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UWIERZYĆ W CIAŁO, UWIERZYĆ W ŚMIERĆ Kilka analiz filmowych na marginesie filozofii kina Gillesa Deleuze’a

100%
Jakubowska M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2017
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vol. 24
86-105
EN
G. Deleuze, while describing the contemporary audiovisual culture, points out to a paradox. The man has lost the sense of his own, authentic life, and is stuck in the world as if he found himself in a pure optical and sound situation instead. The philosopher ponders how to recover man’s faith in the world and reconnect him with what he sees and hears, how to make him sensitive to issues that are the most vital for his existence, such as love and death. The philosopher-cineaste proposes something apparently absurd, namely encourages us to watch a good movie. Deleuze is not interested in a film performance offered by entertainment cinema, he is looking for films which will make us think and teach us, how to believe in the reality of the world again. Such belief should find its source in corporeality discovered by the cinema: both the common and the celebrated ones. The center of the world in this philosphy is the belief in the body as a germ of life and death. In my analyses, referring to the thoughts of the French philosopher, I suggest taking into account three documentary films: Obrzędy intymne (1984) by Zbigniew Libera, Balsamista (2001) by Ewa Świecińska and Istnienie (2007) by Marcin Koszałka. These three stories about life and death do not leave the viewer indifferent.
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Krystaliczne kino Gilles Deleuze'a: system otwarty

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Jakubowska M.
Panoptikum
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2014
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issue 13(20)
54-69
EN
The paper's aim is to introduce Gilles Deleuze's Cinema as a theoretical and philosophical open system of thinking about classical, modern and postmodern movies.
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Main Objectives of Film Education in Poland: Institutional Context and Developmental Tendencies

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Jakubowska M.
Panoptikum
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2017
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issue 18(25)
28-43
EN
This paper is focused on problems concerning film education in Poland. It concentrates on the changes in and different ways of defining the goals of film education, the aims or recipients of this type of education. By presenting several definitions provided by Polish experts, it shows the direction of the changes; for example the inclusion of film knowledge into a wider context of essential competencies of each participant of contemporary audiovisual culture. The paper shows that in the 80’s and the 90’s of the 20th century academics identified the relationship and mutual interdependence between literature and the cinema as the most important part. Now, however, they mostly focus on the role of film in preserving national and European heritage. Moreover, contemporary concepts of film education mainly deal with workshops rather than with theoretical studies. What are the effects of the changes and new tendencies? Film education is present in the curriculums of primary and secondary schools (but constituting only limited elements and playing a marginal role). In Poland there are ministerial programmes, institutional projects, public offerings and also competitive commercial offers. Although we can see positive tendencies in this area, the system of film education in Poland still needs a coherent policy and institutional care.
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Ukryte, jawne, zaszyfrowane…Retrospekcje w filmie na tle teorii narracji Mieke Bal. Opowieść a retrospekcja

100%
Jakubowska M.
Kwartalnik Filmowy
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2022
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issue 117 Kino nieznane/ukryte
98-122
PL
Autorka bada filmowe retrospekcje jako wieloaspektowe techniki narracyjne na tle narratologii Mieke Bal. Kreśli szeroką ramę dla rozważań nad retrospekcją, co pozwala jej zbudować bazę różnych kontekstów narracyjnych, w jakie można wpisać odsłanianie wspomnień, pamięci i historii. Następnie podejmuje próbę krytycznej analizy teorii Bal, chcąc wskazać sprzeczności czy nieścisłości w jej rozważaniach. Podążając za holenderską badaczką, jako podstawowe założenie przyjmuje jej tezę, że system narracyjny składa się z tekstu, opowieści i fabuły. Autorka koncentruje się na relacji między opowieścią i retrospekcją. Analizuje różne aspekty temporalne opowieści na tle porządkowania sekwencyjnego. Łączy przy tym klasyfikację opartą o koncepcję podziałów zaproponowanych przez Bal z własnymi badaniami. Ponadto uzupełnia aspekty „opowieści o czasie przeszłym” o kilka problemów (np. od retrospekcji do antycypacji, retrospekcja kontra odwrócona chronologia, retrospekcja prosta/złożona, wiarygodna/niewiarygodna).
EN
The author examines film retroversions as multi-faceted narrative devices against the background of Mieke Bal’s narratology. She outlines a broad framework for reflection upon flashbacks, which allows her to build a set of various narrative contexts for discovering recollections, memory and history. She then attempts a critical analysis of Bal’s theory, seeking to point out contradictions or inaccuracies in her considerations. Following the Dutch theorist, the author takes her fundamental statement that the narrative system consists of text, story and fabula as a basic premise. The author focuses on the relationship between story and retroversion. She analyses different temporal aspects of story that characterize returns to the past against the background of sequential ordering. Consequently, she combines a classification based on Bal’s divisions with her own research. Additionally, she complements aspects of “stories about the past times” with some of her suggestions (e.g. from retroversion to anticipation, flashbacks vs. inverted chronology, simple/complex and reliable/unreliable retroversion).
5
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Filmmaking as Therapy: Between art Therapy and Resilience Theory

63%
Jakubowska M., Michałowska M.
Panoptikum
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2017
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issue 18(25)
227-236
EN
An interdisciplinary project “Dimensions of the body: between bioethics and film studies” is focused on the concepts of the body and on the ways of portraying it in audiovisual culture. One of the issues we investigate is the body of a paediatric patient. In this paper we concentrate on the new idea of using film as an element of psychiatric therapy of paediatric cancer patients. By referring to the concept of resilience theory, which studies the phenomenon of children’s, adolescents’ or adults’ positive adaptation despite adverse life conditions, traumatic events and hostile environments, we show how filmmaking workshops can constitute a key element of achieving resilience. In our research we employ the concept of José Luis Medina Amor’s theory of three C’s, that is: control, change, commitment. This paper presents the way filmmaking workshops for paediatric cancer patients could become a practical tool contributing greatly to achieving resilience. We show how all the elements of the three C’s theory can have a practical use in filmmaking workshops and that an active participation in such workshops can be especially beneficial to paediatric oncology patients while they discover and bolster resilient values.
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