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Od tele-piekła do tele-utopii – kinowe opowieści o przyjemnościach i niebezpieczeństwach płynących z posiadania telewizora

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Konefał S. J.
Panoptikum
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2011
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issue 10(17)
164-182
EN
Television in the writings of academics associated with the counterculture became the subject of some passionate attacks. TV broadcast in the texts of Herbert Marcuse, Jean Baudrillard and Guy Debord was accused of manipulating people, blocking their intellectual development and boosting consumer desires. In 1980’s and 1990’s the thesis of the harmful influence of television became intercepted also by the cinema. Especially movies that used fantastic images and plots began to treat television as the devilish invention leading humanity towards destruction. The main attribute of the corruption of audiovisual media was not only the TV set, presented as the hellish object, but also the remote control, appearing in many plots of feature films as a weapon in the struggle for domestic dominance or even treated as an evil tool used by some unknown dangerous forces. This article analyzes three different fantastic visions of television, presenting this medium as an artifact associated with the anti-utopian, infernal and utopian connotations.
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Między feminizmem a mizoginią. Dystopijne ideologie społeczeństwa przyszłości w kinowej oraz literackiej science fiction po roku 1968

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Konefał S. J.
Panoptikum
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2008
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issue 7(14)
261-273
EN
After the experience of American counter-culture revolution Anglo-Saxon science fiction had to face the process of gradual revaluation and deconstruction of its conventional motives. One of such stereotypical clichés was the intemperate misogynic characteristic of s-f plots which, under the cover of futuristic space technologies and distant cosmic worlds, often described adventurous “male” narratives. Female writers such as Ursula Le Guin, Joanna Russ and Alice Bradley Sheldon started deconstructing the “male gaze” of hard science fiction using the plots connected with futuristic, utopian worlds, based on matriarchy or fully devoid of male heroes. Female s-f, at the beginning often considered as controversial and aggressive, not only changed popular literary conventions but also made an impact on the mainstream cinema productions. Unfortunately, film industry reacted to this new trend mainly by boosting misogynic aspects of s-f cinematic plots. Such films as Bryan Forbes’ “Stepford Wives” (1975) or L. Q. Jones’ “A Boy and his Dog” (1975) present the female protagonist as the objects of desire for the male audience. This tendency reached the highest popularity in the s-f Hollywood cinema of 1980’s and early 1990’s. One the other hand, some movie productions also indicted a positive feedback to feminism. One of the first movies that efficiently reinterpreted misogynic clichés connected to the images of female s-f characters was Ridley Scotts’ “Blade Runner” (1982/1992). Gradually Scott’s masterpiece inspired other directors: Frank Oz’s re-make of “Stepford Wives” (2004) wittily argues with the gender stereotypes of modern s-f, other movies, such as Andrew Niccol’s ”Gattaca” (1997), Michael Winterbottom’s “Code 46” (2003) and Alfonso Cuaron’s “Children of Man” (2006), indicate negative aspects of future patriarchal society where female protagonists have no equal rights to man. Another example of female critique of the modern capitalist societies is the motif of cloning. Unfortunately, cloning (altogether with other pro-feminist motives), in the beginning used by counterculture authors as the metaphorical indication of the inhuman aspects of the “technological capitalism”, very soon became another cliché used without any deconstructing power by the main cinema. This way the omniscient power of mass culture absorbed the revolting ideas of female s-f.
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"Dźwięki przeszłości" - tradycja i historia w islandzkich dokumentach muzycznych

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Konefał S. J.
Panoptikum
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2014
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issue 13(20)
170-187
EN
Icelandic music documentaries represent an intriguing evolution of approach to the issues related to the expression of respect for tradition, history and collective memory.
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Smutny los automatów. Sztuczni ludzie w dystopijnej ikonografii science fiction

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Konefał S. J.
Panoptikum
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2010
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issue 9(16)
73-84
EN
A robot is an important figure in the patterns of dystopian literature and science fiction cinema. Over the years, artificial humans played the roles of victims or enemies rebelling and fighting with homo sapiens. This conflict was related to the genesis of the robot, that was at the beginning an imaginary character serving the role of mechanical slave. Another important theme developed in dystopian science fiction is the usage of robots in the plots inspired by some counterculture theses. Such inspirations are presented in the short stories and novels of Philip K. Dick who successfully re-interpreted the most popular conventions of the genre. The clichés connected with the iconography of artificial humans also became a significant element of the plots in comic books and cartoons where they are often used to deconstruct some significant stereotypes and indicate postmodern crisis of identity.
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Między prawdą a stereotypem, tradycją a nowoczesnością: wątki narodowe i transnarodowe w islandzkim kinie dokumentalnym po roku 2000

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Konefał S. J.
Panoptikum
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2013
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issue 12(19)
187-203
EN
This text focuses on the ideological discourses that are present in the images of the “unique and pure society” in Icelandic documentary films. The modernist and postmodernist figures that appear in many Icelandic texts of culture tend to be an intriguing mixture of tradition and modernity. Nowadays, non-fiction films from Iceland often focus on themes related to the specific perception of dynamic changes in Nordic national identity. Many documentaries may be also treated as the visual equivalents of cultural and tourist guides that are supposed to present the bright and dark sides of life in Iceland. All these strategies and rhetorical figures are creatively reinterpreted in contemporary Icelandic documentary.
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Wizerunki mężczyzn w kinowych adaptacjach prozy Hallgrímura Helgasona

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Konefał S. J.
Panoptikum
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2015
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issue 14(21)
57-75
EN
Icelandic feature films shot in the Twenty-First century often contain an ironic critique of postmodern models of masculinity. The fictional figures that appear in those movies are often at odds with the traditional perception of national identity and suffer so-called “Peter Pan syndrome”. Moreover, many images created in Iceland after the year 2000 also include a witty reinterpretations of the media’s “generation X” model and suggestive commentaries on life in the liquid modernity. All these features of the male film figures can be seen as the personification of the changes taking place in Icelandic culture and the local community. These issues are associated with the processes of the collision of traditional values, linked with the older generation of Icelanders, with the globalized perception of the younger generations who are open to “pop-cultural outlook” on their country and identity.
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Krajobraz po Dogmie: transnarodowe ambicje nordyckiego kina i telewizji

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Konefał S. J.
Panoptikum
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2017
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issue 17(24)
6-15
EN
The article focuses on the main artistic and economic strategies in the Nordic cinema and television in the last decade. The author analyses transnational turn on the Scandinavian movie market and describes the most important fields of academic researches connected with the Idea of North, Arctic studies and new wave of genre films from Norway, Iceland, and Finland. The last part of the text also discusses the order and subjects of the articles presented in the Nordic issue of Panoptikum.
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Piotr Szulkin: katastrofy logosu i absurdy istnienia

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Konefał S. J.
Kwartalnik Filmowy
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2018
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issue 104 Esej, found footage, film montażowy
216-227
PL
Piotr Szulkin był jednym z najważniejszych twórców polskiego kina ostatniej dekady PRL, który w intrygujący sposób próbował także tworzyć „kino osobne” w realiach wolnej Polski. Niestety, autor ten do dziś nie doczekał się w naszym kraju dedykowanej mu monografii akademickiej ani antologii tekstów naukowych poświęconych jego dziełom (filmy, teatry telewizji, opowiadania literackie i obrazy). Z kolei artykuły popularnonaukowe na temat kina Szulkina skupiają się najczęściej na odczytaniach tego fenomenu polskiej kultury w kluczach politycznych, historiozoficznych bądź związanych z poetyką dystopii. A przecież zarówno fantastyczno-naukowa tetralogia reżysera, jak i kilka innych jego produkcji kinowych oraz telewizyjnych to pozycje, które wykraczają daleko poza te perspektywy. Filmy Szulkina można bowiem uznać za arcyciekawe przykłady kreatywnego czerpania z różnych tradycji myśli frankofońskiej (m.in. Foucault, Derrida, Baudrillard), estetycznych postaw poetyki absurdu i groteski (z Beckettem na czele), a także z tez wybranych antropologów i socjologów kultury (Girard czy Bauman). Oprócz tego typu tropów w swoim filmoznawczym upamiętnieniu zmarłego niedawno reżysera Konefał stara się również odnaleźć wątki i strategie narracyjne z dzieł Piotra Szulkina, które mogą się wydawać interesujące dla młodszego pokolenia widzów, nieznającego jego twórczości (autor bazuje tu na opiniach studentów gdańskiego filmoznawstwa oraz norweskich doktorantów z Arktycznego Uniwersytetu w Tromsø).
EN
Piotr Szulkin was one of the most important creators of the Polish cinema of the last decade of the Polish People’s Republic, who in an intriguing way tried to create a “separate cinema” in the realities of free Poland. Unfortunately to this day, no academic monograph or anthology devoted to his work (film, TV theatre, literary stories and paintings) was published in Poland. On the other hand, popular science articles on the subject of Szulkin’s cinema focus most often on the readings of this phenomenon of Polish culture in political or historiosophical contexts or related to the poetics of dystopia. And yet, both Szulkin’s science-fiction tetralogy, as well as several of his other cinema and television productions, are items that go far beyond these perspectives. Szulkin’s films can be regarded as some very interesting examples of creative drawing from various traditions of francophone thought (including Foucault, Derrida, Baudrillard), aesthetic attitudes of the poetics of absurd and grotesque (with Beckett at the top), and also from selected anthropologists and sociologists of culture (Girard or Bauman). In addition to this kind of tropes in his film studies commemoration of the recently deceased director, Konefał also tries to find narrative threads and strategies from works by Piotr Szulkin, which may seem interesting to the younger generation of viewers who do not know his work (the author relies here on the opinions of students of Gdańsk film studies and Norwegian PhD students from the University of Tromsø).
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Opowieści smartfonowe: strategie autorskie w filmach Rubena Östlunda

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Konefał S. J.
Kwartalnik Filmowy
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2018
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issue 101-102 Kino europejskie XXI wieku
144-164
PL
Twórczość filmowa Rubena Östlunda wydaje się jedną z najciekawszych egzemplifikacji zmian systemowych, tematycznych oraz formalnych, jakie zaszły w kinie szwedzkim w XXI w. Obrazy reżysera „Turysty” i „The Square” zaburzają percepcyjne przyzwyczajenia widzów, wymykając się łatwym klasyfikacjom filmoznawczym i celnie komentując wiele z aktualnych problemów. Swoją liminalną formą nie tylko odsłaniają niewystarczalność myślenia o współczesnym świecie i twórczości filmowej w binarnych kategoriach, lecz również skłaniają do uznania relatywności popularnych sądów, przekonań i metodologii. Co więcej, dzięki płynności formy i wieloznacznej tematyce interpretacje twórczości Östlunda nie ograniczają się jedynie do voyeurystycznych prób przyglądania się banalności i nieszczerości ludzkich zachowań oraz krytyki szwedzkiego systemu państwa opiekuńczego i neoliberalnej polityki Unii Europejskiej. Przy dokładniejszej analizie mogą bowiem również podążać w kierunku bardziej intymnych form filozoficznego namysłu nad duchową i intelektualną kondycją współczesnego człowieka.
EN
The film work of Ruben Östlund seems to be one of the most interesting exemplifications of systemic, thematic and formal changes that took place in the Swedish cinema in the 21st century. The images of the director of “The Tourist” and “The Square” disturb the perceptive habits of viewers, escape easy film classifications and accurately comment on many of the current problems. With their liminal form, they not only reveal the insufficiency of thinking about the contemporary world and filmmaking in terms of binary categories, but also tend to recognize the relativity of popular judgements, beliefs and methodologies. What is more, thanks to the fluidity of the form and the ambiguous subject, the interpretations of Östlund’s creativity are not limited only to voyeuristic attempts to look at the banality and insincerity of human behaviour and criticism of the Swedish welfare system and the neo-liberal policy of the European Union. On closer examination they may in fact also be taken for a more intimate form of philosophical reflection on the spiritual and intellectual condition of modern man.
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