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1
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Kino zapracowane

100%
Rojek P.
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
218-221
EN
  In her polemical article, the author argues with the thesis of Jakub Majmurek, who expects Polish cinema to tackle with the image of the Catholic church. It is being proven that such doctrinal disputes should never be the main purpose of filmmaking. The cinema, as free art, cannot be narrowed to ideological battlefield.
PL
The Overworked Cinema   In her polemical article, the author argues with the thesis of Jakub Majmurek, who expects Polish cinema to tackle with the image of the Catholic church. It is being proven that such doctrinal disputes should never be the main purpose of filmmaking. The cinema, as free art, cannot be narrowed to ideological battlefield.
2
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Między nieklasyczną narracją i klasyczną dramaturgią. "Taki pejzaż" Jagody Szelc

100%
Rojek P.
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
203-215
EN
Between Classical Narration and Non-classical Dramaturgy. Jagoda Szelc’s Such a Landscape   An abandonment of classical narration and a search for unconventional dramaturgical techniques are increasingly observed in the works of students from the Łódź Film School. One such short fi lm illustrating this tendency is Such a Landscape, directed by Jagoda Szelc. To create her individual and original piece, the director employs three traditional dramatic structures – that of an episodic fi lm, a Greek tragedy, and one connected with using the symbol as a tension-building tool. Jagoda Szelc proves that being sceptical about classical narration does not have to indicate a rejection of the whole tradition of storytelling. Instead, she chooses to use it as a fabric.
3
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Figura mitologicznej Kasandry w filmach science fiction

100%
Rojek P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2020
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vol. 28
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issue 37
234-246
EN
The article reflects on how characters with the features of the mythological Cassandra function in science fiction films. Such references are part of the rich tradition of building fictional depictions of the near or distant future on the foundation of mythical stories. The study aimed to examine the considerable and complex meaning which Cassandra conveys through the ages and to determine its usefulness in constructing pop culture ideas about the current condition of humanity. In contemporary fiction, Cassandra is brought to the fore more often than in ancient sources, and her fullest portrait is drawn in those films that both consider her a figure of the powerlessness of the prophets and take into account her personal drama. In Terminator 2: Judgment Day (1991) by James Cameron, 12 Monkeys (1995) by Terry Gilliam, Minority Report (2002) by Steven Spielberg, and Arrival (2016) by Denis Villeneuve, the figure of Cassandra is examined through her prophetic gift, the alleged madness of the seer and the fearfulness of the prophetism itself.
4
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Wybory, których nie było

100%
Rojek P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2012
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vol. 10
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issue 19
127-130
EN
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5
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Konkretyzacja estetyczna w Zwierzętach nocy (2016) Toma Forda

100%
Rojek P.
Przestrzenie Teorii
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2019
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issue 32
EN
Rojek Patrycja, Konkretyzacja estetyczna w Zwierzętach nocy (2016) Toma Forda [Aesthetic Concretization in Tom Ford’s Nocturnal Animals (2016)]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 401–416. ISSN 1644-6763. DOI 10.14746/pt.2019.32.22. The subject of Austin Wright’s novel Tony and Susan (published in 1993) is the reader’s experience. The peculiar relationship that forms between the main female character - a reader of literary fiction – and the novel itself as well as its author, inspired in 2016 Tom Ford to capture the specifics of the same relationships using the language of moving images. This article presents the effects of studying the complex system of communication situations occurring in the novel and its film adaptation: each of them contains an additional story around which further author-reader relationships are formed. The analysis shows that a significant part of the film’s plot is not a direct insight into the novel, but its concretization projected by a female protagonist. Tom Ford’s film is therefore considered in relation to Roman Ingarden’s theory on aesthetic concretization.
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Penelopa i jej współczesne filmowe inkarnacje

100%
Rojek P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 17
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issue 26
177-187
EN
Penelope and Her Cinematic Incarnations By analysing contemporary cinematic incarnations of Penelope, the wife of Odysseus, the author shows a thematic relation between cinema and ancient mythologies. Although an interest in mythical motifs is visible in film from its very beginnings, their popularity has constantly changed due to e.g., technological developments in filmmakers’ capabilities. However, what never changes is the presence of mythical plots in deeper story structures, which include the recreation of ancient characters. Examining Penelope’s spirit in today’s culture proves that the mythical story in which she appears provides excellent material for building new things – it easily adapts to modern times, constantly inspires artists, and stimulates various reflections about our cultural heritage.
7
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Zjedz lub zostań zjedzony. Miasto Macunaímy

100%
Rojek P.
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
257-264
EN
Macunaíma, the trickster-hero from old Amerindian legends, was in the 1960s an icon of the Brazilian Cinema Novo – a new wave film movement that was a response by artists to class and racial disparities. Joaquim Pedro de Andrade, the director of Macunaíma (1969), moves the eponymous hero out of his jungle and puts him into the modern, mechanized and restless big city. Not only are social problems strongly emphasized in the film – equally important is here the aspect of myth itself. Macunaíma enters the new world as a real old-time god who sees the city as his opponent. During his battle – full of trickery and plotting – it emerges that the difference between the Amazonian jungle and the concrete jungle are barely visible.
PL
Eat or Be Eaten. The City of Macunaíma Macunaíma, the trickster-hero from old Amerindian legends, was in the 1960s an icon of the Brazilian Cinema Novo – a new wave film movement that was a response by artists to class and racial disparities. Joaquim Pedro de Andrade, the director of Macunaíma (1969), moves the eponymous hero out of his jungle and puts him into the modern, mechanized and restless big city. Not only are social problems strongly emphasized in the film – equally important is here the aspect of myth itself. Macunaíma enters the new world as a real old-time god who sees the city as his opponent. During his battle – full of trickery and plotting – it emerges that the difference between the Amazonian jungle and the concrete jungle are barely visible.
8
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Bohater mityczny w Matce Ziemi Piotra Złotorowicza

100%
Rojek P.
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
280-288
EN
In his etude Mother Earth Piotr Złotorowicz forms the narrative around the mythical hero. The main character Maciek gains the entirety of mythical fulfi llment due to being shaped by (1) space of the execution of the film narration’s subject (indicated by the opposition of home area and garden area), (2) space around him (indicated by sublimed functioning of touch), (3) inability to identify with his own community (indicated by rejecting the butchery tradition of his family), (4) inability to act different than how it was shown (indicated by numerous similarities to Jesus Christ).
PL
Mythical hero in Piotr Złotorowicz’s Mother Earth  In his etude Mother Earth Piotr Złotorowicz forms the narrative around the mythical hero. The main character Maciek gains the entirety of mythical fulfi llment due to being shaped by (1) space of the execution of the film narration’s subject (indicated by the opposition of home area and garden area), (2) space around him (indicated by sublimed functioning of touch), (3) inability to identify with his own community (indicated by rejecting the butchery tradition of his family), (4) inability to act different than how it was shown (indicated by numerous similarities to Jesus Christ).
9
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Łączka, amazońska dżungla i Chicago. Patrycja Rojek* i Andrzej Szpulak* rozmawiają z dokumentalistą, niezależnym producentem i dyrektorem Festiwalu Niepokorni Niezłomni Wyklęci – Arkadiuszem Gołębiewskim.

63%
Rojek P., Szpulak A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 17
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issue 26
79-93
EN
Jungle and Chicago. Patrycja Rojek and Andrzej Szpulak talking with a documentary maker, an independent producer and director of the NNW Festival - Arkadiusz Gołębiewski. In this interview, Arkadiusz Gołębiewski discusses his film work, and activity as producer and head of the NNW Festival in Gdynia. In addition, the director also talks about his work relating to the post-war Polish (military anti-communist underground) and other custom projects. He also comments on a situation of historical documentary in Poland.
PL
In this interview, Arkadiusz Gołębiewski discusses his film work, and activity as producer and head of the NNW Festival in Gdynia. In addition, the director also talks about his work relating to the post-war Polish (military anti-communist underground) and other custom projects. He also comments on a situation of historical documentary in Poland.
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