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Trajektorie podnoszenia świadomości w amerykańskich dokumentach drugiej fali feminizmu

100%
Rode D.
Kwartalnik Filmowy
|
2021
|
issue 116 Kino i tożsamośc społeczna
37-56
PL
Dzięki obserwacji współczesnego ruchu feministycznego można dostrzec zaskakujące nieraz połączenia z dokonaniami poprzednich pokoleń działaczek kobiecych, ujawniające się w reinterpretowanych wciąż od nowa strategiach działania, jak sięganie do osobistego doświadczenia. Podnoszenie świadomości, ukształtowane w czasie drugiej fali zachodniego feminizmu, wpłynęło na realizacje artystyczne, w tym na feministyczny film dokumentalny lat 70. Celem artykułu jest scharakteryzowanie różnych sposobów realizowania strategii podnoszenia świadomości w Janie’s Janie Geri Ashur (we współpracy z Peterem Bartonem, Marilyn Mulford i Stephanie Palewski, 1970), The Woman’s Film San Francisco Newsreel (1971) i Rape JoAnn Elam (1975). Przybliżywszy samą kwestię podnoszenia świadomości, autorka demonstruje, jak struktura grup podejmujących tę aktywność przekłada się na analizowane prace dzięki m.in. „opowieściom pestkom”, niehierarchicznym relacjom między filmowczyniami a bohaterkami czy chwytom naruszającym strukturę rzeczywistości.
EN
Observation of the contemporary feminist movement brings to mind often surprising connections with the achievements of previous generations of feminist activists, revealed in the constantly reinterpreted strategies of action, such as reaching for personal experience. Shaped by the second wave of Western feminism, consciousness raising influenced artistic production, including feminist documentary filmmaking of the 1970s. The aim of the article is to characterize the various implementations of consciousness raising strategies in Janie’s Janie (dir. Geri Ashur in collaboration with Peter Barton, Marilyn Mulford, and Stephanie Palewski, 1970), The Woman’s Film (dir. San Francisco Newsreel, 1971) and Rape (dir. JoAnn Elam, 1975). After introducing the concept of consciousness raising itself, the author shows how the structure of consciousness raising groups is being translated into the analysed works by means of “kernel stories”, non-hierarchical relationships between female filmmakers and their subjects, or devices that violate the reality structure, among others.
2

'BEATEN MEN'. MASCULINITY IN CINEMA OF CENTRAL AND EASTERN EUROPE ('Pokonani mezczyzni'. O meskosci w kinie Europy Srodkowo-Wschodniej)

100%
Rode D.
Kwartalnik Filmowy
|
2011
|
issue 74
224-228
EN
Dagmara Rode's book review of Ewa Mazierska's Masculinities in Polish, Czech and Slovak Cinema: Black Peters and Men of Marble (2008). In her book Mazierska offers a well argued reading of chosen aspects of Polish, Czech, and Slovak films, pointing out the changes in representations of masculinity that took place due to political, economic and social transformations. The book is addressed to an English speaking audience, who will find in this volume a number of interesting details and arguments dealing with contexts and films they might not be particularly familiar with. However Polish readers will also find this book useful, as it deals with a topic neglected in Polish film studies, namely masculinity and its representations.
3
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Uwagi o Pines and Fir Trees. Women’s Memories of Life during Socialism Sanji Iveković

100%
Rode D.
Panoptikum
|
2013
|
issue 12(19)
143-151
EN
The article analyses Sanja Iveković’s documentary Pine and Fir Trees. Woomen’s Memories of Life during Socialism. The work was realised as a part of an oral history project Women’s Memories of Life under Socialism (1998-2004, Center for Women’s Studies, Zagreb), dedicated to exploration of women’s history in the former East. Iveković presents interviews with five women of different family backgrounds, education, occupations and attitudes towards socialism, who recall their personal experiences before World War II, during the War and in the early years of socialism. Their stories are interspersed with archival footage – official documentaries or propaganda films and photographs from their family albums – and intertitles presenting the context of the history of former Yugoslavia.
4
Content available remote

I tak oto kończy się świat...: Jubileusz, The Last of England i współczesność jako Apokalipsa

100%
Rode D.
Panoptikum
|
2010
|
issue 9(16)
120-132
EN
The article interprets the apocalyptic visions of the future in two films of British filmmaker Derek Jarman. Both Jubilee and The Last of England contrast Arcadian images of the past (Elizabethan period in first case, director’s childhood in the second) with the contemporary/future world of chaos and destruction to make a clear political commentary. Jubilee seems to concentrate on the influence of mass media on society and the possibility of resistance. The Last of England, edited after Jarman was diagnosed HIV-positive, refers to politics of Thatcher’s government, but also reveals a deep personal crisis.
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