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PL
Twórczość Geoffreya Jonesa (1931-2005), angielskiego realizatora krótkich filmów sponsorowanych o tematyce przemysłowej, jest mało znana nie tylko przeciętnemu widzowi, ale także fachowcom. Dzieje się tak mimo iż w okresie największej aktywności Jonesa – w latach 60. – jego filmy cieszyły się na tyle dużym zainteresowaniem, że niektóre pokazywano w kinach, a najbardziej znany z nich – "Snow" (1963) – był nominowany do Oscara. Bartosz Kazana analizuje filmy Jonesa jako przykład mistrzowskiego i nowatorskiego wykorzystania możliwości montażu, opartego na idealnej synchronizacji obrazu i dźwięku. Autor umiejscawia także twórczość angielskiego reżysera w kontekście historycznym, wskazując na jej źródła w filmie awangardowym i dokumentalnym przełomu lat 20. i 30.
EN
The work of Geoffrey Jones (1931-2005), an English maker of short, sponsored films about industry, is not widely known among ordinary viewers, nor is it well known among experts. This is so despite the fact that during the period of greatest activity, in the 1960s, his films caused so much interest that they were shown in cinemas, and the best known – "Snow" (1965) – was even nominated for an Oscar. Bartosz Kazana considers Jones’ films to be examples of masterful and innovative use of film editing, based upon ideal synchronization of image and sound. Kazana places the work of Geoffrey Jones in the historical context, and shows how it was inspired by avant-garde and documentary films of the 1920s and 1930s.
EN
Mike Hodges is primarily known as the director of Get Carter, a classic gangster drama and one of the most significant British films of the decade. Although not well known by audiences, he is very much a scholars’ and critics’ favourite for both an auteur approach to movie-making as well as a masterly and innovatory usage of the film genre as the basis of his work. The essay examines two of Mike Hodges’s pictures in various and related aspects. First and foremost it concentrates on their affiliation with film noir, as both Get Carter and I’ll Sleep When I’m Dead implement different approaches to this particular film genre. These include examination of the elements of Hodges’s poetics as author in both films. This in relation to film noir as well as a look at the similarities of both pictures, based as they are on the same outline of the gangster drama.
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