studies
Art and Culture
Sociology of Work
Film and Culture
Opis:
Dilip Kumar has been praised for his sublime dialog delivery, for his restrained gestures, and for his measured and controlled underplay of emotions in tragic stories as well as in light-hearted comedies. His debut in 1944 with Jwar Bhata (Ebb and Tide) met with less-than-flattering reviews. So did the next three films until his 1948 film, Jugnu (Firefly), which brought him recognition and success. Unlike his contemporaries such as Raj Kapoor and Dev Anand, who propelled their careers by launching their own production companies, Dilip Kumar relied on his talent, his unique approach to characterization, and his immersion in the projects he undertook. In the course of his career that spanned six decades, Kumar made only 62 films. However, his work is a textbook for other actors that followed. Not only did he bring respectability to a profession that had been shunned by the upper classes in India as a profession for “pimps and prostitutes,” but he also elevated film-acting and filmmaking to an academic discipline, making him worthy of the title ‘Professor Emeritus of Acting’. Rooted in the theoretical framework of Howard S. Becker’s work on the “production of culture” and “doing things together,” this paper discusses Kumar’s approach to acting, character development, and the level of his involvement and commitment to each of his projects. The author of this article argues that more than the creative control as a producer or a director, it is the artistic involvement and commitment of the main actors that shape great works of art in cinema. Dilip Kumar demonstrated it repeatedly.
Dilip Kumar był chwalony za wysublimowane prowadzenie dialogów, opanowaną gestykulację oraz za wyważone i kontrolowane wyrażanie emocji zarówno w opowieściach tragicznych, jak też w beztroskich komediach. Jego debiut w 1944 w Jwar Bhata (Odpływy i przypływy) spotkał się z niezbyt pochlebnymi recenzjami. Podobnie było z kolejnymi trzema filmami, aż do filmu Jugnu (Świetlik) z 1948 roku, który przyniósł mu uznanie i sukces. W przeciwieństwie do swoich rówieśników, jak Raj Kapoor iDev Anand, którzy napędzali kariery, uruchamiając własne firmy produkcyjne, Dilip Kumar polegał na swoim talencie, unikalnym podejściu do charakteryzacji i zaangażowaniu w projekty, których się podjął. W ciągu swojej sześćdziesięcioletniej kariery Kumar nakręcił tylko 62 filmy. Jednak jego praca jest podręcznikowa dla młodszych aktorów. Nie tylko przyniósł szacunek zawodowi aktora, traktowanemu przez indyjskie klasy wyższe jako zawód „alfonsów i prostytutek”, ale także podniósł aktorstwo filmowe i filmowanie do dyscypliny akademickiej, co uczyniło Kumara godnym tytułu emerytowanego profesora aktorstwa. Artykuł ten, zakorzeniony w ramach teoretycznych pracy Howarda S. Beckera nad „produkcją kultury” i „robieniem rzeczy razem”, omawia podejście Kumara do aktorstwa i rozwoju postaci oraz poziom jego zaangażowania w każdy ze swoich projektów. Autor tego artykułu przekonuje, że to artystyczne zaangażowanie i poświęcenie głównych aktorów kształtują wielkie dzieła sztuki w kinie bardziej niż kontrola twórcza producenta czy reżysera. Dilip Kumar wielokrotnie to zademonstrował.
Źródło:
Przegląd Socjologii Jakościowej; 2021, 17, 3; 226-238
1733-8069
Pojawia się w:
Przegląd Socjologii Jakościowej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kilka refleksji o Rashomonie
A few Reflections on Rashomon
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/1038953.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Rashomon
Akira Kurosawa
film poetics
narration
anthropology of experience
audiovisuality
fiction
truth
subjectivisation
objectivisation
philosophy of art
Opis:
Hendrykowski Marek, Kilka refleksji o Rashomonie [A few Reflections on Rashomon]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 129–141. ISSN 1644-6763. DOI 10.14746/pt.2019.32.6. A masterpiece of Japanese and world cinema, Akira Kurosawa’s Rashomon (1950) refers to a new model of narration in film, and broadens horizons in mid-20th-century film but also film in current imes. Rashomon set out new paths and fields of exploration in film art and began a new era in modern narration in moving pictures. This study re-evaluates Kurosawa’s work as an innovative, trans-national and trans-cultural approach to world cinema.
Źródło:
Przestrzenie Teorii; 2019, 32; 129-141
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Prisoner-of-war stories in the movies (the case of Andrzej Munk’s Eroica)
Historie jeńców wojennych w filmach (przypadek Eroiki Andrzeja Munka)
Autorzy:
Matuchniak-Mystkowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1041286.pdf
Data publikacji:
2020-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Eroica
film polski
recepcja filmowa
II wojna światowa
jeńcy wojenni
oflagi
socjologia historyczna
socjologia filmu
socjologia sztuki
Polish film
film reception
World War II
prisoners of war
oflags
historical sociology
sociology of film
sociology of art
Opis:
This paper analyses Polish feature films which deal with the subject of POW camps during World War II, especially the so-called oflags (German: Offizierslager), i.e. Wehrmacht camps for officers. In Poland, nearly 200 feature films about World War II and the Nazi occupation were made in 1945–1999, with only eight raising the topic of POW camps. Eroica directed by Andrzej Munk is one of the first examples, and the best-known one. It depicts the social world of the oflags in a grotesque and ironic light, which was acclaimed by film experts but criticised by historians. The theoretical and methodological approach used in the sociology of art and in historical sociology can be invoked to analyse all the elements of the communication system: the creator, the work, and the audience in their social and historical context. The sociological analysis presented here only concerns the content of the film (the juxtaposition of “the truth of time” and “the truth of the screen”) and its social reception among different categories of viewers, each with their specific competences. The theoretical concepts developed by S. Ossowski, A. Kłoskowska, P. Francastel, E. Panofsky and P. Bourdieu are used here, alongside historical and sociological analyses of POW camps (D. Kisielewicz, A. Matuchniak-Mystkowska). The paper presents a certain research idea and describes methods that can be used to pursue it.
W artykule przeanalizowano polskie filmy fabularne poruszające tematykę obozów jenieckich w czasie II wojny światowej, zwłaszcza tzw. Oflagów (niem. Offizierslager), czyli obozów Wehrmachtu dla oficerów. W Polsce w latach 1945–1999 nakręcono blisko 200 filmów fabularnych o II wojnie światowej i okupacji hitlerowskiej, a tylko osiem poruszyło temat obozów jenieckich. Eroica w reżyserii Andrzeja Munka to jeden z pierwszych przykładów i najbardziej znany. Przedstawia społeczny świat oflagów w groteskowym i ironicznym świetle, docenionym przez filmoznawców, ale skrytykowanym przez historyków. Podejście teoretyczne i metodologiczne stosowane w socjologii sztuki i socjologii historycznej może posłużyć do analizy wszystkich elementów systemu komunikacji: twórcy, dzieła i odbiorcy w ich kontekście społecznym i historycznym. Przedstawiona tutaj analiza socjologiczna dotyczy jedynie treści filmu (zestawienie „prawdy czasu” i „prawdy ekranu”) i jego społecznego odbioru wśród różnych kategorii widzów, z których każdy posiada określone kompetencje. Wykorzystuje się tu koncepcje teoretyczne opracowane przez S. Ossowskiego, A. Kłoskowską, P. Francastela, E. Panofsky’ego i P. Bourdieu, obok analiz historyczno-socjologicznych obozów jenieckich (D. Kisielewicz, A. Matuchniak-Mystkowska). W artykule przedstawiono pewną ideę badawczą i opisano metody, które można wykorzystać do jej realizacji.
Źródło:
Acta Universitatis Lodziensis. Folia Sociologica; 2020, 73; 55-76
0208-600X
2353-4850
Pojawia się w:
Acta Universitatis Lodziensis. Folia Sociologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Beziehungen zwischen Literatur und Film am Beispiel des Schaffens von Kathrin Röggla
Autorzy:
Wojno-Owczarska, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/700303.pdf
Data publikacji:
2013
Wydawca:
Stowarzyszenie Germanistów Polskich
Tematy:
film and literature, literature and cinematic art, influence of modern filmic art on Kathrin Röggla’s work, Kathrin Röggla
Opis:
In the article I attempt to analyze Kathrin Röggla’s “cinematic style” using a theory which assumes the simulation of media-related forms in literature (e.g. Philipp Löser’s works). Her literary style is characterized by features such as film metaphor (e.g. the “dual perception” phenomenon), editing seemingly unconnected scenes, citations from TV and interview recordings, and narration inspired by film techniques such as time-lapse and slow motion. The author seems to be fascinated by Japanese anime and Harun Farocki’s film essays. David Lynch’s and Tom Tykwer’s masterpieces function as metaphors for today’s entangled reality in her work. In “tokio, rückwärtstagebuch” she depicts the culture clash phenomenon similarly to Sofia Coppola in Lost in Translation. Both Kathrin Röggla and Susan Sontag criticize the voyeuristic personality of modern man and the influence of our media-dominated culture on the means of artistic expression.
Źródło:
Zeitschrift des Verbandes Polnischer Germanisten; 2013, 2, 4
2353-656X
2353-4893
Pojawia się w:
Zeitschrift des Verbandes Polnischer Germanisten
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O szczególnych powinowactwach literatury i kina w refleksji Stefanii Zahorskiej
Particular Affinities between Literature and Film in Stefania Zahorska’s Reflections
Autorzy:
Hendrykowska, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/1038958.pdf
Data publikacji:
2020-04-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Stefania Zahorska
aesthetics
cinema
film
literature
novel
narration
theory of creative practice
comparatistics
adaptation
art
modern culture
Opis:
Hendrykowska Małgorzata, O szczególnych powinowactwach literatury i kina w refleksji Stefanii Zahorskiej [Particular Affinities between Literature and Film in Stefania Zahorska’s Reflections]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 167–178. ISSN 1644-6763. DOI 10.14746/pt.2019.32.8. The author provides an in-depth analysis of and original essay written by the Polish film critic Stefania Zahorska in the middle of the 1930s. The essay deals with socio-cultural and aesthetic theory regarding the mutual connections between cinema and literature.
Źródło:
Przestrzenie Teorii; 2019, 32; 167-178
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Creatively rethinking the augmented Society of the Spectacle. A discussion on art and the political
Autorzy:
Grubišić, Daniela
Manfredini, Manfredo
Powiązania:
https://bibliotekanauki.pl/articles/28407826.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Komisji Edukacji Narodowej w Krakowie
Tematy:
Public space
Emancipatory artistic practice
The Society of the Spectacle
Hegemonic Culture
The Right to the City
Carnivalesque distribution of the sensible
Public art installation
Visual art film
Opis:
Radical structural transformations of the public realm in our post-civic urban condition progressively reduce relationality and negate the Right to the city. Fifty years after Debord’s Real Split, the ever-accelerating abstractive effects of the Society of the Spectacle impose a radical redress of the critical theory informing its interpretation. This paper discusses a film on the creative work of Daniela Grubisic, documenting daily detournement practices of public space subversion-by-sublation. An initial analysis of her sculptural work that deconstructs abstractive conditions of domination to reestablish instances of emancipatory relational resonance is followed by an exploration of her filmic work that reverses emplaced annihilating conditions. Finally, a critical evaluation of the combined capacity of these established rich relational intensities foregrounds its effectiveness in engaging multiple actants in formulating effective counter-hegemonic cultural practices.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione; 2022, 17, 375; 91-103
2081-3325
2300-5912
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
Dostawca treści:
Biblioteka Nauki
Artykuł
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