Temat: contemporary Polish documentary film - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Affirmation, Acceptance and Rejection: Polish Contemporary Documentary Filmmakers and their Relation to Poland’s Documentary Film Tradition
Autorzy:: Mąka-Malatytńska, Katarzyna
Powiązania:: https://bibliotekanauki.pl/articles/918060.pdf
Data publikacji:: 2014-06-13
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: contemporary Polish documentary film
Tomasz Wolski
Marcin Koszałka
Wojciech Staroń
Krzysztof Kieślowski
dramaturgy
film tradition
Opis:: This paper attempts to define the complex attitude to the tradition in Poland of fact-driven cinema shared by members of the young generation of Polish documentary filmmakers. The examples of films by Marcin Koszałka and Wojciech Staroń, and Tomasz Wolski’s The Lucky Ones, discussed in greater detail, illustrate various shades of this complex attitude, oscillating between affirmation and opposition. The article argues against criticism that demands contemporary cinema take up certain issues and discard others.
Źródło:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 155-164
1731-450X
Pojawia się w:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Satisfaction or Hard Labour? Portrait of a Ballet School in 52 Percent by Rafał Skalski
Autorzy:: Śliwińska, Anna
Powiązania:: https://bibliotekanauki.pl/articles/918058.pdf
Data publikacji:: 2014-06-13
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: short film
Polish contemporary documentary
Rafał Skalski
musical documentaries
Opis:: How is ballet presented in documentaries? Is Central European cinema different from cinema in the West in this respect? 52 Percent, Rafał Skalski’s documentary about Alla, a girl dreaming of becoming a ballerina, provides an intriguing answer to this question. Th is article compares 52 Percent by Rafał Skalski with two documentaries made in the West (First Position and Only When I Dance), which also show the endeavours of young people who want to fulfil their dreams of becoming ballet dancers. Alla tries to enrol in the famous Russian Agrippina Vaganova Academy of Russian Ballet in Sankt Petersburg. Th e exams are really tough, and she must do additional exercises to lengthen her legs (she lacks 0.4% to achieve the perfect leg-upper body ratio). The girl cannot make her legs longer, although she tries hard. Her days fi lled with exercise are filmed in long, static shots. There is no joy or enthusiasm. Sweat and tiredness are a part of strenuous exercise. Alla does not spin on a roof, nor does she jump rhythmically while cooking, like the characters of First Position and Only When I Dance. There is nothing from a fairy tale or Hollywood in her experiences. Additionally, Skalski’s fi lm breaks the myth of the dancer’s body being strong and inexhaustible. This is how we traditionally look at ballet, where there is no place for showing weakness.
Źródło:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 165-170
1731-450X
Pojawia się w:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Cyrk ze złamanym sercem, czyli dokumentalny zapis entropicznego rozpadu
The Circus with a Broken Heart – a documentary record of entropic decay
Autorzy:: Smoleń, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/636921.pdf
Data publikacji:: 2011
Wydawca:: Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:: documentary film
Marek Tomasz Pawłowski
The Circus with a Broken Heart
Polish contemporary circus
Opis:: Author of the article discusses in details the documentary film directed by Marek Tomasz Pawłowski The Circus with a Broken Heart (2009), in the context of the condition of Polish contemporary circus after 1989. This documentary film presents a picture of a modern circus, infected with entropy, decline and chaos. These forces destroy all constitutive elements of a circus: artists, arena, technical background, and the audience as well. Through presentation of specific people, events and phenomena the director creates the image of slow decline of a small circus “Bojaro”. Based on this picture, the author of the article draws conclusions about the causes of the crisis of Polish circus, and tries to analyze the image of the Polish province under capitalism. Reffering to the artistic values of the documentary, the author indicates its main assets, namely the use of metaphors and complex aesthetic figures, and the well organized dramatic structure. The analysis emphasis the figure of clown, which despite a documentary nature of the movie, goes beyond the reality and becomes the main metaphor of this film. According to the author’s the ethnographic fi m category is useful to discover a hidden meaning of this documentary film.
Źródło:: Przegląd Kulturoznawczy; 2011, 2(10); 76-91
1895-975X
2084-3860
Pojawia się w:: Przegląd Kulturoznawczy
Dostawca treści:: Biblioteka Nauki

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