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Czymże jest życie bez marzeń? – filmowa twórczość Sanjaya Leeli Bhansaliego

100%
Stachówna G.
Studia Filmoznawcze
|
2011
|
vol. 32
35-46
EN
The artistic works of Sanjay Leela Bhansali seem typical for the Bollywood cinema, because they are consistently interwoven with its tradition — the director observes the censorship rules, keeps to the binding standards of film visualization, skillfully uses various film genres, casts famous movie stars, wins awards at Indian festivals and fame abroad. However, when watching in chronological order his five movies shot so far — Khamoshi: The Musical (1996), Hum Dil De Chuke Sanam (Straight from the Heart, 1999), Devdas (2002), Black (2005), Saawariya (Eternal Soulmate, 2007) — one gets an impression that it is not some Bollywood workhorse’s output, but a real movie author’s oeuvre. Since his debut in 1996 Bhansali has been aware of his creative abilities, he has wanted to develop and manifest his individual artistic style, but at the same time he has seemed bound by the Bollywood film industry rules which he has tried to circumvent or bend in an intelligent way. There is even more to that, as there is a growing suspicion that Bhansali, polishing up his own style, intentionally emphasizes and escalates in his works the features of the Bollywood style, displaying his distance and irony. Naïve viewers perceive Bhansali’s films as exceptionally striking masala movies in which they find everything they expect and like. However, for the connoisseurs they become the evidence that no system of production can fully tame and control a talented artist, because — as Goethe claimed — “A true master proves himself when his means are limited.”
2

Obywatel Kutz – slaski gelender

100%
Stachówna G.
Kwartalnik Filmowy
|
2011
|
issue 75-76
l314-316
EN
Stachówna reviews a book anthology on Kazimierz Kutz and his work – Kutzowisko 2 edited by Andrzej Gwóźdź. This is a continuation of sorts of the first volume on the director. The reviewer notes the consistent structure of the book – the volume is divided into three parts. The first deals with the biography of the artist, the second presents an analysis of the artistic value of his work, and in the final part Kutz’s first novel (written over 40 years) is reviewed. The book is richly illustrated, and carefully designed. A DVD with three rarely shown documentaries by Kutz is attached.
3

Kinowi Proteusze. Ciało jako narzędzie i środek artystyczny

100%
Stachówna G.
Kwartalnik Filmowy
|
2013
|
issue 83-84
117-127
PL
Ciało ludzkie jest ważnym elementem kultury symbolicznej. Jego wiek, wygląd, ekspresja połączone z noszonym ubraniem, wykonywanymi ruchami, gestami i mimiką mogą być źródłem doznań estetycznych oraz skutecznym sposobem komunikacji niewerbalnej. Młodość – starość, uroda – brzydota, seksowność – aseksualność, elegancja – zaniedbanie itd. charakteryzują ludzi w życiu, definiują ich społecznie, stratyfikują klasowo. Poprzez ciało wyrażają się także wewnętrzne interakcje człowieka, jego zamierzenia, myśli i emocje. W specjalny sposób dotyczy to aktorów pojawiających się na scenie teatralnej i ekranie kinowym. Przedmiotem opisu są w eseju Stachówny ciała aktorów –„zmienne”, przekształcające się, będące środkiem wyrazu artystycznego, stające się elementem twórczej kreacji. Podrozdział "Szminki, peruki i gorsety..." autorka poświęca sztuce charakteryzacji ułatwiającej spektakularną zmianę cielesności, część "Zmarszczki, skalpel i kolagen..." – odważnemu wykorzystaniu wyglądu sprokurowanego aktorom przez czas i ich walce z postępującymi zmianami biologicznymi, zaś część "Aktorski Proteusz – Benedict Cumberbatch" – opisowi zmian wizerunkowych, jakie prezentuje w filmach ten angielski aktor.
EN
Human body is an important element of symbolic culture. Its age, appearance, expression combined with the clothes worn, movement, gestures and facial expressions can be a source of aesthetic experience and an effective way of nonverbal communication. youth – age, beauty – ugliness, sexiness – asexuality, elegance – negligence, etc. characterise people in their life, and define them socially and in terms of social class. Internal interactions of a person, his intentions, thoughts and emotions are manifested through the body. It applies in a special way to actors appearing on the stage of a theatre or on the cinema screen. The object of description of Stachówna’s essay are the bodies of actors – “variables”, transforming themselves, means of artistic expression, coming to be a part of the creative effort. In the subchapter "Lipstick, wigs and corsets" the author writes about the art of characterisation that facilitates a spectacular change of corporeality; the part "Wrinkles, scalpel and collagen" deals with the bold use of appearance aged by time, and the struggle against advancing biological changes, while the subchapter "Benedict Cumberbatch – the Proteus of Acting" describes the amazing changes in the image of this English actor in film.
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