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„Nothing is written”. "Opatrzność" jako film o pisarzu

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Lubelski T.
Studia Filmoznawcze
|
2015
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vol. 36
265 - 280
EN
The article is an analysis of the Alain Resnais’ film Providence (1977), treated as a work of fiction telling the story about a writer. The starting point of the analysis is the observation that in the Resnais’ film there is not a single scene showing the protagonist actually writing, the center of the plot is therefore the process of composing a novel, as in Fellini’s Otto e mezzo, where the story was limited to the pre-production phase of the film release. After the initial determination of the place Providence takes within Alain Resnais’ filmmaking, the author makes an analysis in three successive stages. First, he analyses the process of devising the novel as a narrative situation, predicting ludic reception of the film. Second, at a higher level of analytical receipt, the same situation of devising novel becomes an excuse to explore the mystery of creation seen as a self-therapy, in this case needed to work over the guilt after not preventing his wife’s suicide. Thirdly, at the deepest level of meaning, devising novel is a preparation for death; at this level the act of not writing is the equivalent of a spiritual suicide. Beheld in this perspective Providence hero becomes another variant of the central theme of the Resnais’ work: lazarian figure (from the biblical Lazarus), who met death and could not find himself in the world after this experience.
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Przywracanie filmowej pamięci Wrocławia

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Lubelski T.
Studia Filmoznawcze
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2010
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vol. 31
261-265
EN
The review concerns the book Wrocław will be the city of film... History of the cinema in the capital of Lower Silesia, edited by Andrzej Dębski and Marek Zybur. The book was published as the records of the 2007 International Conference on the history of the cinema in Wrocław. Tadeusz Lubelski stresses the importance of this kind of research as rescuing the past which was supposed to fall into oblivion after 1945. The conference records have been divided into two parts: volume one dealing with evolution of the pre-war Wrocław cinema, and volume two devoted to the Polish part of the city’s film culture as well as to the new view of film through a “Wrocław eye.” The book is therefore an excellent memory record of Wrocław cinema.
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Krzysztof Kieślowski’s “Camera Buff”: a revised version of “First Love”

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Lubelski T.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2018
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vol. 24
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issue 33
129-136
EN
The article develops its title thesis, which proposes interpreting Kieślowski’s Camera Buff (Amator, 1979), his second full-length feature film, as a revised version of his documentary First Love, made five years earlier. Both films have similar starting points ‒ the story of a couple expecting the birth of their first child. But the conclusion in each case also has something in common and results in the abandoning of a film project. The latter similarity meant that Kieślowski changed the character of the main protagonist in his full-length movie. It is no longer a documentary hero but the film auteur himself. This was probably the essence of the director’s artistic discovery made while shooting Camera Buff. It meant the abandonment of the documentary character when the prolonged relationship with him (and her) proved to be ethically dubious and his (and her) development predictable. At the same time, Kieślowski expressed his own creative experience as the film’s author creating a fictitious character in Camera Buff, inspired by various figures of real ‘prototypes’.
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Lithuanian Kin. The birth of adaptation out of the spirit of community

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Lubelski T.
Kwartalnik Filmowy
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2013
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issue Special Issue - Polish Film Scholars on Polish Cinema
67-94
XX
To Tadeusz Konwicki, the relationship between the author of a literary text and the author of a film based on the text consists in the "Platonic community of interests". "Here the adaptor uses a classic text not because he has to or has received a commission to adapt it but because it is the text he feels particularly attached to and because in it he finds the elements of what he himself would like to put into the original". Lubelski analyses Konwicki’s creative activity from the point of view of the latter’s love affair with adaptation, and focuses primarily on "The Issa Valley", based on Czesław Miłosz’s novel, and "Lava", based on Adam Mickiewicz’s "The Forefathers’ Eve". Spiritual affinity between Konwicki, Mickiewicz and Miłosz is the key to understanding of his adaptation strategy. The three had roots in the culture of eastern borderland while the Vilnius region was their point of reference. When translating the language of poets into a cinematic medium, Konwicki wanted to share his own "testimony of reading" which was very private, intimate and offered by the fellow artist. The "comradeship" appeared to derive from the metaphorical understanding of Lithuanian kinship that is becoming a state of mind, of memory and identity.
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Ginokrytyka filmowa – mocne wejście

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Lubelski T.
Kwartalnik Filmowy
|
2014
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issue 86
217-221
PL
Recenzja dwóch książek autorstwa Moniki Talarczyk-Gubały: „Biały mazur. Kino kobiet w polskiej kinematografii“ (2013) oraz „Wszystko o Ewie. Filmy Barbary Sass a kino kobiet w drugiej połowie XX wieku“ (2013). Obydwie publikacje Lubelski uznaje za wyrazistą manifestację postawy w dziedzinie pisania o filmie, docenia ich wysoką klasę pisarską, a zarazem podkreśla, że są one wyrazem konsekwentnej specjalizacji metodologicznej, tzw. ginokrytyki, do której autorka świadomie się przypisuje. Recenzent przywołuje słowa autorki, która w „Białym mazurze“ zdecydowała się tak „przepisać, skorygować, uzupełnić“ historię polskiego kina, by odzyskać dla niej „emancypacyjny potencjał minionej epoki“. Tę taktykę Talarczyk-Gubała realizuje w analizie kina kobiet od progu lat 30. do początku lat 90. „Wszystko o Ewie“ jest natomiast analizą filmowej twórczości Barbary Sass przeprowadzoną w perspektywie krytyki feministycznej. W konkluzji Tadeusz Lubelski wyraża nadzieję, że kolejnym zadaniem autorki tak dobrze orientującej się w tematyce kina kobiet będzie przygotowanie monografii Wandy Jakubowskiej.
EN
A review of two books by Monika Talarczyk-Gubała: “Biały mazur. Kino kobiet w polskiej kinematografii” [“White Mazurka: Women’s Cinema in Polish Cinematography”] (2013) and “Wszystko o Ewie. Filmy Barbary Sass a kino kobiet w drugiej połowie XX wieku” [“All About Eve. Films by Barbara Sass and Women’s Cinema in the Second Half of the 20th Century”] (2013). Lubelski considers both publications as manifesting a definite stance within the field of film criticism, he appreciates their high literary value, and highlights that the books are a result of a methodological specialisation – so called gynocriticism, to which Monika Talarczyk-Gubała subscribes. The reviewer quotes the author, who in the “White Mazurka” decided to rewrite and correct the history of the Polish cinema, in a way that would allow her to regain the emancipatory potential of a bygone era. Talarczyk-Gubała adopts this tactic in her analysis of women’s cinema from the threshold of 1930s until the beginning of the 1990s. “All About Eve” is a feminist analysis of films by Barbara Sass. Tadeusz Lubelski concludes by expressing his hope that the next work from the author so knowledgeable about women’s cinema will be a monography on Wanda Jakubowska.
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Nowa fala po pół wieku

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Lubelski T.
Kwartalnik Filmowy
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2014
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issue 85
40-50
PL
W piętnaście lat po napisaniu swojej monografii francuskiej Nowej Fali, autor – powracając do tego zjawiska – omawia najważniejsze spośród jego nowych opracowań, jakie powstały w międzyczasie na świecie, od angielskiej książki krytycznofilmowej Geoffreya Nowella-Smitha „Making Waves” (2008) po doktoraty i habilitacje napisane we Francji i w Niemczech. Efekt tego rekonesansu badawczego zostaje przedstawiony w trzech podrozdziałach zgodnych z ujęciami metodologicznymi poszczególnych opracowań: „Nowa Fala jako prekursorka światowego przełomu”; „Nowa Fala jako reprezentacja francuskości”; „Do utraty tchu” wobec epoki, płci kulturowej, przymusów pola, egzystencjalizmu”.
EN
Fifteen years after writing the monograph on the French New Wave, the author returns to the phenomenon, and presents the most important up to date work on the topic published worldwide sincethen. He presents Geoffrey Nowell-Smith’s “Making waves” (2008), and PhD and habilitation theses written in France and Germany. The result of this preliminary research is presented in three subsections: “New Wave as a precursor of the global breakthrough”; “New Wave as a representation of Frenchness”; “’Breathless’ in relation to the period, gender, compulsion fields and existentialism”.
7

Teatralne kino Alaina Resnais

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Lubelski T.
Kwartalnik Filmowy
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2014
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issue 87-88
70-82
PL
Alain Resnais był teatromanem i nic dziwnego, że już w „Hiroszimie, mojej miłości” (1959) zwracała uwagę nienaturalna deklamacja aktorów, a w „Zeszłego roku w Marienbadzie” (1961) – cytaty teatralne. Jednak dopiero od połowy lat 80. poetyka spektaklu teatralnego wyszła w jego filmach na plan pierwszy. Z jednej strony były to adaptacje sztuk angielskiego dramaturga Alana Ayckbourna „Palić/Nie palić” (1993) i „Prywatne lęki w miejscach publicznych” (2006), z drugiej – czyste inscenizacje przedstawień scenicznych, pomijające nawet fazę scenariusza: „Mélo” (1986) Henry’ego Bernsteina oraz operetka André Barde’a i Maurice’a Yvaina „Tylko nie w usta” (2003). Uwieńczeniem tych poszukiwań są dwa ostatnie filmy reżysera – „Jeszcze nic nie widzieliście” (2012, wg Jeana Anouilha) oraz „Kochać, pić i śpiewać” (2013, wg Ayckbourna) – łączące powyższe cechy i dodające jeszcze temat nowy: przenikanie się teatru i życia na przykładzie biografii aktorów. Lubelski podejmuje próbę usystematyzowania form obecności teatru w kinie Alaina Resnais oraz refleksję nad ich związkiem z poetyką kina.
EN
Alain Resnais was an avid theatregoer and it is no wonder that in Hiroshima, mon amour (1959) actors’ unnatural declamation stood out, and in the “Last Year at Marienbad” (1961) – the theatrical quotes. However, it is only since the mid 1980s that the poetics of the theatre in his films came to the fore. On the one hand, these were the adaptations of the plays of the English playwright Alan Ayckbourn – “Smoking/No Smoking” (1993) and “Private Fears in Public Places” (2006), on the other – straightforward performances on stage, omitting even the phase of the scenario: “Mélo” (1986) by Henry Bernstein and André Barde and Maurice yvain’s operetta “Not on the Lips” (2003). The culmination of this artistic search are the director’s last two films – “You Ain’t Seen Nothin’ Yet!” (2012, based on a play by Jean Anouilh), and “Life of Riley” (“Aimer, boire et chanter”, 2013, based on a play by Ayckbourn) – that combine the above features and add new subject yet: the intermingling of theatre and life in the biography of the actors. Lubelski attempts to systematise the forms of presence of theatre in Resnais’ films and reflects on their relationship with the poetics of cinema.
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Pisanie o filmie jako (zaniedbany) przedmiot badań

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Lubelski T.
Kwartalnik Filmowy
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2014
|
issue 85
246-249
PL
Recenzja tomu zbiorowego „Polskie piśmiennictwo filmowe” (2013) pod redakcją Piotra Zwierzchowskiego i Barbary Gizy staje się dla autora okazją do kilku spostrzeżeń ogólnych na temat wciąż niedopełnionych zobowiązań współczesnego filmoznawstwa, które powinno szerzej zająć się tym, co o filmie pisano w przeszłości, a zwłaszcza badaniami recepcji. Równocześnie zostaje omówiona zawartość recenzowanego tomu – jako (jednego z kilku w ostatnich latach) przykładu nadrabiania tych zaniedbań.
EN
A book review of a volume “Polskie piśmiennictwo filmowe” [“The Polish film writing”] (2013), edited by Piotr Zwierzchowski and Barbara Giza provokes the reviewer to make some general comments on the unfulfilled duties of contemporary film studies, which should pay more attention to what was written on film in the past, especially on film reception. At the same time an overview of the volume is presented, and the book appears to deal well with this shortcoming of the discipline.
9

Filmowy wizerunek Janusza Korczaka.

100%
Lubelski T.
Kwartalnik Filmowy
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2013
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issue 81
117-132
PL
Autor omawia tytułowe zagadnienie we wszystkich aspektach. W podrozdziale pierwszym, "Biopiki, które mogły powstać", zostały przedstawione dzieje filmów przygotowywanych, ale niezrealizowanych, na czele z legendarnym scenariuszem "Doktor Korczak", nad którym Ludwik Starski pracował od 1945 r. W podrozdziale drugim, "Dwa biopiki, które powstały, i dwie inne fabuły ze Starym Doktorem w tle", zostały omówione dwa filmy fabularne, których Janusz Korczak był głównym bohaterem: "Jest pan wolny, doktorze Korczak" (1974) Aleksandra Forda i "Korczak" (1990) Andrzeja Wajdy oraz dwa amerykańskie, w których był postacią drugoplanową: "Powstanie" (2001) Jona Avneta i "Dzieci Ireny Sendlerowej" (2009) Johna Kenta Harrisona. W podrozdziale trzecim Lubelski omawia dokumenty poświęcone Korczakowi, a w czwartym – filmowe adaptacje jego książek, na czele z "Królem Maciusiem I" (1958) Wandy Jakubowskiej.
EN
The author discusses the title theme in all aspects. In the first section, 'Biopics that could have been', the author presents films that were being prepared, but never finally made, including Ludwik Starski’s legendary script, on which he worked from 1945. In the second section, 'Two biopics that were made, and two other stories with the Old Doctor in the background', the author discusses two feature films that were made, in which Janusz Korczak was the main protagonist: Aleksander Ford’s 'Sie sind frei, Doktor Korczak' (AKA 'The Martyr', 1974), and Andrzej Wajda’s 'Korczak' (1990), and two American films, in which he was a supporting character: Jon Avnet’s 'Uprising' (2001) and John Kent Harrison’s 'The Courageous Heart of Irena Sendler' (2009). In the third section Lubelski reviews documentaries on Korczak, and in the fourth film adaptations of his novels, starting with Wanda Jakubowska’s 'King Matt the First' (1958).
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