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Wajdowskie adaptacje literatury w optyce Eweliny Nurczynskiej-Fidelskiej

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Przylipiak M.
Kwartalnik Filmowy
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2011
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issue 75-76
317-322
EN
Przylipiak reviews the book Polish Literary Classics According to Andrzej Wajda by Ewelina Nurczyńska-Fidelska. This is the second, revised and updated edition of the book originally published in 1998. The book focuses on the question of film adaptation, and its main aim is to identify and describe Wajda’s method of film adaptation. Przylipiak notes that the level of analysis in the book is uneven. He considers the chapters where the author analyses specific changes of aesthetic forms and the ideological orientation that take place during the film adaptation process to be the best. The value of the book lies in that it deals with the much neglected question of equivalence, that is key in film adaptations.
2
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Kino bezpośrednie a amerykańska awangarda filmowa lat sześćdziesiątych

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Przylipiak M.
Świat Tekstów. Rocznik Słupski
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2008
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vol. 6
165-181
EN
Direct cinema is the most famous current of American documentary cinema. It spans the tempestuous period of the 60ties and coincides with rapid development of an American avant-garde. At beginning direct cinema itself was regarded as a form of avant-garde. One of its films, Primary, received a prestigious Independent Film Award, granted by legendary “Film Culture”, a magazine dedicated to promote avant-garde cinema in America. Yet only a few years later direct cinema disappears from all avant-garde agendas. Also contemporary historians of avant-garde don’t mention it. Therefore the question must be asked, whether the primary categorization was right or wrong, whether direct cinema films contain features which may enable one to include them to an American avant-garde of the Sixties. Most prominent of these features are: open structure, improvisation, shooting on location, extreme subjectivity, freedom of the camera, political involvement, reflexivity, progressivism, display of film fabric (“structural cinema”). Direct cinema meets these conditions only to a very limi-ted degree.
3
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Thomas Elsaesser a studia filmoznawcze

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Przylipiak M.
Facta Ficta. Journal of Theory, Narrative & Media
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2019
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vol. 3
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issue 1
149-171
EN
Mirosław Przylipiak in his essay paints a comprehensive picture of Thomas Elsaesser’s professional development as a scholar of film and media studies. The paper also concentrates on his organizational activities, focused on promoting audiovisual culture, which unveil his broad intellectual pursuits. Przylipiak investigates Elsaesser’s academic background, drawing attention to his major areas of contribution to film studies: the history of German cinema, classical and post-classical American cinema, and film theory. With regard to the latter, the essay discusses Elsaesser’s original, multidisciplinary approach that combines various scholarly orientations in order to situate film within broader discussions in philosophy, anthropology, art history, media studies, and cultural studies. It highlights that Elsaesser creatively draws from many methods without fully subscribing to any of them, and in doing so he manages not to fall into theoretical contradictions. The article navigates the reader toward Elsaesser’s numerous organizational activities. It focuses on his institutional work which led to the establishment of several educational programmes and the creation of a book series dedicated to film and media at the University of Amsterdam. The paper then outlines Elsaesser’s contribution to the ongoing discussion on contemporary complex film narratives, which he called mind-game films. In this context, Przylipiak focuses on the issue of agency, as one of the dominant and recurring issues explored by Elsaesser in his large body of work on films, particularly with regard to his studies on mind-game films. The essay ends with reflections on Elsaesser’s philosophical understanding of film’s ontological status and his reflections on film studies as academic discipline.
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Szofer Wałęsy

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Przylipiak M.
Studia Filmoznawcze
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2018
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vol. 39
107-126
EN
The article refers to relation between Andrzej Wajda and Lech Wałęsa, especially tells about the image of Wałęsa in Wajda’s movies. It puts forward the story of their direct contact, and then it shows the way of presenting Lech Wałęsa in three films of Wajda. In Man of Iron Wałęsa is shown in archival materials and in two scenes, where he plays himself. We could say that both of two main characters — Maciej Tomczyk and editor Winkiel — were inspired by Wałęsa’s life. In movie etude called Man of Hope (the part of Solidarity, solidarity) we can observe Wałęsa in a conversation with Wajda, Krystyna Janda and Jerzy Radziwiłowicz. The artists are cheerful, optimistic, content, but Wałęsa is embittered and glum. He knows better, that the myth of “Solidarity” is already dead. The movie Wałęsa. Man of Hope is like a big speech, which in Wajda defends his hero from charges about cooperation with SB. In addition, Wajda’s attitude to Wałęsa can illustrate relation between polish intelligentsia and the “simple people”, including its special variant, which is the alliance between intelligentsia and workers formed in 1980 in Gdańsk Shipyard, where both of them met.
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