Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "documentary" wg kryterium: Temat

  Lista filtrów
Wyrównaj
Wyświetlanie 1-25 z 240
Tytuł:
Filmmakers to Themselves? Czech Documentary Cinema After 2000
Autorzy:
Česálková, Lucie
Powiązania:
https://bibliotekanauki.pl/articles/919723.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Czech contemporary documentary
Czech Television
Institute of Documentary Cinema
Jihlava International Documentary Film Festiva
Opis:
The development of Czech post-socialist documentary cinema was significantly influenced by the process of privatization of Short Film (the former resource base for documentary filmmaking). In the early 1990s, the documentary, as a rather unprofitable area of filmmaking, was not a priority for the rapidly developing field of domestic production. As such, documentary was fully dependent on collaboration with the television industry. This study, however, focuses mainly on the period after the year 2000, and analyses its main trends. Special attention is paid to the establishment of new institutions to support the development and production of film, as well as new marketing and exhibition platforms. Documentary filmmaking in a small post-socialist country is here treated as being embedded in and influenced by a web of inter-relations between filmmakers, Czech Television, the Institute of Documentary Cinema and the Jihlava International Documentary Film Festival.l
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 41-50
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“The Intensity of Looking” at Karabasz, 2018
Autorzy:
Sapija, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/923205.pdf
Data publikacji:
2019-03-25
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
documentary film
Kazimierz Karabasz
Lodz Film School
WFD – Warsaw Documentary Film Studio
history
character in documentary
film observation
documentary ethics
Opis:
The origins of particular documentary films are sometimes difficult to determine, precisely locate and capture in time and space. It is like searching for the source of a river. What marked the beginning of Intensity of Looking, a film about the great documentary film director Kazimierz Karabasz? The beginning of a documentary film’s creation determines the artistic process and elements that shape its strength, energy and main thought. These elements, which sometimes verge on intuition, guide this process, shaping the subject of the film, as well as its meaning, climate and aura. There is a thread connecting the author and the protagonist of the film, something that binds them together during work on the film, and sometimes lasts much longer. The three variants of what initiates the process of making a particular documentary film are as follows. The first is an encounter with a person who could be a character in a documentary film. The second is a thought, idea or problem that a filmmaker wants to address and discuss in a documentary by means of a certain character and story. The third is a return to a character who had been portrayed in a previous documentary film, to tell more about him or her. All three of these variants were the case in the making of Andrzej Sapija’s Intensity of Looking.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2018, 24, 33; 166-178
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Storytelling in VR, CAVES and other emerging forms: An interview with Roderick Coover by Katarzyna Boratyn
Autorzy:
Coover, Roderick
Boratyn, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/923078.pdf
Data publikacji:
2018-04-26
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Roderick Coover
documentary
emerging technologies
Virtual Reality
CAVE
interactive documentary
ethnography
documentary research
information arrangement
data visualisation
Opis:
The following interview with Roderick Coover asks how emerging cinematic technologies transform documentary storytelling. Though his early ethnographic projects, such as Concealed Narratives (1996, filmed and photographed in Ghana) and the Harvest (1999, filmed and photographed in France), he created interactive documentary forms that could bridge modes of expression. The works combine field-notes, editing observations, exposition, travel narratives, encounters and interviews with evocative imagery. In works such as Voyage Into The Unknown (2007), Canyonlands (2009), and Estuary (2013). Coover uses scrolling map environments to offer interactive, cinematic experiences in which users create paths among video clips and data; the works explore spatial knowledge and storytelling, national myth-making and land use. In works such as Something That Happened Only Once (2007) and The Last Volcano (2011), he layers stories on animated panoramic settings to present disturbing disjunctions in the expression of place and memory. His recent collaborative works Three Rails Live (2013) and Toxicity: A Climate Change Narrative (2016) are algorithmic. They use code to combine voices and images from a database in an ever-changing order; the works use storytelling and new technologies to address the questions of climate change and industrial waste. In Hearts & Minds: The Interrogations Project, a VR work about US military torture in Iraq, he and his collaborators use immersive arts, storytelling and gaming technologies to introduce challenging accounts of human rights abuse.
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:
„Takim zapamiętałem Mietka”. Władysława Ślesickiego "Płyną tratwy" (1962)
"Ive remembered Mietek like that" Władysław Ślesicki. "The Rafts Sail" (1962)
Autorzy:
Pławuszewski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/918030.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
documentary film
Władysław Ślesicki
The Rafts Sail
documentary portrait
Opis:
The article That’s How I’ve Remembered Mietek aims to throw light on the origins and the final artistic form of Władysław Ślesickis documentary The Rafts Sail (1962). The movie depicts the story of a young Mazurian boy named Mietek, who crosses the line between childhood and adulthood (when, as a raftsman, he floats timber down the river). This film was probably the first time when the director’s poetic attitude towards filmmaking resulted in such a sublime documentary portrait, devoid of any words. Looking back, The Rafts Sail (awarded the Lion of San Marco at the Venice Film Festival in 1962) can be perceived as a clear symptom of Ślesickis masterpieces, such as Before Leaves Fall [1964] or The Family of Man [1966]. 
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 287-294
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Blondynki na krańcu świata. Kobieca opowieść o Czarnym Lądzie
Blondes at the end of the world: women’s narrative on Africa
Autorzy:
Wrzeszcz, Natalia
Powiązania:
https://bibliotekanauki.pl/articles/520830.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
documentary
photo documentary
transmedia story/narration convergence
dialogue philosophy
mass culture
Opis:
The text is an attempt at determining in which direction the contemporary travel documentary is going, based on the example of artistic achievements of Beata Pawlikowska and Martyna Wojciechowska. The authors, using the features of the transmedia narration, show the small parts of the world and facilitate the understanding of the „Other”. The documentary is evolving, it adapts to human likings and undergoes technical development into women’s transmedia story. The expectations of the mass culture influence the quality of the presented stories, and a specific kind of „product” is created for the consumers.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura; 2013, 5, 1; 203-2014
2083-7275
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Interactivity as a key feature redefining documentary reality
Autorzy:
Dubois, Frédéric
Powiązania:
https://bibliotekanauki.pl/articles/923108.pdf
Data publikacji:
2018-04-26
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
interactivity
interactive audio-visual media
interactive documentary
web documentary
virtual reality
Opis:
Finding a clear-cut boundary delimiting fiction from documentary has always been a controversial, daunting and unthankful undertaking. In the last decade, the blur between the two genres has been reinforced by the rapid advancement of web and AR/VR technologies. Interactive web-documentaries and virtual reality documentaries do not only promote new viewing habits – from swiping smartphone screens to scanning horizons with VR headsets, they shake up the very idea of what a documentary is. In this short scholarly essay, I argue that the feature of interactivity is the driving force redefining the documentary genre. This thesis builds on two case studies: 1) Interactive documentary Atterwasch and 2) VR documentary The Unknown Photographer. In the final section of the essay I revisit the definition of documentary reality and expand it with the addition of André Bazin’s notion of mise en scène.
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:
Biografia i autobiografia w literaturze audialnej
Biography and Autobiography in Audio Literature
Autorzy:
Bachura-Wojtasik, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/967716.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
documentary
fiction
audio literature
Opis:
The article discusses the audio form of the biography and autobiography – as seen in the radio- drama and documentary – as a distinct form in audio literature. The article is inspired by the theoretical findings of Philippe Lejeune concerning autobiographical literature and the personal diary genre. Theoretical reflections are complemented by selected examples of artistic audio genres. The examples of radio-dramas and artistic documentaries (features) discussed illustrate the specificity of the radio medium, which, on the one hand, opens up new opportunities for documentaries that are impossible to achieve in printed literature, while, on the other hand, it also imposes restrictions.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2015, 28, 2
1505-9057
2353-1908
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sztuka „permanentnego zdziwienia”. Wokół języka symboli w Sztuce znikania Bartka Konopki i Piotra Rosołowskiego
Autorzy:
Kamińska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1985074.pdf
Data publikacji:
2018-03-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
anthropology
documentary
voodoo
culture
Opis:
„Art disappearance” (2012)2 is a film by Bartosz Konopka and Piotr Rosołowski, qualified by the authors of the document, but not entirely located within the traditionally understood documentary3. „Art disappearance” combines various genres: classic dokument, found footage and mocumentary. The axis, around which the narrative of the film focuses, is in fact a romantic concept of messianism of the Polish nation by Adam Mickiewicz. Less obviously, however, it is inspired by anthropological reflection of Ryszard Kapuscinski. The author analyzed those topics, associations and inspiration appearing in the film which allow the reader to include „Art of disappearing” among the works of the complicated structure of intertextual references.
Źródło:
Kultura i Edukacja; 2018, 1(119); 210-226
1230-266X
Pojawia się w:
Kultura i Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kino obecności – analiza relacji między dokumentem a performance’em na wybranych przykładach
The Cinema of Presence: an analysis of the relationship between documentary film and performance based on selected examples
Autorzy:
Tes, Urszula
Powiązania:
https://bibliotekanauki.pl/articles/923090.pdf
Data publikacji:
2018-04-26
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
documentary film
presence
performance
Opis:
In my article, I examine the relationship between the documentary and performance. I focus special attention on Maciej Sobieszczański and Łukasz Ronduda’s film The Performer, which blurs the boundaries between film genres. Oskar Dawicki is a performer, and the protagonist of both a creative documentary and a feature film – this balancing on the borders of film genres and art is the focus of my reflections. The film’s authors took inspiration from the creative documentaries of Wojciech Wiszniewski and the plots of Grzegorz Królikiewicz, in which characters play themselves – in both cases, creative elements reveal the truth about each character. The most important aspect to me is the presence of the performer, which determines the form of the film and its reception. In my article I follow several themes which are key for understanding The Performer, among them the motif of disappearance and the relationship between the master and the disciple. I also deal with the problem of documenting performances – using the example of The Performer and the recording of Marina Abramović’s activities (Seven Easy Pieces by Marina Abramović, 2007). I also refer to the documentary film on Marina Abramović, The Artist Is Present, in which the performances recorded from 2010 go beyond the documentary formula.
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:
The American Broadcast My Lobotomy as an Example of a Radio Feature in the West
Autorzy:
Kowalska, Natalia
Powiązania:
https://bibliotekanauki.pl/articles/649671.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
radio
feature
radio documentary
Opis:
This article consists of two parts. In the first one, I analyse relations between a reportage and a feature. Differences can be found in the way these notions are defined by scholars in Poland and in Western Europe. Polish radio documentaries are based on authenticity, while in a feature the truth intermingles with fiction. My Lobotomy, by David Isay and Piya Kochhar, serves as an example of a work which presents both authentic characters and some fictional elements. In the second part of the article I focused on the analysis of this American feature. As far as I am concerned, what makes the work most interesting is the relationship between the protagonist’s authentic and spontaneous reactions and the read out narrative sequences.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2016, 35, 5
1505-9057
2353-1908
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Dokument”, „We Have One Heart”, „Papa”. Zagubieni ojcowie, dokument, animacja i autobiografia
“Dokument”, “We Have One Heart”, “Papa”: Lost Fathers, Documentary, Animation and Autobiography
Autorzy:
Powierska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/31340420.pdf
Data publikacji:
2020
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
animacja
dokument
dokument animowany
animadok
fotografia
animation
documentary
animated documentary
animadoc
photography
Opis:
Tematem artykułu są trzy krótkometrażowe filmy z pogranicza dokumentu i animacji, zrealizowane przez twórców młodego pokolenia: Dokument Marcina Podolca (2015), We Have One Heart Katarzyny Warzechy (2020) i Papa Maryi Yakimovich (2020). Opowiadają one historie złożonych relacji między dzieckiem a ojcem. Autorka powołuje się na opracowania Anabelle Honess Roe oraz polskie próby konceptualizacji dokumentu animowanego, proponuje też definicję formuły nawiązującą m.in. do kategorii paktu referencjalnego Philippe’a Lejeune’a. Autorka przeprowadza formalistyczną analizę filmów, badając zbieżności między nimi. W nawiązaniu do uwag Katarzyny Mąki-Malatyńskiej i Michała Piepiórki na temat znaczeń materiałów faktualnych w dokumentach animowanych, przygląda się sposobom użycia rodzinnych pamiątek w analizowanych utworach; następnie omawia wykorzystanie w nich konwencji autobiograficznych. Siła oddziaływania tych filmów wynika z połączenia konwencji dokumentalnych, perspektywy subiektywnej i kreacyjnych rozwiązań formalnych.
The article discusses three short films created on the border of documentary and animation by filmmakers of the young generation, telling the stories of complicated child-father relationships: Dokument (A Documentary Film, 2015) by Marcin Podolec, We Have One Heart by Katarzyna Warzecha (2020) and Papa by Maryia Yakimovich (2020). In her considerations of the animated documentary, the author refers to Anabelle Honess Roe’s work, as well as to Polish studies on this film form. Taking into account the arguments of Polish researchers, the author proposes a definition drawing, i.a., on Philippe Lejeune’s category of the referential pact. The author conducts a formalistic analysis of the films, examining the similarities between them. In the first part, in reference to the remarks of Katarzyna Mąka-Malatyńska and Michał Piepiórka on the meaning of factual materials in animated documentaries, she examines the use of family mementos in the analysed works. Then she discusses the use of autobiographical conventions. The impact of these productions results from the fruitful combination of documentary conventions, a subjective perspective, and creative formal solutions.
Źródło:
Kwartalnik Filmowy; 2020, 112; 66-84
0452-9502
2719-2725
Pojawia się w:
Kwartalnik Filmowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Holocaust Survivors. A Study on the Poetics of Documentary Films
Autorzy:
Hendrykowski, Marek
Powiązania:
https://bibliotekanauki.pl/articles/919856.pdf
Data publikacji:
2011-01-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Holocaust
survivors
documentary film
Opis:
The essential study written by Marek Hendrykowski is a compact and straightforward guide aimed at anyone coming to the subject for the first time or just looking to improve their knowledge about documentaries relating to Holocaust. The paper offers both skimming and in-depth analysis of seven outstanding works made in the period 1993-2008 focused on key-problems of their distinctly different poetics. Author assembles evidence from the documentary film production of the time to describe the structure of message exposed in its narration, particular catches and figures, methods of lighting, framing, and editing as well as the collective feelings and emotions generated by these films. Hendrykowski considers the basic difference and fundamental conflict between two ways of thinking about manipulation in moving pictures language which establishes viewers’s approach to using (or over-using) of various stylistic catches, patterns of composition and narrative figures in this kind of documentary and generally in movies. Marek Hendrykowski’s provocative and open-minded study brings methodological revision of this important question. It will appeal to a large readership of filmmakers, cinemagoers, students and research workers interested in documentary film.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 9, 17-18; 29-52
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zachodni ‘feature’ radiowy na przykładzie amerykańskiej audycji „My Lobotomy”
The feature in the West. The case of the American work “My Lobotomy”
Autorzy:
Kowalska, Natalia
Powiązania:
https://bibliotekanauki.pl/articles/967270.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
radio
feature
radio documentary
Opis:
The article consists of two parts. In the first, I analyse the relations between reportage and the feature. There are differences in the definitions of the two genres, in statements by researchers, and in the Polish and western European understanding of the feature and reportage. The main element in Polish radio documentaries is authenticity, while in the feature truth is mixed with fiction. An example of work with a mix of authentic characters and fiction is My Lobotomy by Dave Isay and Piya Kochher. In second part of the article, I focus on an analysis of this American feature. In my opinion, the most interesting aspect is the relation between the authentic, spontaneous reactions of the main characters and the narrative parts, which are read.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2014, 23, 1
1505-9057
2353-1908
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Patos w retoryce filmowej. Na podstawie "Yodok stories" Andrzeja Fidyka
Pathos in Film Rhetoric. On the Example of Andrzej Fidyk’s "Yodok Stories"
Autorzy:
Fiołek-Lubczyńska, Bogumiła
Powiązania:
https://bibliotekanauki.pl/articles/968032.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
pathos
documentary film
rhetoric
Opis:
The article relates to the use of rhetoric in documentary film. Pathos is one of many ways of creating a persuasive documentary. According to Andrzej Fidyk, modern documentary film must be attractive to the viewer, otherwise, nobody will watch it. Hence the director decided to use persuasive elements in his film. Pathos is a tool for arousing strong feelings in the viewer. The source of those feelings is the presentation of power and concentration camps in the form of a musical extravaganza.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2016, 31, 1
1505-9057
2353-1908
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Polonica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Australijskie „idealne miejsce” Jerzego Domaradzkiego
Jerzy Domaradzki’s Australian ‘perfect place
Autorzy:
Radkiewicz, Małogorzata
Powiązania:
https://bibliotekanauki.pl/articles/511188.pdf
Data publikacji:
2016
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
film
migration
documentary
adaptation
Opis:
Jerzy Domaradzki started to work in Australia after his film Wielki bieg [ The Great Race ] had been presented at a film festival in Sydney. During those first years he had been mainly teach- ing at a film school, but after some time he began to make feature films and documentaries. The text examines the films he made in Australia, analyzing the way he selected characters and the problems he had in developing stories and images of people of different nations, cultures and times.
Źródło:
Postscriptum Polonistyczne; 2016, 1(17); 97-103
1898-1593
2353-9844
Pojawia się w:
Postscriptum Polonistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Is traditional music really dying?
Autorzy:
Mazur-Hanaj, Remigiusz
Powiązania:
https://bibliotekanauki.pl/articles/2029462.pdf
Data publikacji:
2021-05-07
Wydawca:
Polskie Towarzystwo Ludoznawcze
Tematy:
folk music
revival movement
documentary
Opis:
Agonia, directed by Tomasz Knittel, screenplay by Adam Strug, TVP 2020.
Źródło:
Literatura Ludowa; 2021, 1; 115-119
2544-2872
0024-4708
Pojawia się w:
Literatura Ludowa
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Biomitografie Henryka Sienkiewicza
Biomythography of Henryk Sienkiewicz
Autorzy:
Chomiuk, Aleksandra
Powiązania:
https://bibliotekanauki.pl/articles/445542.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
Henryk Sienkiewicz
documentary literature
biomythography
Opis:
The article deals with the biographies of Henryk Sienkiewicz created in connection with the writer’s death and the celebration of bringing his body to Warsaw. These are texts of a more journalistic than documentary character, marked by rhetorical pathos, building the figure of the national writer – the successor of the romantic poets. For the description of their specificity the concept has been used which appears in the biographical studies written in English as “biomythography”, understood as a particular type of ideological narration with a distinct surplus of symbolic meanings.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica; 2016, 4; 66-81
2353-4583
2449-7401
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Специфика колымского юмора
Peculiarproperties of „Kolyma humour”
Autorzy:
Gorbačevskij, Česlav
Powiązania:
https://bibliotekanauki.pl/articles/481783.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Warmińsko-Mazurski w Olsztynie
Tematy:
Kolyma humour
memory
tragedy
documentary
Opis:
The article is devoted to the problem of „Kolyma humour”. This term is consider by formers Kolyma political prisoners such as Varlam Shalamov, Daniil Alin, Georgiy Demidov, ZalmanRoomer, Wernon Kress, Juriy Dombrowskiy etc. „Kolyma humour” as definition sounded quite absurdly with reference to slavish condition of existence huge quantity deprived elementary civil rights people. Through „Kolyma humour” everyone can see the extremely cruel attitude so called „friends of people” to „enemies of people”. As a result: only human with fatal deformed consciousness has ability for understanding such kind of non-human humour, called „Kolyma humour”.
Źródło:
Acta Polono-Ruthenica; 2013, 1, XVIII; 35-45
1427-549X
Pojawia się w:
Acta Polono-Ruthenica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Bunt i nostalgia. Filmy dokumentalne o festiwalu w Jarocinie
Rage and nostalgia. Documentaries about Jarocin festival
Autorzy:
Bitka, Stanisław
Powiązania:
https://bibliotekanauki.pl/articles/923303.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Jarocin
rockumentary
music documentary
punk
Opis:
The aim of the article is to present and attempt to classify documentary films about the Jarocin music festival. The films are conventionally divided into those shot during the 1980s editions and those created in our century, which describe them festival in retrospect. By analyzing selected works, the author draws attention to whether and how the approach to the subject and the form of the film change over the years.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2019, 26, 35; 171-181
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Metaphor, Metonymy and Metalepsis: Three Tropes in Contemporary Slovak Documentary
Autorzy:
Ferencuhova, Maria
Powiązania:
https://bibliotekanauki.pl/articles/919729.pdf
Data publikacji:
2014-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Slovak contemporary documentary
theory of meaning
rhetoric of documentary
figures and tropes
metaphor
metalepsis
Opis:
This paper presents the films of three Slovak contemporary documentary filmmakers of the younger generation from a rhetorical and poetic perspective. Through their authorial films, Peter Kerekes, Marko Skop and Juraj Lehotsky call into question the widespread conception of documentary as recorded reality. Meanwhile, Peter Kerekes uses metaphor in a sophisticated way to structure his film Cooking History (2009), and presents various analogies between war and food, and cooking and historiography, Marko Skop uses more subtle figures to creatively treat the actuality. In Osadne, uses spatial metaphors and a large number of symbols to represent the small Slovak village of Osadne within the European Union. He also transforms a seemingly linear narration into a thread of analepses and prolepses. Finally, Juraj Lehotsky in his Blind Loves involves fiction in actuality, by representing his own ideas of blind peoples’ visions and fantasies, creating a metaleptical documentary chronotope. In accordance with George Lakoff and Mark Johnson’s cognitive theory of meaning, the paper presents metaphor, but also other figures and tropes as means that help to understand one kind of experience in terms of another kind of experience. At the same time, the paper demonstrates that metaphorical, but also metonymical and meta- leptical thinking by the filmmaker transforms recorded reality and provides a new, personal outlook on the world - an outlook that the spectator can not only understand, but sometimes even adopt. 
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 27-40
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Prawdziwa fikcja. O przekraczaniu granic gatunkowych w filmie dokumentalnym
Autorzy:
Zwiefka, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1967917.pdf
Data publikacji:
2019-09-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
film dokumentalny
inscenizacje
hybrydy filmowe
dokument wyobraźni
documentary film
staging
hybrid films
documentary of imagination
Opis:
Marcel Łoziński, jeden z czołowych twórców polskiego filmu dokumentalnego, swoją autorską metodę nazwał „zagęszczaniem rzeczywistości”. Polegała ona na wprowadzeniu do filmowanego świata podstawionych przez siebie bohaterów, prowokowaniu rzeczywistości po to, by ujawnić jej charakterystyczne cechy, niewidoczne na pierwszy rzut oka bądź niedostępne dla kamery. Łoziński porównywał siebie do obserwatora akwarium, który zamiast czekać, aż coś się wydarzy, decyduje się nim potrząsnąć, wzbić piasek do góry, wywołać reakcję. Metoda Łozińskiego była jedną z pierwszych prób odejścia od kina obserwacyjnego, od metody cierpliwego oka. Współczesne kino dokumentalne coraz częściej rozwija podejście Łozińskiego i wręcz eksperymentuje z granicami gatunkowymi - tworząc kino pogranicza, filmowe hybrydy balansujące między dokumentem a fabułą. Prawdziwa fikcja 87 Niniejszy artykuł jest próbą usystematyzowania tego zjawiska na polskim gruncie i wpisania go w szerszą światową tendencję, której przedstawicielem jest choćby Joshua Oppenheimer (reżyser słynnej Sceny zbrodni) nazywający swoje filmy „dokumentami wyobraźni”.
Marcel Łoziński, one of the most important Polish documentary film directors, described his method of working as “densifying the reality”. It means that the director introduces into the real world and real situations actors whose role is to provoke the reality, discover its’ characteristic elements that are either invisible at first sight or unreachable to film with a camera. Łoziński compared himself to a person observing an aquarium, who instead of waiting until something happens, decides to shake the aquarium, provoke situations, cause reactions. Łoziński’s method was one of the first attempts to move away from strictly observational mode of documentary cinema. Directors of contemporary documentary films more and more often develop this approach even experimenting with the borders of a genre, creating hybrid films that blur the boundaries between documentary and fiction. This article is an attempt to describe different styles of hybrid films in Poland and compare them with international tendencies, such as what Joshua Oppenheimer (the author of “The Act of Killing”) calls the “documentary of imagination”.
Źródło:
Kultura i Edukacja; 2019, 3(125); 86-96
1230-266X
Pojawia się w:
Kultura i Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Marnotrawne ojcostwo, marnotrawne synostwo i granat w piwnicy uczuć
Prodigal Fatherhood, Prodigal Sonship and the Grenade in the Cellar of Emotions
Autorzy:
Rutkowska, Teresa
Powiązania:
https://bibliotekanauki.pl/articles/31341037.pdf
Data publikacji:
2018
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Marcel Łoziński
Paweł Łoziński
kino osobiste
kino w pierwszej osobie
personal documentary
first person documentary
Opis:
W 2013 r. wybitni polscy dokumentaliści, Marcel i Paweł Łozińscy, ojciec i syn, postanowili zrealizować wspólny film będący relacją z podróży z Warszawy do Paryża. Wyprawa miała też mieć znaczenie terapeutyczne – pomóc w wyjaśnieniu nieporozumień i naprawić ich wzajemne relacje. Zamysł nie do końca się powiódł. Wspólny projekt nie został zrealizowany, a zamiast niego, na podstawie tych samych materiałów zdjęciowych, powstały dwa niezależne filmy: Ojciec i syn P. Łozińskiego oraz Ojciec i syn w podróży M. Łozińskiego. Autorka definiuje te filmy jako przykłady kina osobistego (personal documentary) i „kina w pierwszej osobie” (first person documentary), a także sytuuje je w szerszym kontekście – na linii relacji między ojcem i synem – postpamięci nawiązującej do historii rodziny i jej żydowskich korzeni oraz dylematów wynikających z uprawiania przez ojca i syna tej samej profesji.
In 2013, prominent Polish documentary filmmakers, Marcel and Paweł Łoziński, father and son, decided to implement a joint film project, that was to be a report from a journey from Warsaw to Paris. The expedition was also supposed to have a therapeutic signi- ficance, to help to clarify misunderstandings and to repair their mutual relations. The idea was not entirely successful. The joint project was not realized, and instead, based on the same photographic material, two independent films were created: Father and Son by Paweł Łoziński, Father and Son on the Journey by Marcel Łoziński. The author defines these films as examples of personal documentary and first person documentary, and places them in a broader context - on the line of the relationship between father and son - post-memory referring to the history of the family and its Jewish roots and dilemmas resulting from father and son practising the same profession.
Źródło:
Kwartalnik Filmowy; 2018, 103; 113-124
0452-9502
2719-2725
Pojawia się w:
Kwartalnik Filmowy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Charkowska szkoła fotografii społecznej. Między dokumentem a sztuką
Kharkiv School of Social Photography: Between Documentary and Art
Autorzy:
Zambrzycka, Marta
Powiązania:
https://bibliotekanauki.pl/articles/1844670.pdf
Data publikacji:
2015-07-26
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
photography
art
realism
documentary
interpretation
Opis:
The topic of the text is the relationship between the documentary and artistic sides of photography. This issue is related to the problem of “reading” photographs as texts, as well as modeling reality as an object of interpretation. These problems will be presented with reference to the “Kharkov school of social photography”. The history of Kharkov social photography began in the 1960/70s and is associated with such names as: Boris Mikhailov, Yevhen Pavlov, Oleh Malowanyj, Serhij Bratkov and others.
Źródło:
Studia Ucrainica Varsoviensia; 2015, 3; 381-387
2299-7237
Pojawia się w:
Studia Ucrainica Varsoviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kompetencje do odbioru filmów dokumentalnych. Na przykładzie analizy narracji studentów pedagogiki
Autorzy:
Konieczna, Ewelina
Powiązania:
https://bibliotekanauki.pl/articles/2041589.pdf
Data publikacji:
2015-09-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
film reception
competences
documentary film
text
Opis:
This paper highlights the main issues concerned with competences necessary for the documentary film reception. The main purpose of this article is to investigate pedagogy students’ (specialization: social-cultural animation) understanding of documentary films on the basis of their narration and to define the basic competences in film understanding. According to the thesis, competences for proper film reception require general knowledge which enables individuals to make choices, understanding conventions, contexts and interdependences. Research focuses on the reception of Polish documentary films created before the political changes in 1989. The analysis of results and final conclusions are based on Umberto Eco’s and Francesco Casetti’s theoretical concept of the text assumptions. The study has confirmed assumptions presented above and justified the following conclusion: documentary film is a text based on the specific competence of the spectator but also contributes to the formation of certain competence. The film text makes the spectator capable of actualizing the various meaning-contents and the role of the spectator is to update his knowledge while receiving documentary film. The textual cooperation gives the spectator an essential role in the process of creating meaning.
Źródło:
Kultura i Edukacja; 2015, 3(109); 176-191
1230-266X
Pojawia się w:
Kultura i Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
O scenicznym ożywianiu i potencjałach autobiograficznego archiwum na przykładzie wybranych chorwackich spektakli teatralnych
About Enlivening on Stage and Potentials of the Autobiographical Archive Illustrated by Selected Croatian Theatrical Performances
Autorzy:
Abrasowicz, Gabriela
Powiązania:
https://bibliotekanauki.pl/articles/1068070.pdf
Data publikacji:
2021-02-23
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
autobiography
performativity
Croatian theatre
interaction
documentary
Opis:
Autobiographism has been noticeably conquering the Croatian theatre which results in specific artistic projects, mainly falling into the category of theatre of the real. This material calls for a description of strategies, functions and potentials. The most important here is the freedom to (re)construct identity – performativity – communication and interaction. The styling of an autobiographical archive and its extension into action allows adopting a new view and interpreting historical events and current social problems differently. This phenomenon is manifested in selected performances which involve staging a dramatic text, adapting prose or journalistic text, compiling and processing various cultural texts, incorporating the performers’ confessions and observations, and developing documentary material. Descriptions of the latest performances confirm reactivity of the theatre, its power to concertize and subjectivize, as well as to model the audience’s attitudes.
Źródło:
Poznańskie Studia Slawistyczne; 2020, 19; 253-271
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-25 z 240

Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies