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Artysta w zwierciadle sztuki. Recenzja książki Seweryna Kuśmierczyka: "Księga filmów Andrieja Tarkowskiego"

100%
Żyto K.
Studia Filmoznawcze
|
2014
|
vol. 35
259 - 263
EN
Volumetrically impressive elaboration by Kuśmierczyk — amounting to a hundred pages — describes Tarkovsky as a real man-artist. The book, having the formula of a biographic monograph, tries to catch all the film accomplishments of the Soviet director. The author, analyzing chronologically the artist’s works, not only refers extensively to their biographic context, but also focuses our attention on plots, motifs and formal solutions marking Tarkovsky’s style. In a very convincing mode Kuśmierczyk shows the creative way of Tarkovsky, the development of his personality and approach to the cinema philosophy. With a great diligence the researcher quotes biographical curiosities connected with the process of creating the director’s works and traces the cultural and metaphysical contexts of Stalker’s author’s poetics.
2
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Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns

100%
Żyto K.
Literatura i Kultura Popularna
|
2018
|
vol. 24
39 - 54
EN
The idea of film noir, especially neo-noir, viewed as a stable and clear genre has as many supporters as detractors. The controversy is nothing new, and a compromise is still elusive. The reason for such an impasse is not merely the intransigent stance of opponents, the strength of their arguments, but is also a result of the hybridization of genres in main stream cinema (and elsewhere). I discuss the problem presented by film noir in the context of the question of generic identity on the example of the Coen brothers’ Oscar-winning Fargo. The movie is an interesting case study as it does not make use of any of the genres typical for film noir in its unadulterated form (i.e. genres associated with film noir in its classical era). In Fargo, Joel and Ethan Coen skillfully combine elements of the detective story (though not necessarily associated with hard-boiled fiction) with crime shows, gangster movie with thrillers about psychopaths, comedy with tragedy and family drama with melodrama of mischance. The result remains the same — the world of Fargo stays noir, dark and pessimistic and permeated with the absurd.
3

Demony Goi okiem kamery

100%
Żyto K.
Kwartalnik Filmowy
|
2013
|
issue 82
236-239
PL
Autorka omawia książkę Joanny Aleksandrowicz "Pomiędzy płótnem a ekranem. Inspiracje twórczością Goi w kinie hiszpańskim" (2012) jako publikację specjalistyczną skierowaną potencjalnie do trzech grup czytelników. Pierwszą z nich stanowią filmoznawcy, którzy odnajdą w pracy m.in. zarys przemian stylistycznych i instytucjonalnych kina hiszpańskiego. Druga grupa odbiorców to miłośnicy i znawcy malarstwa Goi; książka da im szansę na szczegółowy wgląd w obrosłe legendą, wieloznaczne i bogate życie oraz twórczość artysty pokazywane na różne sposoby przez kino. Usatysfakcjonowane książką poczują się także osoby zainteresowane kontekstami kulturowymi i historycznymi związanymi z Hiszpanią oraz jej duchową spuścizną.
EN
The author discusses the book by Joanna Aleksandrowicz "Pomiędzy płótnem a ekranem. Inspiracje twórczością Goi w kinie hiszpańskim" ("Between the Canvas and the Screen. Films Inspired by Goya’s Painting in Spanish Cinema", 2012). This is a specialist publication directed towards three groups of readers. The first of these are film studies specialists, who will find in the book an outline of the changes in style and institutions related to Spanish cinema. The second group of readers are the admirers and connoisseurs of Goya’s painting; the book will offer them a detailed insight into the life of the artist, a rich and ambiguous life overgrown by legend, displayed in different ways by the cinema. The third group that will enjoy the book consists of persons interested in cultural and historical contexts associated with Spain and its spiritual heritage.
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