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The Historical Film as "A Double-Type Genre" Some Methodological Remarks on the "(Dis)Utility" of Genological Theories in Reflections on the Historical Film

100%
Witek P.
Annales Universitatis Mariae Curie-Skłodowska, sectio F – Historia
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2011
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vol. 66
|
issue 2
87-113
2

Kolor jako element kulturowej gry w historię w „Fotoamatorze” Dariusza Jabłońskiego

100%
Witek P.
Res Historica
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2012
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issue 34
135-148
EN
The present paper focuses on the analysis of the symbolism of color and the texture of the picture in the historical documentary Fotoamator [Amateur Photographer] by Dariusz Jabłoński. As a result of the film director’s utilization of strategies for constructing narrative, including the mode of using colored and monochrome photographs, we have obtained a multi-aspectual and ambiguous historical picture made of several more or less parallel or mutually exclusive themes, based on one place, which is the Łódź (Lodz) ghetto. The analysis of the ways of using color in Jabłoński’s film enabled investigation of the strategy for constructing film narrative and the historical presented world, which the director utilized while making Fotoamator. The analysis of color in Fotoamator also made it possible to show the double character of historical film narrative (torn between thetransparency and complexity of form) and the ambivalent character of the ontic status of the historical presented world, which appears on screen as realistic at one time and as fictional at another. This means that in the case of Fotoamator we are dealing with a historical documentary film made on the basis of a multistage coding strategy.
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“A Generation” and “Katyń” by Andrzej Wajda as Two Variants of an Affirmative Vision of History

100%
Witek P.
Historyka Studia Metodologiczne
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2021
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vol. 51
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issue Spec. iss.
341-368
EN
Andrzej Wajda’s films are interesting and serious historical narratives, which enter in dialog both with academic historiography and with other forms of familiarization with the past. Some of Wajda’s historical films are part of the paradigm of the affirmative vision of history. It is a vision that focuses on creating the positive picture of the bygone world, on showing those elements of the past that a given community recognizes as glorious and heroic, worth imitating, commemorating, and honoring, which can be the object of pride or even worship. The affirma-tive vision of history belittles, leaves in the background or omits all those themes from the past that fall outside positive evaluation for various reasons and could distort a consistent favorable picture of the past of a community. In the present article I would like to examine from the comparative perspective of two films, “A Generation [ Pokolenie]” (1954) and “Katyń” (2007). The comparison between Andrzej Wajda’s two films made in the space of fifty years shows that despite the fact that the two pictures were produced in entirely different historico‑cultural contexts, using different film styles, the two screen stories present the affirmation of diametri-cally disparate versions of history, it is the dramatic strategies for and techniques of affirmation of history that remain the same in either case.
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