Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

THE DISCREET CHARM OF SURREALISM IN THE WORK OF WALERIAN BOROWCZYK (Dyskretny urok surrealizmu w twórczosci filmowej Waleriana Borowczyka)

100%
Kwas P.
Kwartalnik Filmowy
|
2009
|
issue 66
72-79
EN
The authoress considers ambiguity and controversy which accompanied the reception of the work of Walerian Borowczyk. Most films made by Borowczyk, including the erotic ones, escape the rules of classic cinema or even art cinema, placing the films somewhere on the edge of film vanguard, visual art, and a provocation. She considers the hypothesis that Borowczyk as a director was a film maker with a surrealist temperament. Following this notion she considers Borowczyk's involvement with the surrealist movement and points to similarities between hyper-realist ideology and Borowczyk's creative stance. The article concludes with an analysis of Borowczyk's 'Immoral stories' (Opowiesci niemoralne, 1974) made from the perspective of the surrealistic aesthetics and ideology.
2
Publication available in full text mode
Content available

Dzieje grzechu, czyli kontrowersje wokół polskiej recepcji twórczości filmowej Waleriana Borowczyka

100%
Kwas P.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
|
2012
|
issue 4
105-112
EN
Worldwide Walerian Borowczyk is known as a vanguard artist. In Poland, however, his works have been always divided into two categories: the “real art”, eg. his animated films made with Jan Lenica and “all the rest”, usually called “controversial” or demoralizing”, made abroad. Borowczyk’s late works (such as Immoral Tales, 1974, The Beast, 1975, or Emmanuelle V, 1987) confirmed his image of a pornographer, an iconoclast and controversial yet repetitive creator constantly shocking with (cheap) erotica. In that context, an insight on the reception of Borowczyk’s cinematic works in his homeland seems particularly interesting. An analysis of the aforementioned problem is followed by an attempt to find all the possible sources of such particular reception of the works of Walerian Borowczyk. He was a director viewed either as a pornographer or an uncompromising icon of bold film productions – the first real surrealist of Polish cinema.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.