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    Wyświetlanie 1-4 z 4
    Tytuł:
    Ponowoczesna wizja Powstania Warszawskiego w filmie Jana Komasy Miasto 44
    The Postmodern Vision of the Warsaw Uprising in Jan Komasa’s City 44
    Autorzy:
    Lewandowska, Zuzanna
    Powiązania:
    https://bibliotekanauki.pl/articles/920909.pdf
    Data publikacji:
    2015-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Jan Komasa
    City 44
    history feature film
    postmodernism
    postmodern film
    postmodern cinema
    popular culture
    Opis:
    City 44 (2014) by Jan Komasa presents an original vision of the Warsaw Uprising – especially when compared to other historical productions. Both formal aspects of the film and the way its presents the uprising expose its postmodern character. Th e conclusion that City 44 can be interpreted by means of key postmodern concepts is based on an analysis of its visual aspects, such as scenes operating at the edge of realism and affectation, and aesthetic denominators taken from all genres, as well as pop culture references, intertextuality, and the subjective vision of the uprising based on the story of two main protagonists.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2015, 17, 26; 95-106
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Kojenie obrazem, leczenie snem. Konstruowanie pamięci o Zagładzie w polskich filmach fabularnych po 1989 roku
    Soothing with Pictures, Curing with Dreams. The Construction of the Memory of the Holocaust in Polish Feature Films after 1989
    Autorzy:
    Forecki, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/616693.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    memory
    feature
    film history
    pamięć
    film fabularny
    historia
    Opis:
    In the period between the end of World War II and the late 1980s the Polish film industry produced nearly twenty films on the Holocaust which approached the topic within secure lim- its. Those films that were permitted to be shown did not disturb the good feeling of the na- tional community, did not refer to the Polish version of anti-Semitism, and first and foremost avoided the sensitive issue of Polish society’s attitude to the annihilation of the Jews. Each film complied with the then current historical policy, which either treated this issue instru- mentally or simply ignored it. After 1989, both historiography and cinematography began to fill in the blank spots and address topics that were formerly forbidden, taboo or distorted in the official state discourse. Due to the abolishment of political restrictions and the liberation of public discourse, Polish cinematography embarked upon a belated examination of conscience and revision of the memories of the Holocaust cultivated till then. At least it seemed so. Has it actually happened, though? Have Polish filmmakers actually taken the trouble to deconstruct the myths, fill in the gaps and correct the deformed Polish memories of the Holocaust? Even if the answers to these superficial questions are affirmative, at least in terms of their intentions, what has become of it? This paper is an attempt to identify how the memory of the Holocaust has been constructed in Polish feature movies since 1989.
    Źródło:
    Przegląd Politologiczny; 2012, 3; 97-114
    1426-8876
    Pojawia się w:
    Przegląd Politologiczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Film fabularny jako narzędzie kuratora i badacza sztuki
    Feature Film as a Curator's and Art Historian's Tool
    Autorzy:
    Ronduda, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/909563.pdf
    Data publikacji:
    2020-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    cinema
    art history
    feature film
    institutional critique
    Opis:
    In the essay, the author, Łukasz Ronduda, relates his own work as an artist, a film director, an art historian and curator, discussed in the light of the cinematic turn and the formation of common ground between cinema and contemporary art in both artistic and institutional sense. Ronduda looks closely at his two full-length feature films: Performer (2015) and Serce miłości (Heart of Love) (2017) and highlights their wider context. The first frame of reference spans from experimental films to contemporary full-length productions dedicated to wide audience. The second reference is his own work involving academic research, curating, writing a novel and the creation of a found footage film. In this self-presentation, Ronduda discloses his different attempts to find the right medium to speak about and analyze contemporary art. The full-length film turned out to be particularly effective medium in its ability to express the truth by means of fiction, placing him between creation and institutional structure. Film as a medium of interpreting art  seems to productively question fixed boundaries between research, criticism and art.
    Źródło:
    Artium Quaestiones; 2020, 31; 209-236
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Phantasm and an Attack on the Epoch. An Overview of Józef Piłsudski’s Image in Polish Feature Films in the People’s Republic of Poland
    Fantazmat i atak na epokę. Przegląd wizerunku Józefa Piłsudskiego w polskich filmach fabularnych w PRL-u
    Autorzy:
    Sikorski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/2154473.pdf
    Data publikacji:
    2021
    Wydawca:
    Instytut Pamięci Narodowej, Komisja Ścigania Zbrodni przeciwko Narodowi Polskiemu
    Tematy:
    Józef Piłsudski
    niepodległość
    film fabularny
    Polska Rzeczpospolita Ludowa
    fałszowanie historii
    komunizm
    independence
    feature film
    People’s Republic of Poland
    falsification of history
    communism
    Opis:
    To the present day researchers in cinematography have not expressed any deeper interest in Józef Piłsudski. There are only texts devoted to newly released history films (such as reviews and minutes of editorial discussions in film magazines) and a few popular overview pieces. In national community’s collective experience, Marshal Józef Piłsudski invariably remains a national phantasm – an imaginary myth, a specific charism identified with the regaining of independence (“the great builder”, “the father of the independence”, “the leader of the nation”, “the great Marshall”, “the commanding officer” etc.) and the victory over the Bolsheviks in 1920 (exemplum of anti-communism). This article consists of two internally complementary parts. In the introduction the author presents the figure of Piłsudski in the interwar cinematography (1918–1939). The main part is then devoted to the analysis of three major feature films from the People’s Republic of Poland period (Death of a President, 1977, Coup d’État 1981, Polonia Restituta, 1980), in which Marshal Piłsudski is a key figure involved in the narrative about history. This part of the article focuses on the falsification of the historical picture (historical figures, events, processes), the image that in effect was far from the historical truth and in line with the guidelines of the ruling communist party. Attention is also paid to the film makers’ and scientific consultants’ entanglement in the communist system. The analysis is based on source materials (scenarios, press publications) and subject literature.
    Źródło:
    Pamięć i Sprawiedliwość; 2021, 2; 347-374
    1427-7476
    Pojawia się w:
    Pamięć i Sprawiedliwość
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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