Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Amerykańskie debiuty Carola Reeda i Davida Leana – Trapez i Most na rzece Kwai

100%
Kazana B.
Media – Kultura – Komunikacja Społeczna
|
2014
|
issue 10/2
21-37
EN
In the mid-1950s, Carol Reed and David Lean, two leading auteur directors in British cinema, debuted in Hollywood. The resulting films – Reed’s Trapeze (1956) and Lean’s The Bridge on the River Kwai (1957) – turned out to be the turning points in the careers of both directors. The article’s goal is to show how a new background of filmmaking influenced the individual profile of the work of both directors and whether, and to what extent, they had to compromise their artistic approach and what impact both films had on their further careers. The article focuses on both a historical and topical analysis of Trapeze and The Bridge on the River Kwai.
2
Publication available in full text mode
Content available

Dialogi polityczne brytyjskiego kina. Wizerunki Amerykanów i Niemców w kinie angielskim okresu II wojny światowej

100%
Kazana B.
ER(R)GO: Teoria – Literatura – Kultura
|
2013
|
issue 2(27) dialogi kina (pod gościnną redakcją Alicji Helman)
93-115
EN
Political Dialogues of British Cinema. Images of Americans and Germans in the English Film of the WW II Period. Films from the so called British War Collection, produced in England between 1941 and 1945 present a wide spectrum of propagandist cinema: from information and educational films to motions pictures warming up to fight or shaping political moods of the society. Among those one could find films supposed to ease the tense relations between the English and American soldiers stationed on British Islands. In most cases those films depicted a conventionalized image of both nations’ representatives by referring to obvious cultural and customary differences. However, some eminent productions used the expressive topic as a pretext for artistic experimentation. For obvious reasons during the war the Germans were supporting characters in numerous films. Those movies constitute particularly interesting research material since they contain complex profiles of such characters and are not always limited to depicting a travesty or unambiguous condemnation. More ambitious filmmakers, such as Carol Reed, and, more importantly Michael Powell together with Emeric Pressbugrger, not only problematize various aspects of war but also complicate the Germans’ psychological descriptions by drawing a clear dividing line between a German and a Nazi. The article recalls most representative films for both groups and, by comparing them, aims at demonstrating their ideological and artistic diversity.
3

IN ELIZABETH'S SHADOW. MARIA STUART IN FILM (W cieniu Elzbiety. Filmowe wizerunki Marii Stuart)

100%
Kazana B.
Kwartalnik Filmowy
|
2010
|
issue 69
62-78
EN
Maria Stuart, the queen of Scotland, was beheaded by order of Elizabeth I. She is one of the most tragic figures in the history of Europe. Throughout her life she remained in the shadow of her cousin, with whom she was connected not only through ties of blood, but also complex political relations. The fact that she was the great grand-daughter of Henry VIII, made her the rightful heiress to the throne of England and a threat to Elizabeth I. In his article, the author shows how Maria Stuart was presented in film through the years and in a number of countries. He begins with a one minute sequence of the beheading of the queen (1895), then he considers Carl Froelich's 'The Queen's Heart' (1940) made as part of the fascist propaganda, and finally he moves onto the most important representatives dealing with this topic: Charles Jarrott's 'Mary, Queen of Scots' (1971) and a two part BBC drama by Gillies MacKinnon - 'Gunpowder, Treason and Plot (2004). He places his analysis both within the historical context in which the films were made, and within the context of film studies. He also considers how the role of Maria Stuart was interpreted by actresses such as Katherine Hepburn, Vanessa Redgrave or Clémence Poésy
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.