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1

Wojna mile widziana

100%
Gierszewska B. L.
Kwartalnik Filmowy
|
2012
|
issue 79
227-232
EN
A book review of Małgorzata Hendrykowska’s Polish film on war and occupation. Topics, themes, questions (Film polski wobec wojny i okupacji. Tematy, motywy, pytania, 2011). Gierszewska notes that the author presents a multi-threaded discussion of World War II as seen through the film lens, and also presents a new and ordered interpretation of Polish film productions on war since the end of World War II to the present day, taking into the account historical and political contexts. The reviewer believes that the book is interesting and Hendrykowska presents us with a work rich in facts, reliable from the scientific point of view, objective and interpretively tailored to the needs of modern education in the field of World War II in Polish cinema. Importantly, Hendrykowska re-read the film content ignoring the false messages of political propaganda. The reality of war and occupation, presented free of ideology, one of the most important topics in Polish cinema in the period of 1945-2010, is thus presented and re-described from a new perspective. So far Polish film studies literature and teaching lacked a multifaceted attempt to reconstruct the complex issues of World War II and the wartime occupation as seen through the prism of the film. Małgorzata Hendrykowska fills this gap.
2
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Biblioteki i bibliotekarze w przestrzeni filmowej (reprezentacje i konotacje)

100%
Gierszewska B. L.
Przestrzenie Teorii
|
2019
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issue 32
213-238
EN
Gierszewska Barbara Lena, Biblioteki i bibliotekarze w przestrzeni filmowej (reprezentacje i konotacje) [Libraries and Librarians in the Film Space (Representations and Connotations)]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 213–238. ISSN 1644-6763. DOI 10.14746/pt.2019.32.11. Using selected films, a picture of library buildings and their interiors from the 1950s to the present day has been created. The vast majority of libraries are “temples of knowledge”, and librarians (invariably educated and relatively unattractive women) are the “guardians” of the collections. Contemporary film rarely depicts shows libraries as a system not to be overestimated “in the times of smart phones and social media”. Filmmakers’ attention is drawn mainly the interesting architecture of library interiors to, in which “library scenes” are set, hence the aura of library is seldom perceptible. Książnice is often the backdrop or part of the story told in the film, and sometimes reveal other features such as the genre and other books important to the characters.
3
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Cozy Homes? Rooms and apartments of the intelligentsia in Polish drama films, 1956–1970

100%
Gierszewska B. L.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2017
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vol. 22
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issue 31
91-102
EN
The article presents the problems of private life of intellectuals in Poland “after Yalta” through the prism of the cinema. The biggest problem of people in the 1950s and 1960s was the lack of a satisfying home. The homes of young intellectuals shown in Polish films are the spectrum of dreams, most often impossible to achieve in real life. Apartments located in multi-family housing estates that immortalized in the Polish feature films between the years 1956–1970 are confirmation of the highest quality of Polish industrial design. Real people’s apartments were cramped, ugly, and primitive.
4
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„Nie zapomnij mnie”. O filmowo-ekonomicznej przestrzeni w dziejowości Wrocławia 1896–1945

100%
Gierszewska B. L.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2020
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vol. 27
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issue 36
EN
The author of the reviewed book for the first time shows how and why film preferences of the inhabitants of Breslau in the years 1896–1932 and 1933–1945 differed in relation to the choices of cinema audiences in other European cities during the same period. He uses the POPSTAT statistical method proposed for this purpose by the German researcher Joseph Potter. He also uses the scientific ideas of „attraction cinema” developed by André Gaudreault. He bases his research on analyzing film success rankings and to measure viewer preferences.
5
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W sprawie cyfrowej historii polskiego kina

100%
Gierszewska B. L.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2017
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vol. 20
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issue 29
203-213
EN
Digital cinema history should support the conduct of free research, encourage authors to share the results of their findings and source discoveries. The problem is that Polish digital history of cinema, on one hand, is very poor (still a small part of sources and theoretical, historical and critical scientific achievements is available on-line), on the other hand, what has already appeared, is not representative because it omits largely the work of film studying authorities. For example, on the Internet you can find the views of researchers of the younger generation about the cultural history of the cinema in Polish context, including criticism of thesis described by scientific tycoons, but these are the texts that can be read only in paper publications. It begins to be, by the scientific standards, strange, because in the history of digital cinema leading roles are played by the young researchers, but without a clash of views with the authorities. The fact that on the net there are no statements concerning the scientific research given by the greatest experts of Polish cinema, who do not want to turn into a discussion with the young ones, causes the situation in which data to the history of Polish cinema digitally available are (so far) not always satisfying either as the aspect of cognition or the source. 
PL
In case of digital history of Polish cinema Digita l cinema history should support the conduct of free research, encourage authors to share the results of their findings and source discoveries. The problem is that Polish digital history of cinema on one hand is very poor (still a small part of sources and theoretical, historical and critical scientifi cachievements is available on-line), on the other hand, what has already appeared, is not representative because it omits largely the work of film studying authorities. For example, on the Internet you can find the views of researchers of the younger generation about the cultural history of the cinema in Polish context, including criticism of thesis described by scientifictycoons, but these are the texts that can be read only in paper publications. It begins to be, by the scientific standards, strange, because in the history of digital cinema leading roles are played by the young researchers, but without a clash of views with the authorities. The fact that on the net there are no statements concerning the scientifi cresearch given by the greatest experts of Polish cinema, who do not want to turn into a discussion with the young ones, causes the situation in which data to the history of Polish cinema digitally available are (so far) not always satisfying either as the aspect of cognition or the source.  
6

Kierunek digitalizacja

100%
Gierszewska B. L.
Kwartalnik Filmowy
|
2012
|
issue 77-78
327-331
EN
A book review of Maryla Hopfinger’s Literature and Media. After 1989, published by Oficyna Naukowa The book is an in-depth review on changes in models of cultural communication that took place in Poland in the last 20 years, after the political transformation of 1989. Hopfinger in her work tries to understand a sudden clash of the world of literature and media with politics and general changes in Poland, whilst maintaining a distance towards those who put new models of communication (the audiovisual, interactive, and digitalization of information) over other models, as well as those who herald the fall of literature as opposed to other media.
7

Filmoznawcy wśród medioznawców. Kilka refleksji o marginalizowaniu kultury audiowizualnej w naukach o mediach i na studiach dziennikarskich

100%
Gierszewska B. L.
Kwartalnik Filmowy
|
2014
|
issue 85
219-235
PL
Artykuł dotyczy udziału filmoznawców w badaniach mieszczących się w medioznawstwie kulturowym (medialnym kulturoznawstwie) rozumianym jako dynamicznie rozwijająca się wiedza o teoriach i praktykach audiowizualności. Autorka zastanawia się, dlaczego tak trudno przekonać medioznawców opcji społecznej do lektury, poparcia i popularyzacji cennych publikacji o mediach autorstwa filmoznawców i w ogóle badaczy o orientacji kulturoznawczej. Polscy komunikolodzy reprezentujący nauki społeczne, zajmując się mediami audiowizualnymi, skupiają się na analizowaniu funkcji i zawartości tych przekazów w różnych konfiguracjach, pomijając aspekt kulturowy. To humaniści – a szczególny wkład mają tu filmoznawcy – opracowali dzieje audiowizualności, piszą teorię oraz upowszechniają na polskim gruncie myśl zachodnioeuropejską i światową. A jednak ich wysiłku i spektakularnych osiągnięć jak dotąd nie docenili medioznawcy z obszaru nauk społecznych. W programach kształcenia ludzi mediów (na kierunkach dziennikarskich i pokrewnych) historia i teoria kultury audiowizualnej, choć cieszy się coraz większym zainteresowaniem studentów, wciąż zajmuje miejsce marginalne, dalekie za dziejami printmediów.
EN
The article deals with the participation of film studies experts in cultural media studies research, understood as a dynamically developing discipline dealing with theories and practices of audiovisual media. The author ponders why is it so difficult to convince social scientists among media studies researchers to read, promote and popularise valuable publications about media by film studies experts and cultural studies specialists. Polish media studies experts representing social sciences dealing with the audiovisual, focus on analysing the function and content of media transmissions, while ignoring their cultural dimension. It is the representatives of the humanities, and especially film studies experts, that developed the history of the audiovisual, create theories and popularise Western thought in Poland. However their work goes unappreciated by their media studies colleagues from the social sciences. Within media studies study programs history and theory of audiovisual culture is increasingly popular among students, yet highly marginal in relation the history of the printed media.
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