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Dokumentalne etiudy szkolne lat 50. i 60.

100%
Mąka-Malatyńska K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2017
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vol. 21
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issue 30
EN
The subject of the article are the poetics of films made in the Lodz Film School in the first years of its existence. Analysis of selected films allows us to trace the metamorphoses of documentary forms which were sometimes parallel to changes being observed in mainstream documentaries, sometimes preceding them, sometimes imitating them. Documentary school films from this period illustrate one of the most important phenomena in the history of Polish documentary cinema: the transition from a persuasive document to an observation film whose poetics are the basis for defining the documentary in Poland.
2
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Od Fantazji do Gumballa – estetyka filmu animowanego

100%
Mąka-Malatyńska K.
Polonistyka. Innowacje
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2016
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issue 3
135-150
EN
The paper attempts to answer, what was the animation in the past and what it is today. According to the author animated film stands out a special references with the physical reality, a creativity and a syncretism. She describes two trends in animated film: the art animation and the popular animation and she analyzes two examples meeting this trends: Walt Disney’s Fantasia and contemporary TV series such as The Amazing World of Gumball.
PL
Artykuł stanowi próbę odpowiedzi na pytanie, czym była animacja niegdyś i czym jest dziś. Na podstawie refleksji filmoznawców i twórców autorka formułuje definicję filmu animowanego, wskazując na ograniczenie referencjalności, fikcjonalność i charakter synkretyczny jako główne wyróżniki filmu animowanego. Przywołuje dwa nurty działalności twórców animacji: film artystyczny i film masowy, popularny oraz omawia dwa przykłady ich krzyżowania się: słynną Disneyowską Fantazję oraz wybrane współczesne seriale dla dzieci.
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Kreowanie przeszłości — literackie i filmowe światy Andrzeja Barta

100%
Mąka-Malatyńska K.
Studia Filmoznawcze
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2015
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vol. 36
55 - 73
EN
The article concerns the creative works of Andrzej Bart who is primarily known in Poland as a writer, the author of The Flypaper Factory and winner of the “Nike” Literary Award. However, he is also a screenwriter and a director of documentary films, television dramas and radio-plays. The author of this article looks at the relationship between the various areas of Bart’s artistic activity. She tracks the flow of plots and characters, follows references and self-quotations as well as formal relations between Bart’s works. She also takes into consideration the intermediality of his works.
4
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„Od świtu do zmierzchu” – współczesne obrazy miasta w projektach dokumentalnych Maciej Drygasa i Mirosława Dembińskiego

100%
Mąka-Malatyńska K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2013
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vol. 12
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issue 21
139-149
EN
The text refers to two documentary projects that were created by well-known Polish documentary film directors: Maciej Drygas and Mirosław Dembiński. The first one, Łódź from Dawn till Dusk, was made as a part of the education program at the Polish National Film, Television and Theatre School in Łódź in 2007. For several years, students in the second year of the Directing Department made short films about Łódź, forming out of this mosaic, images of the city from dawn till dusk. After having been experienced in Łódź, the project led to the idea of using this method to describe various cities around the world. Finally, five films were made in five different cities under the auspices of the Adam Mickiewicz Institute. This article concentrates on the analysis of the structure of these films and the images of the cities that emerge out of them.
PL
“The World from Dawn til Dask”. Contemporary Images of the City in the Documentary Projects of Maciej Drygas and Mirosław Dembiński The text refers to two documentary projects that were created by well-known Polish documentary film directors: Maciej Drygas and Mirosław Dembiński. The first one, Łódź from Dawn till Dusk, was made as a part of the education program at the Polish National Film, Television and Theatre School in Łódź in 2007. For several years, students in the second year of the Directing Department made short films about Łódź, forming out of this mosaic, images of the city from dawn till dusk. After having been experienced in Łódź, the project led to the idea of using this method to describe various cities around the world. Finally, five films were made in five different cities under the auspices of the Adam Mickiewicz Institute. This article concentrates on the analysis of the structure of these films and the images of the cities that emerge out of them.
5
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Wyprawa do krainy prawdopodobieństwa – o dokumentach animowanych Marcina Podolca

100%
Mąka-Malatyńska K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2017
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vol. 20
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issue 29
289-300
EN
The article analyses two student short films by Marcin Podolec, Dokument and Olbrzym, which represent the animated documentary genre. In her analysis and interpretation of films, the author uses Annabelle Honess Roe’s methodology to research this phenomenon. She expands the definition of the animated documentary base on Roe’s work.
PL
Journey to the land of verisimilitude: The animated documentaries of Marcin Podolec The article analyses two student short films by Marcin Podolec, Dokument and Olbrzym, which represent the animated documentary genre. In her analysis and interpretation of films, the author uses Annabelle Honess Roe’s methodology to research this phenomenon. She expands the definition of the animated documentary base on Roe’s work.
6
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Obrazy Holocaustu w etiudach filmowych PWSFTviT w Łodzi

100%
Mąka-Malatyńska K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2011
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vol. 8
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issue 15-16
157-180
EN
  The article In Search of the Form is a contribution to the research on school films about Holocaust. The author analyzed over 20 short films produced in the National Film School in Lodz in 1948–2010. In great part these films reflect the general trend from the professional cinema of the same period. However young filmmakers appear to be more daring as far form of the films is concerned. Their films are aesthetically original, ofthe refer to genre cinema and combine different genres.
PL
In Serach of the Form. Images of the Holocaust in student films of the Polish National Film School   The article In Search of the Form is a contribution to the research on school films about Holocaust. The author analyzed over 20 short films produced in the National Film School in Lodz in 1948–2010. In great part these films reflect the general trend from the professional cinema of the same period. However young filmmakers appear to be more daring as far form of the films is concerned. Their films are aesthetically original, ofthe refer to genre cinema and combine different genres.
7
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Uwagi o dramaturgii filmu dokumentalnego

100%
Mąka-Malatyńska K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 16
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issue 25
25-41
EN
 Comments on the Dramaturgy of Documentaries The paper aims at analyzing the relationship between dramaturgy in documentary film and fiction film as a form of storytelling governed by similar rules. The author tries to answer questions about the methods used to shape the material in documentary films. She presents an analysis of two Polish documentaries: Siberian Lesson and Argentinean Lesson by Wojciech Staroń. The structures of both works are based on the theme of the journey. These films represent a type of drama resulting from real-life events, close Kracauer’s theory of “the found story” and Kieślowski’s “dramaturgy of reality”. They also implement the basic assumptions of the paradigm (of the mythic structures) described by Joseph Campbell and Christopher Vogler typical of fiction films.
8
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Filmowa archeologia Macieja Drygasa

100%
Mąka-Malatyńska K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 16
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issue 25
133-146
EN
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9
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Dokumentalny świat Andrzeja Wajdy

100%
Mąka-Malatyńska K.
Przestrzenie Teorii
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2017
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issue 27
93-116
EN
The article introduces a relatively unknown aspect of Andrzej Wajda’s output – his documentary films. The author examines documentaries on art and autobiographical film, which usually comprise glosses on feature films. These non-fiction films, like Wajda's best-known movies, refer to the codes of Polish culture, created by art and literature, and thanks to which the creative output of the maker of Afterimage (Powidoki) appears to unusually coherent and consistent, regardless of the genealogical classification. The author selects examples to analyse the connections between Wajda’s feature films and the conventions of the documentary. Wajda’s overriding aim in using the poetics of documentary is in each case to undertake mise-en-abîme reflections.
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„Nie ma już dzisiaj Żydów w Brańsku...”. Dokumentalne obrazy żydowskiego sztetla w filmach Mariana Marzyńskiego i Jolanty Dylewskiej

100%
Mąka-Malatyńska K.
Rocznik Komparatystyczny
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2011
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vol. 2
p. 125-140
EN
The author compares two documentaries about Jewish shtetls in Poland before World War II: Shtetl. The Journey Home by Marian Marzyński and Po-lin. Fragments of Remembering by Jolanta Dylewska. Both films are presented in the context of the literature that inspired them, of the texts that these films refer to and of the work that was based on one of the films. The analyzed films represent two methods of introducing traditional Jewish cities in Polish cinema: the first method involves interviews with the living former inhabitants of the cities; the second – using footage from a film archive.
11
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Nostalgiczny uśmiech. Autobiograficzny film Mateja Bobrika Self(less) Portrait

100%
Mąka-Malatyńska K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2012
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vol. 11
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issue 20
153-161
EN
The auto-documentary has a very short tradition in Polish cinema. The first films of this type were produced in Poland in the 1990s, when students of the National Film School in Łódź started making short films about themselves. In my essay, I focus on one such film, Self(less) Portrait, made by Matej Bobrik in 2012. The film tells the story of two young people: she is from Japan; he is from Slovakia and is the film’s director. They both studied film directing at the NFS in Łódź, and now live together in Warsaw. In the film, Bobrik shows the difficult relationship that exists between the two characters and members of their families, who live far away. It is a story about closeness, endearment, loneliness and death. In Self(less) Portrait, seriousness, sadness and nostalgia meet with humour and the grotesque. The article concentrates on the construction of the film, and the use of symbolism and humor in it. This is an exceptional film in contemporary Polish cinema because Bobrik does not engage in self-therapy – he does not accuse or talk about traumatic experiences, as Marcin Koszałka or Paweł Jóźwiak-Rodan do in their auto-documentaries.
PL
A Nostalgic Smile. Autobiography in the Documentary Film Etude Self(less) Portrait by Matej Bobrik The auto-documentary has a very short tradition in Polish cinema. The first films of this type were produced in Poland in the 1990s, when students of the National Film School in Łódź started making short films about themselves. In my essay, I focus on one such film, Self(less) Portrait, made by Matej Bobrik in 2012. The film tells the story of two young people: she is from Japan; he is from Slovakia and is the film’s director. They both studied film directing at the NFS in Łódź, and now live together in Warsaw. In the film, Bobrik shows the difficult relationship that exists between the two characters and members of their families, who live far away. It is a story about closeness, endearment, loneliness and death. In Self(less) Portrait, seriousness, sadness and nostalgia meet with humour and the grotesque. The article concentrates on the construction of the film, and the use of symbolism and humor in it. This is an exceptional film in contemporary Polish cinema because Bobrik does not engage in self-therapy – he does not accuse or talk about traumatic experiences, as Marcin Koszałka or Paweł Jóźwiak-Rodan do in their auto-documentaries.
12
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Artysta w l'univers concentractionaire. "Kornblumenblau" Leszka Wosiewicza jako traktat o sztuce

100%
Mąka-Malatyńska K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2009
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vol. 7
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issue 13-14
151-167
EN
The author of the essay considers Leszek Wosiewicz’s Kornblumenblau as a film about art and focuses on the self reflexive elements present in the film, particularly those referring to film conventions. This analysis examines the film in the context of the reflections about the meaning of art in totalitarian systems and situation of the artist in the reality of the concentration camp. Kornblumenblau depicts degenerated art as depriving of freedom and rescue, becoming another tool of oppression. Dehumanizing power of this art points at the final decay of man in the epoch of gas chambers.
PL
The Artist In L’univers Concentrationnaire. Leszek Wosiewicz’s “Kornblumenblau” As a Treaty About Art The author of the essay considers Leszek Wosiewicz’s Kornblumenblau as a film about art and focuses on the self reflexive elements present in the film, particularly those referring to film conventions. This analysis examines the film in the context of the reflections about the meaning of art in totalitarian systems and situation of the artist in the reality of the concentration camp. Kornblumenblau depicts degenerated art as depriving of freedom and rescue, becoming another tool of oppression. Dehumanizing power of this art points at the final decay of man in the epoch of gas chambers.
13
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„Wyobrażam sobie albo pamiętam…”. Strategie narracyjne dokumentu historycznego na przykładzie filmu „Mała Zagłada” Natalii Korynckiej-Gruz

100%
Mąka-Malatyńska K.
Annales Universitatis Mariae Curie-Skłodowska, sectio F – Historia
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2023
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vol. 78
213-227
EN
The article is an in-depth, contextual analysis of Natalia Koryncka-Gruz’s film A Minor Genocide. The author focuses on its narrative structure, in which the documentarian tried to reflect the nature of the work of memory and post-memory. The film is a documentary adaptation of Anna Janko’s (auto)biographical essay. The narrative complexity of the literary text is reflected in the film version, which takes the shape of a palimpsest. Its individual layers consist of verbal narratives from three generations of women, contemporary sequences, archival photographs and stylistically diverse animated sequences. The memory of traumatic experiences is superimposed on the idea of them. For the author, A Minor Genocide is an example of bringing Polish documentary film and literature closer together, as well as a new formula of a historical document.
PL
Artykuł stanowi pogłębioną, kontekstową analizę filmu Natalii Korynckiej-Gruz Mała Zagłada. Autorka koncentruje się na jego strukturze narracyjnej, w której dokumentalistka próbowała oddać charakter pracy pamięci i postpamięci. Film jest dokumentalną adaptacją (auto)biograficznego eseju Anny Janko. Złożoność narracyjna tekstu literackiego znajduje odbicie w wersji filmowej, która przyjmuje kształt palimpsestu. Na jego poszczególne warstwy składa się narracja słowna trzech pokoleń kobiet, sekwencje zrealizowane współcześnie, archiwalne fotografie i zróżnicowane stylistycznie sekwencje animowane. Na pamięć traumatycznych doświadczeń nakłada się wyobrażenie o nich. Mała Zagłada jest dla autorki przykładem ponownego zbliżenia polskiego filmu dokumentalnego i literatury oraz nowej formuły dokumentu historycznego.
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