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1

Whose Britain is this? Lindsay Anderson and Derek Jarman or the Marriage of the Rebellion and the Conservatism

100%

Kosinska K.

Kwartalnik Filmowy

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2006

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issue 53

27-50

EN

Britishness in the culture of Great Britain is an ambivalent concept. On the one hand, it is associated with the Victorian or imperial ideal of a great aristocratic and triumphant Britain, and on the other hand it may be connected with defiance, which is of key importance in the British tradition of the culture. The authoress, who focuses on Lindsay Anderson's film 'If...' and Derek Jarman's 'The Last of England', examines the attitude of the directors (national identity has always been a central theme of their filmmaking) towards Britishness. She argues that although the two bitterly criticize Britain, they are at the same time patriots and traditionalists longing for paradise lost, a British Arcadia. Thus, they do not criticize Britain or its tradition but what has been done with her. Their version of Britishness is opposed to the official myth - their Britain is open to all her citizens, and free from imperial ambitions and consumer temptations.

2

Which side are you on? Ken Loach as an author and non-author

100%

Kosinska K.

Kwartalnik Filmowy

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2007

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issue 60

183-194

EN

Ken Loach represents this unusual type of authorship, where the author totally gives his film to the people he portrays and wants to support and thus gives up the title of the 'Master'. As a declared socialist he believes in the mission of a filmmaker - the cinema should be about us, the people, it shouldn't be about the exploitation and consumerism. Although his films, in terms of style, aesthetics and issues can be perceived as belonging to the category of social realism, and although Loach himself doesn't want to be treated as author and rejects this label, his directorial signature seems to be very strong and specific. Paradoxically this signature comes out in the moments when Loach stops directing but rather follows the situation and lets the scene to evolve in its own direction. That happens in 'Kes', when Billy talks to the class about his kestrel or in 'Land and Freedom', when the soldiers of the international brigades and the Spanish peasant discuss the collectivization of the land. The authoress tries to depict this specific kind of authorship - Ken Loach appears as a director for whom the people and their problems seems to be the most noble material for the cinema, and solidarity of the community seems to be the only way to fight with the oppressive system.

3

Never Had a Buzz Like This. Mods, 'Quadrophenia', 'The Originals' and the Subcultural Identity

100%

Kosinska K.

Kwartalnik Filmowy

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2008

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issue 62-63

235-251

EN

The authoress, examining the film (Quadrophenia) by Franc Roddam and the comic (The Originals) by Dave Gibbons, tries to explore the question of subcultural identity. Although the action of the film is set in London of the 60s, and the story told by Gibbons in the dark future ('The Originals' is sometimes called a retro-futuristic story), both refer to the subculture of mods. Mods, as modern dandies, concentrated on exceptional image that would lift them in the hierarchy of social order, were the rebels using the style as the form of Refusal. Both film and the comic book mirrors specific style typical for this group - it is visible not only in the looks of the characters, but also in the aesthetics of the film and the book. Trying to descript the new vision of subculture as a whole, the auyhoress uses the ideas of Dick Hebdige and also the opposing concepts developed by David Muggleton

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Whose Britain is this? Lindsay Anderson and Derek Jarman or the Marriage of the Rebellion and the Conservatism

Which side are you on? Ken Loach as an author and non-author

Never Had a Buzz Like This. Mods, 'Quadrophenia', 'The Originals' and the Subcultural Identity