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  1. 6 Gizycki M.

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1

THE KITCHEN DEBATE. THE HISTORY OF A RECORDING AND A PHOTOGRAPH (Debata kuchenna. Historia jednego nagrania i jednego zdjecia)

100%
Gizycki M.
Kwartalnik Filmowy
|
2009
|
issue 65
220-223
EN
In 1959 the Vice-president of USA, Richard Nixon visited Moscow in order to take part in the opening ceremony of the American National Exhibition. The main attractions of the exhibition were fully furnished American interiors, for example a fully equipped kitchen. The exhibition was of a significant symbolic importance: it signaled a thawing of the relations between East and West. It also showed that after years of isolation, USSR was ready to show its citizens how people live in the capitalist system.The authori writes about the 'kitchen debate' between Nixon and Khrushchev, the photograph published in the Soviet newspaper 'Izvestia' and about the famous photograph taken by William Safire.
2

THE LOST INNOCENCE OF STREET ART (Utracona cnota ulicznej sztuki)

100%
Gizycki M.
Kwartalnik Filmowy
|
2011
|
issue 73
206-209
EN
The article deals with street art, which the author considers to be the freest domain of artistic creativity. A graffiti artist asks no one for permission, he does what he wants, where he wants, and when he wants. But this freedom offends those who are afraid of any form of uncontrolled expression. Street art is powerful - it is visible, widely discussed, it reaches everyone, and so it is an object of struggle. In the context of thus defined street art Gizycki writes about two famous artists of this genre: the contemporary cult figure - Shepard Fairey and Italian artist called Blu. Some of their work was overtaken by various institutional discourses. Occasionally the work was a cause of a scandal, but was also used for various advertising, corporation and political aims. In conclusion, the author asks whether and to what degree is Polish street art involved in similar discourses.
3

KENTRIDGE'S NOSE (Nos Kentridge'a)

100%
Gizycki M.
Kwartalnik Filmowy
|
2010
|
issue 69
214-219
EN
The author compares Gogol's 'Nose' with Dmitri Shostakovich's opera based on this play, performed in the Metropolitan Opera in New York. The fact that the composer's biographer Solom Volkov first recognized that the play was an autobiographical work, serves as a incentive for the analysis of the complexity of the composer's life. The author then deals with William Kentridge - the director and stage director of the New York production of the play. He analyses nine films Kentridge made in the years 1989-2003. The films form a cycle, whose main character is Soho Eckstein, a fictitious industry magnate. The author also describes how Kentridge uses his experience as an animator in his theatre and opera productions, which always feature film screenings (e.g. in Shostakovich's 'Nose')
4

THE MAGICAL BEGINNINGS OF CINEMA (Magiczne poczatki kina)

100%
Gizycki M.
Kwartalnik Filmowy
|
2011
|
issue 74
208-213
EN
This article has been inspired by two events: the exhibition of Werner Nekes's collection of pre-cinematic devises organized in conjunction with The New Horizons Festival in Wroclaw, Poland (July-August, 2011), and the publication of the special issue of Animation: An Interdiscipinary Journal (July 2011) devoted to Pre- and Early Cinema. According to the editors of the issue, André Gaudreault and Philippe Gautier, the notorious question 'who invented cinema' - Edison or the Lumiere brothers - is irrelevant, since cinema is a socio-cultural phenomenon that cannot be thought as 'invented'. It emerged alongside the institutionalization of film around 1910. Thus early film, so called 'cinema of attractions', has more to do with pre-cinematic shows and devises like magic lanterns, etc., than fully developed entertainment of the later era. The author of this article, after presenting a short history of magic lanterns and their impact on selected poets, writers and filmmakers (e.g. Bergman and Starewicz), argues that linking the birth of cinema to the institutionalization of the medium obscures another important question: What constitutes film as a work of art? Polish filmmaker, philosopher, and writer Stefan Themerson also agreed in his essay of 1937 The Urge to Create Visions that the invention of the cinematograph had nothing to do with the inception of cinema but for him the latter was actually a much wider and older concept connected to the eternal human quest for all kinds of moving spectacles.
5

CINEMA OF REVERSED TIME (Kino odwroconego czasu)

100%
Gizycki M.
Kwartalnik Filmowy
|
2009
|
issue 66
210-214
EN
'Cinema of reversed time' that is how one could call a group of films, where the technique of 'détournement' is used. 'Détournement' (turning around of images) of art, including films, was already practiced in film soon after the Second World War. For example kung-fu films were given new, revolutionary dialogues by the representatives of Lettrism. A good example of a film employing the technique of détournement is the cartoon by Lorelei Pepi 'Happy & Gay' (2009), made in the style of early animated talkies, but with gay and lesbian characters. Two other good examples of playing with the conventions of old films are 'Saddest Music in the World' and 'Cowards Bend the Knee' (both from 2003), in which styles and genres are mixed, and once forbidden contents introduced. 'Détournement' is sometimes also practiced by film makers associated with the found footage movement. In particular the work of Martin Arnold, in which he uses single frames from Hollywood films, deserves a mention.
6

SPONTANEOUS CINEMA (Kino spontaniczne)

100%
Gizycki M.
Kwartalnik Filmowy
|
2009
|
issue 67-68
304-308
EN
The author discusses the art of improvisation in film making. This aspect of creativity is, he argues, one of the most neglected ones by the scholars. According to him the first improvisers in the history of the cinema were the brothers Lumiere, who filmed everything that happened in front of their cameras, whereas the first self-conscious improvisations were probably made by Feliks Kuczkowski, a long forgotten pioneer of Polish animated film. Unfortunately no trace of his work survives. The first surviving attempt of spontaneous cinema identified by he author is Man Ray's 'Return to Reason' (1923), who thanks to that particular film became one of the founding fathers of the whole genre of frameless film in experimental cinema, and a precursor of non-camera films. Non-camera films, especially the abstract ones, became one of the most responsive mediums for spontaneous cinema. The author considers work of this type made by Stan Brakhage and Norman McLaren, and he also mentions David Ehrlich and Jonas Mekas. The article is concluded by a manifest of spontaneous cinema, in which the author shows why spontaneous films are worth watching and filming.
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