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Tytuł:
Beneath the surface: On the significance of the underground and underwater landscapes in selected documentaries by Werner Herzog
Autorzy:
Kempna-Pieniążek, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/913642.pdf
Data publikacji:
2020-10-09
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Documentaries
Werner Herzog
film
Opis:
Werner Herzog’s films grow out of landscapes. The frames opening his works very often present landscapes whose role goes beyond illustrative or informative functions. Analyzing films such as Encounters at the End of the World, Cave of Forgotten Dreams, and Into the Inferno, the text reconstructs the meanings inscribed in Herzog’s underground and underwater landscapes. The journey beneath the surface of spaces dominated by nature usually constitutes an equivalent of the journey into culture in the director’s works. In a sense, they are films laced with reflection about experiencing landscapes. What is more, Herzog undertakes his reflections in the realm of documentary cinema, which is firmly entangled with the category of truth. Entering a landscape is therefore a way of reaching truth for the director—however, not objective but “poetic” and “ecstatic” truth, which, according to the creator, has a much more significant quality than mundane facts.
Źródło:
Polish Journal of Landscape Studies; 2020, 3, 6; 121-129
2657-327X
Pojawia się w:
Polish Journal of Landscape Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
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
Artykuł
Tytuł:
Wyprawa do krainy prawdopodobieństwa – o dokumentach animowanych Marcina Podolca
Journey to the land of verisimilitude: The animated documentaries of Marcin Podolec
Autorzy:
Mąka-Malatyńska, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/921239.pdf
Data publikacji:
2017-08-17
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
animated documentary
animation in documentaries
Olbrzym
Marcin Podolec
Dokument
Opis:
The article analyses two student short films by Marcin Podolec, Dokument and Olbrzym, which represent the animated documentary genre. In her analysis and interpretation of films, the author uses Annabelle Honess Roe’s methodology to research this phenomenon. She expands the definition of the animated documentary base on Roe’s work.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 20, 29; 289-300
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nostalgiczny uśmiech. Autobiograficzny film Mateja Bobrika Self(less) Portrait
A Nostalgic Smile. Autobiography in the Documentary Film Etude Self(less) Portrait by Matej Bobrik
Autorzy:
Mąka-Malatyńska, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/919932.pdf
Data publikacji:
2012-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
auto-documentaries
short film
school film
Matej Bobrik
Self(less)
Opis:
The auto-documentary has a very short tradition in Polish cinema. The first films of this type were produced in Poland in the 1990s, when students of the National Film School in Łódź started making short films about themselves. In my essay, I focus on one such film, Self(less) Portrait, made by Matej Bobrik in 2012. The film tells the story of two young people: she is from Japan; he is from Slovakia and is the film’s director. They both studied film directing at the NFS in Łódź, and now live together in Warsaw. In the film, Bobrik shows the difficult relationship that exists between the two characters and members of their families, who live far away. It is a story about closeness, endearment, loneliness and death. In Self(less) Portrait, seriousness, sadness and nostalgia meet with humour and the grotesque. The article concentrates on the construction of the film, and the use of symbolism and humor in it. This is an exceptional film in contemporary Polish cinema because Bobrik does not engage in self-therapy – he does not accuse or talk about traumatic experiences, as Marcin Koszałka or Paweł Jóźwiak-Rodan do in their auto-documentaries.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 11, 20; 153-161
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ślady żydowskie w twórczości Andrzeja Barta. Rekonesans
Jewish traits in Andrzej Bart’s works. A reconnaissance
Autorzy:
Słomińska, Emilia
Powiązania:
https://bibliotekanauki.pl/articles/1389478.pdf
Data publikacji:
2016-03-04
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Andrzej Bart’s documentaries
Jewish traces
Andrzej Bart’s prose
Opis:
The article is an attempt at identifying Jewish traits in Andrzej Bart’s literary work and film documents. The Jewish elements tend to be unevenly distributed and include references to biographies of actual individuals, creating fictional figures, creating visions of real and/or fictional events enriched with symbolic dimensions. The Jewish theme is the core of the plot only in one of the novels (Fabryka muchołapek – The Flytrap Factory). The Jewish elements in Bart’s prose complement each other, or comment on each other, co-creating the writer’s  narration, and are rarely part of a work’s realistic representation. The elements have many roles to play: contextual reference, attempts to present the multi-ethnic structure of Polish society, tackling the subject of the Holocaust, or antisemitism and the difficult Polish –Jewish relations. Bart tends to discuss this issue more frequently in his films, in the Złe miasto? (Evil City?) documentary series and in Radegast, shot in cooperation with Borys Lankosz.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2015, 26; 329-351
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nostalgia and Archival Footage in Contemporary Hungarian Documentary (Gábor Zsigmond Papp: "The Life of an Agent")
Autorzy:
Vincze, Terez
Powiązania:
https://bibliotekanauki.pl/articles/919731.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Hungarian contemporary documentary
archival footage
found footage
Gábor Zsigmond Papp
historical documentaries
Opis:
Archival and found footage have been playing an important role in Hungarian cinema since the 1960s. Th is type of material has been present not only in documentaries but also in Hungarian feature and experimental films. After a very short summary of the history of the usage of archival footage in Hungarian cinema, I will discuss two contemporary trends in documentaries: the artistic/experimental use and the entertainment-related/nostalgic use of found footage. At the end of the article, I use Gábor Zsigmond Papp’s documentary fi lm The Life of an Agent as an example of the nostalgic use of archival material in the representation of a still-unresolved Hungarian historical problem: socialist secret agents.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 19-26
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Animals’ right to privacy
Autorzy:
Haratym, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/1179140.pdf
Data publikacji:
2017
Wydawca:
Przedsiębiorstwo Wydawnictw Naukowych Darwin / Scientific Publishing House DARWIN
Tematy:
animals’ privacy
right to be let alone
television wildlife documentaries and animals right to privacy
the right to privacy
Opis:
Since the dawn of time people have felt the need to protect their private lives. Contemporarily, the right to privacy remains one of the basic human rights. There are very few voices advocating that an individual shall be deprived of a possibility to keep any information about them in secrecy. Such views receive strong criticism as the majority of social groups and circles is likely to accept some constraints only due to the necessity to provide safety to communities. However, the issue whether other living creatures are entitled to be granted with the right to privacy does not remain a widely discussed matter. First signals pointing to the fact that functioning of animals may result in establishing some sorts of private spheres by them date back to as early as a few decades ago. They did not, however, bring about any wider interest whatsoever. Several years ago Brett Mills, Ph.D. raised the aforementioned question with regards to the manner in which the groups producing wildlife documentaries operate. His position stood up against strong opposition from numerous environments and backgrounds, including such ones acting in favour of animals. Animals’ right to privacy remains an interesting issue and ought to be analysed in a more profound manner. My article aims to present in detail the issue of animals’ right to privacy with special emphasis put over physical distance and the right to be let alone.
Źródło:
World Scientific News; 2017, 85; 73-77
2392-2192
Pojawia się w:
World Scientific News
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Films that Gave Us Boldness: East European Documentaries Screened in Poland (1987-1993) as Refl ected in the Film Press of the Time
Autorzy:
Hučková, Jadwiga
Powiązania:
https://bibliotekanauki.pl/articles/918035.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Murat Mamedov
Marina Goldovskaya
Eastern European documentaries
fi lm press
censorship
Juris Podnieks
Tatiana Skabard
Victor Kripchenko
Volodymyr Taranchenko
Volodymyr Shevchenko
Opis:
“Films from East” signalling the political breakdown in the middle of the 1980s (the Gorbachev era) were welcom ed in the offi cial circulation system. Th e fi lms were screened not only in festival cinemas, but on TV as well, and were discussed in newspapers and magazines. Soviet fi lms were especially important because they were able to carry new information about the changes taking place in Eastern Europe. If independent ideas appeared in a Polish fi lm, it could be banned from screening, as censorship was sensitive to works “threatening socialism” and “disturbing the alliance”. Th e only country in our part of Europe which did not need to be afraid of “disturbing the alliance” was the Soviet Union. We can distinguish three groups of such documentaries: analyses of social life (for example: Is It Easy to be Young? by Yuris Podnieks, Borderline by Tatiana Skabard), fi lms about contemporary threats, provoked by the Chernobyl disaster (An Unpublished Album by Victor Kripchenko and Volodymyr Taranchenko, Chernobyl the Chronicle of Diffi cult Weeks by Volodymyr Shevchenko) and documentaries “squaring accounts” with history, fi lling in so-called “blank spots” (Termination of an Agreement by Murat Mamedov, Solovki Power by Marina Goldovskaya).  
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 270-276
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dokumentalne etiudy szkolne lat 50. i 60.
Documentary school films of the 50s and 60s
Autorzy:
Mąka-Malatyńska, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/923081.pdf
Data publikacji:
2018-04-26
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
short film
school film
documentary film
staging in documentary film
observational documentaries
Andrzej Wajda
Krzysztof Kieślowski
Marek Piwowski
Ryszard Ber
Witold Sobociński
Opis:
The subject of the article are the poetics of films made in the Lodz Film School in the first years of its existence. Analysis of selected films allows us to trace the metamorphoses of documentary forms which were sometimes parallel to changes being observed in mainstream documentaries, sometimes preceding them, sometimes imitating them. Documentary school films from this period illustrate one of the most important phenomena in the history of Polish documentary cinema: the transition from a persuasive document to an observation film whose poetics are the basis for defining the documentary in Poland.
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:
From Mindbombs to Firebombs: The Narrative Strategies of Radical Environmental Activism Documentaries
Autorzy:
Weik von Mossner, Alexa
Powiązania:
https://bibliotekanauki.pl/articles/1195847.pdf
Data publikacji:
2021-06-30
Wydawca:
Uniwersytet Warszawski. Katedra Italianistyki. Polskie Towarzystwo Retoryczne
Tematy:
eko-filmy dokumentalne
radykalny ekologizm
aktywizm ekologiczny
How to Change the World
If a Tree Falls
eco-documentaries
radical environmentalism
environmental activism
Opis:
The article examines the narrative strategies of two documentary films that give insight into the direct-action campaigns of two radical environmental groups; Jerry Rothwell’s How to Change the World (2015) recounts the birth of Greenpeace and its development of “mindbomb” communication strategies. Marshall Curry’s If a Tree Falls (2011) chronicles the rise and fall of the Earth Liberation Front and its tactics of ecotage. Situating both films in the larger history of radical environmentalism in the United States, the article explores the affective side of their rhetoric on two levels: on the level of the activists’ own communication strategies and on the level of the films made about these activists and their strategies. It argues that making a documentary film about radical environmentalist groups raises moral questions for the filmmaker and that, each in his way, Rothwell and Curry have both made films that straddle the line between ostensible objectivity and sympathetic advocacy for the individuals they portray.
Niniejszy artykuł analizuje strategie narracyjne dwóch filmów dokumentalnych, które dają wgląd w kampanie akcji bezpośrednich dwóch radykalnych organizacji ekologicznych. How to Change the World (Jerry Rothwell, 2015) opowiada o narodzinach Greenpeace i rozwoju strategii komunikacyjnych „bomby umysłowej”. If a Tree Falls (Marshall Curry, 2011) opisuje powstanie i upadek Frontu Wyzwolenia Ziemi (Earth Liberation Front) i jego taktykę ekotażu. Sytuując oba filmy w szerszej historii radykalnego ekologizmu w Stanach Zjednoczonych, artykuł przedstawia afektywną stronę ich retoryki na dwóch poziomach: na poziomie strategii komunikacyjnych aktywistów oraz na poziomie filmów nakręconych o tych działaczach i ich strategiach. Autorka dowodzi, iż kręcenie filmu dokumentalnego o grupach radykalnych ekologów wywołuje w filmowcach pytania moralne. Rothwell i Curry nakręcili filmy, które oscylują pomiędzy obiektywnością a empatycznym poparciem dla postaci, o których filmy te opowiadają.
Źródło:
Res Rhetorica; 2021, 8, 2; 22-37
2392-3113
Pojawia się w:
Res Rhetorica
Dostawca treści:
Biblioteka Nauki
Artykuł
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