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1

Romantyczni Stanisława Różewicza. Między marzeniem a rzeczywistością

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Maron M.
Kwartalnik Filmowy
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2012
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issue 77-78
55-71
EN
Maron presents a little known film by Stanislaw Rozewicz – The Romantics (1970) – an intimate historical and psychological drama, which takes place during the late Spring of the Nations period (winter of 1849, after the fall of the Poznan uprising), in an aristocratic manor in Greater Poland region (Wielkopolska), where two young brothers are hiding – the conspirators Wladyslaw and Henryk. Through their history Rozewicz shows how the romantic notions and ideas (messianism, national philosophy, poetry, the ideal of romantic love and romantic act) penetrated into the consciousness of people and determined their existence, placing it between the dreams of the free life and harsh political reality. The director sketches the portraits of the protagonists in a realistic manner as well as the social and psychological conflicts between them. Despite this “realistic” trend in Rozewicz’s film, as in the works of the romantics, the visible world relates primarily to the “invisible” world of existential and spiritual values. The Romantics is a work that accurately reflects ideals and problematic of romanticism, and also illustrates typical Polish combination of reality and phantasm.
2
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Filmowa neoawangarda i początki sztuki video

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Maron M.
Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes
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2017
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vol. 15
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issue 2
PL
Artykuł w syntetyczny sposób omawia najważniejsze zjawiska filmu eksperymentalnego w kontekście pojęcia i praktyki sztuki neoawangardowej od II połowy lat 60. do połowy lat 70. XX wieku. Na początku przypomniana została pierwsza i druga faza rozwoju filmu eksperymentalnego w związku z istnieniem tzw. Wielkiej Awangardy oraz z działalnością jej kontynuatorów po Ii wojnie światowej w USA. Nastepnie zdefiniowane zostało pojęcie neoawangardy w odniesieniu do ujęcia, które zparoponował Frank Popper. W dalszej części artykułu jego autor omawia zasady oraz najważniejsze przykłady filmów neoawangardowych m. in: film strukturalny, kino porzeszone, intermedia. Ważną częścią artykułu jest przedstawienie początków, idei oraz najważniejszych rodzajów sztuki video. W artykule omówione zostały filmy takich autorów jak m. in. Paul Sharits, Peter Kubelka, Peter Campus, Bill Viola i innych. Film Neo-Avant-garde and the Beginnings of Video ArtSUMMARYThe article comprehensively discusses the most important phenomena of experimental film in the context of the concept and practice of neo-avant-garde art from the latter half of the nineteen-sixties to the mid-nineteen-seventies. The paper begins by referring to the first and second phase of the development of experimental film in connection with the existence of the so-called Great Avant-garde and the activity of its continuators after World War Two in the USA. The text then defines the concept of neo-avant-garde in relation to the interpretation proposed by Frank Popper. The article then discusses the principles and the most important examples of neo-avant-garde films, inter alia structural film, widened cinema, or intermedia. An important part of the article is the presentation of the beginnings, idea and the major types of video art. The paper also discusses the films by such authors as inter alia Paul Sharits, Peter Kubelka, Peter Campus, Bill Viola, and others.
3
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„Mazepa” – dramat Juliusza Słowackiego i tragedia filmowa Gustawa Holoubka. Ironia romantyczna w działaniu

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Maron M.
Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes
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2015
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vol. 13
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issue 1
EN
The paper deals with the problem of irony and its meaning in Mazepa - Juliusz Słowacki’s drama and Gustaw Holoubek’s fi lm. It also analyzes the intertextual aspect of Słowacki’s play and its impact on the film.Mazepa is an example of a work characteristic of Słowacki’s dramas, which was created in relation to the tradition of the baroque theatrum mundi fi lled with Romantic irony. Calderon’s problem of “life as a part to play” and the duality of man and the world appears in the work as a condition for ironic self-knowledge: that of the hero and the poet who shapes the drama. The specifi city of Słowacki’s irony can be viewed in comparison with the concept of irony of German romanticists (F. Schlegel, Novalis), and in the context of Victor Hugo’s poetics of the dramatic grotesque.In contrast, the fi lm adaptation of Mazepa (1975) directed by Gustaw Holoubek is based fi rst of all on tragic irony extracted from Słowacki’s play. Emphasis is placed on the motif of fatal divergence between the deeds of the heroes and the effects of those deeds(heterotelia). Holoubek tried to read the tragic irony in Słowacki’s drama in the symbolic order. However, the symbolic reading cannot be fi nal. The irony of Słowacki’s text makes the meanings and interpretations of the fi lm open-ended.
PL
Brak streszczenia w języku polskim.
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Functions of screen space in shots by Mieczysław Jahoda in the example of his first feature films: Zimowy zmierzch and Pętla

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Maron M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2020
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vol. 27
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issue 36
PL
The text is devoted to discussing the formation methods and the functions of screen space in shots by Mieczysław Jahoda in the films Zimowy zmierzch (directed by S. Lenartowicz) and Pętla (directed by W.J. Has). Mieczysław Jahoda is presented as one of the main initiators of stylistic changes in the films of Polish School in the mid 1950s. The analysis concerns the camera means applied by Jahoda in order to obtain screen effects: light, frame composition, photographic optics and perspective transformation. The film shots by Mieczysław Jahoda are characterized by an exceptional ability to evoke mental space, emotions, memory and imagination via the shapes of screen space. Their feature is a special esthetization aimed at creating the atmosphere of films, as well as symbolic and cultural references.
5
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Miłość,śmierć i romantyczna "choroba wieku". Film Błękitna nuta Andrzeja Żuławskiego jako romans historyczny.

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Maron M.
Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes
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2016
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vol. 14
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issue 1
PL
Artykuł omawia film Andrzeja Żuławskiego pt. Błękitna nuta (1990). Autor artykułu zajął się porównaniem zdarzeń przedsatawionych w filmie z ich historycznym, faktycznym kontekstem. Zasadniczą warstwę znaczeń dzieła Żuławskiego tworzy historia romansu Fryderyka Chopina i George Sand oraz kontekst życia polskiego kompozytora na emigracji we Francji. Egzystencjalne doświadczenie głownego bohatera filmu nosi znamiona romantycznej "choroby wieku", charakterystycznej dla epoki romantyzmu.
6
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O roli ironii w filmach Wojciecha Jerzego Hasa, a zwłaszcza w Rękopisie znalezionym w Saragossie, ze szczególnym odniesieniem do ironii romantycznej

100%
Maron M.
Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes
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2014
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vol. 12
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issue 1
PL
Artykuł nie zawiera abstraktu w języku polskim
7

Glowa Meduzy, czyli realizm filmow kina Moralnego Niepokoju

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Maron M.
Kwartalnik Filmowy
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2011
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issue 75-76
122-148
EN
The article discusses the films belonging to the cinema of moral anxiety (1976-1981) as the most characteristic examples of realism in film in Polish cinematography between 1945 and 1989. The main aim of the early feature films of K. Kieślowski, A. Holland, F. Falk, J. Kijowski, and the work by A. Wajda, K. Zanussi and J. Zaorski that can be classified as moral anxiety cinema, was a critical description of reality. This description was possible, thanks to skillful handling of the medium of photographic realism and realism in staging. The first part of the article presents in brief the historical and cinematographic context of the origins of the cinema of moral anxiety. The second part discusses the major films of the movement in terms of the relationship between the strategies used in them and the process of creation of their critical and descriptive character. The order of the argument is set out by the achievements of four film cinematographers: S. Idziak, E. Kłosiński, J. Petrycki and K. Wyszyński. The following are the key issues: how does photographic realism manifests itself in film?, how does it define their aesthetics and what is its impact on the creation of the director’s reflection upon socio-political context of the time? What are the limitations and difficulties associated with the aesthetics of realism? The third part of the article deals with the relationship of the realist aesthetics of the films belonging to the cinema of moral anxiety movement with the moral reflection contained within them. The article concludes with some reflection upon typical protagonists of the films of the moral anxiety cinema.
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