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  1. 10 Gizycki M.

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1

Truly Uncompromising Cinema

100%
Gizycki M.
Kwartalnik Filmowy
|
2008
|
issue 61
200-202
EN
A long overdue CD with three films by Stefan and Franciszka Themerson (produced in the 1930s and 1940s) has just been released by the Lux in London in collaboration with the Center for Contemporary Arts in Warsaw and the Polish Audiovisual Publishers. Fifty years ago Stefan Themerson published an essay in which he expressed an opinion that lack of money should not prevent filmmakers from making films. Today, in the era of digital cameras and computers, it is easier than ever to make films on a shoestring budget. The reverse side of this situation is that soon we will be, or maybe have already been, flooded with talentless productions which now have a perfect distribution channel: the Internet.
2

The Goldberg Effect

100%
Gizycki M.
Kwartalnik Filmowy
|
2007
|
issue 57-58
355-357
EN
Making references to Kurt Vonnegut's novel 'The Sirens of Titan' and the work of American cartoonist Rube Goldberg, the author makes a brief review of the works in which one can see the so-called Goldberg Effect. The comedies starring Buster Keaton, Daniel Szczechura's cut-out film 'The Machine' and Harold Lloyd's or Charlie Chaplin's slapstick comedies contain elements of what characterised Goldberg-drawn designs of exceedingly complex devices performing very simple tasks.
3

The Cinema of Anecdote and the Cinema of Image

100%
Gizycki M.
Kwartalnik Filmowy
|
2008
|
issue 64
211-214
EN
Author makes a reflection on the phenomenon of two different tendencies in the history of cinema - realistic one, which derives from films of Lumiere brothers, and visionary or creational one, the protoplast of which some consider Georges Mélies. The author cites words of Stefan Themerson, which in 1937 was arguing, that the dichotomy was visible even in the prehistory of the cinema, because we can regard camera obscura as an anticipation of the realistic tendency, and the laterna magica - as an anticipation of creational one. This primal dualism - as he argues - is also very visible in the whole history of cinema, i.a. in the distinction between two types of avant-gardes: 'aesthetic' one, associated in terms of style with works of Fernand Léger or Man Ray, and 'political' one, typical for the realm of soviet cinema (Sergei Eisenstein or Dziga Vertov).The author claims, that the dualism - or, in other words, the differentiation between cinema with prevailing intellectual elements and emphasizing the substance, and cinema with prevailing sensual elements and emphasizing the form - can be found in many other types of film (e.g. fictional film, cartoons) and allows us to define two categories usually opposite in this discourse: the cinema of anecdote and the cinema of image.
4

Propaganda and Cinema

100%
Gizycki M.
Kwartalnik Filmowy
|
2007
|
issue 60
219-223
EN
In the totalitarian systems, the film was rapidly harnessed in the service for the State. In this context the author examines anti-Semitic films, e.g. Leni Riefenstahl's 'Triumph of the Will' and Eisenstein's 'Battleship Potemkin' as well as British propaganda films from the Boer Wars. The publication in the United States of the four-DVD set of Soviet animated propaganda films prompted the author to write a piece on the function of the cinema as a tool of propaganda. The attractiveness of the anthology lies not in the fact that the pieces are in fact unknown to the public but in its ties with the artistic trends of the epoch, caricature and satire. But first of all the films are interesting because they can serve as a peculiar mirror of the politics of revolution, anti-Capitalism and, lastly, of Cold War.
5

CONSTRUCTION - REPRODUCTION and Film in Polish Constructivism. Graphic Arts, Photography

100%
Gizycki M.
Kwartalnik Filmowy
|
2006
|
issue 54-55
31-44
EN
The author deals with the problem of an interest in photography and film, shown by Polish avantgarde artists from its beginnings. According to him, photomontage, film, prints made of typographic elements, and first of all film collage were the means that were perfectly suitable for the realisation of Constructivist ideas. One of the basic aims of Constructivism - to turn towards new materials - could be put in practice through the use of finished and prefabricated elements. He traces the way in which the artworks were evolving from the 'literary quality' of the early photomontages of Mieczyslaw Szczuka, Teresa Zarnower's abstract and geometric compositions, Stefan Themerson's films, inspired by 'Constructivism Pharmacy' (1930) and 'Europa' (1932) and Jalu Kurek's ('Rhytmic Calculations', 1932) into typically collage-montage films of Janusz Maria Brzeski ('Sections', 1931; 'Concrete', 1933) or his anti-Utopian and anti-industrial series of photomontages 'The Robot is Born' (1934). The author also points out that after a period of Utopian projects by artists relishing a regained freedom, the Constructivists expressed through art their, mostly left-wing, political beliefs.
6

Dreams That Money Can Buy

100%
Gizycki M.
Kwartalnik Filmowy
|
2006
|
issue 54-55
344-350
EN
The author writes about the little-known film 'Dreams That Money Can Buy', made by Dadaist Hans Richter in the United States in 1944-1946. This experimental exercise, considered Richter's most important American film, combined six scenarios written - besides Richter - by Max Ernst, Fernand Léger, Man Ray, Marcel Duchamp and Alexander Calder. He presents a profile of Richter, his relationships with Expressionists and Futurists and the circumstances behind the making of the film, loaded with absurd humour. He also describes the film's segments, pointing to numerous inspirations of Richter's collaborators (Léger's 'Mechanical Ballet', Duchamp's 'Nude Descending a Staircase' and Ernst's collages). He also remarks that the framing device of the sequences is a parody of film noir. According to the author, although the names of great artists were listed in the opening credits, the film had never been distributed or researched because it wasn't made at the right time - in the second half of the 1940s Surrealism was already a thing of the past. Today, the film may be interpreted as a kind of a documentary record of actions of the great artists or a little patinated and charming experiment.
7

Cinema, Mobile Phone, Customs

100%
Gizycki M.
Kwartalnik Filmowy
|
2007
|
issue 59
215-218
EN
The author outlines a brief history of wireless telecommunications (dating back to shortly after WW2), to come to the conclusion that the frantic pace of the growth of wireless business translates interestingly into social facts, but also penetrates into the sphere of cinematic imagery. The mobile phone revolution and the rise of the 'culture of mobile phones' has resulted in the emergence of new behaviour patterns (cell phone conversation in front of other people), that are very interesting from the sociological point of view. Attempts to introduce new mobile etiquette among users have also been made. In his concluding remarks he cites J. P. Roos (one of the first to have researched the social impact of mobile phone culture) as observing that this invention is an object that perfectly embodies post-modernist contradictions, so to say is an icon of the time.
8

The Artist who Reconciled Two Opposites. Nam June Paik (1932-2006)

100%
Gizycki M.
Kwartalnik Filmowy
|
2006
|
issue 53
186-189
EN
In his essay the author remembers Nam June Paik, often referred to as pioneer of video-art, who used humour and a healthy dose of self-irony to reconcile elite art with mass art.
9

Avant-garde vertigo

100%
Gizycki M.
Kwartalnik Filmowy
|
2008
|
issue 62-63
322-327
EN
The author draws the spiral line of inspirations that evolve around one of the most important films of Alfred Hitchcock - 'Vertigo'. This film not only refers to the surrealism (especially René Magritte) and to famous painting 'Ophelia' by the Pre-Raphaelite, John Everett Millais; 'Vertigo' appears to be very seminal for the future artists, such as Victor Burgin, the author of the installation 'The Bridge' (1984) or Douglas Gordon, who directed film showing Bernard Herrmann, the conductor, during performing the score for Hitchcock's film.
10

The Cinema in the Web

100%
Gizycki M.
Kwartalnik Filmowy
|
2006
|
issue 56
210-213
EN
Defying the pessimistic vision heralding the end of the cinema, culture and art, the author points to the Internet as a new manner in which man communes with art, both as its vehicle and a medium of presentation. He writes about such multimedia projects as Peter Greenaway's giant Tulse Luper Suitcasses but first of all focuses on animation that has dominated film production on the Internet. The U.S. projects discussed by author are animated series for adults ('Mr. Wong' and 'Queer Duck') or political satires ('This Land' by Gregg and Evan Spiridellis, Jason Windsor's 'The End of the World'). Author points out that Russia is also an active centre of satire. Mariusz Wilczynski is one of Polish animated film artists.
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