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Film i przemijanie

100%
Lis M.
Studia Filmoznawcze
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2013
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vol. 34
9 - 18
EN
The first part of the paper supports the argument that the intrinsic nature of the cinema is passing: according to Kracauer, a camera seems to record past events, to restore them to life, although the cinema as medium is more fragile than precedent media. A film, its technologies and formats (plastic strip, disk or digital files) are not as durable as stone or paper (M. Scorsese illustrates it in Hugo, 2011)! Projected movie cannot be stopped: otherwise it becomes a simple still picture. The second section identifies main tendencies and themes in the cinema: passing of individuals and fear of dying are subject of numerous films by K. Kieślowski (e.g. The Decalogue, 1988), K. Zanussi or M. Majidi, who offers a religious interpretation (the death opens a new life). Protagonists of movies are aware that their life will finish, they try to prepare themselves (Wide Awake, dir. M.N. Shyamalan, 1998; Oscar et la Dame Rose, dir. E.-E. Schmitt, 2009). People and relationships terminate, the whole universe can disappear not only in catastrophic movies (Melancholia, dir. L. von Trier, 2011) but also in a recent nihilistic vision of B. Tarr (The Turin Horse, 2011). Sometimes the passing is impossible — in the movies playing with the philosophy of time, where the time is circular or inverted instead of linear (Mr. Nobody, dir. J. van Dormael, 2009), or for the protagonist of A.I. (dir. S. Spielberg, 2001), witness of the world’s dissolution. The contemporary cinema offers both pessimistic and optimistic perspectives, but its optimism is often an illusion.
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"Wyspa", "Car" i "Dyrygent": Biblia oczami Pawła Łungina

100%
Lis M.
Studia Filmoznawcze
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2014
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vol. 35
103 - 118
EN
Several critics have observed that recent films by Pavel Lungin are immersed in the universe of the Russian Orthodox Church: the main figure of The Island is a contrite monk, Tsar relates a conflict between Ivan the Terrible and the metropolitan of Moscow, in The Conductor Lungin tells dramatic evolution of the premiere of musical St. Matthew Passion. This religious milieu of the films is not limited to Orthodox Christianity: a detailed analysis reveals the presence of biblical sources of dialogues or of the construction of the films. The Island is a kind of meditation on the Psalms, the Gospel and St. Paul’s theology of the sin and its redemption. Tsar is situated in a Pre-Apocaliptic world: the cruel Russian emperor is convinced of the imminence of the Judgement Day and of his role of the king anointed by God. In The Conductor — like in Jesus of Montreal — the Passion of the Christ is present on diverse levels: sung in the Passion composed by Hilarion Alfeyev, lived by its singers and conductor, perverted in a suicide bombing. In this trilogy the Bible is cited, actualized in the events, present in the structure of the movie narration.
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Dzieci Festiwalu Filmowego we Fryburgu 2011

100%
Lis M.
Studia Filmoznawcze
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2012
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vol. 33
163-170
EN
The program of the Fribourg International Film Festival (Switzerland) is not specifically dedicated to children: nevertheless, in March 2011 this particular audience has found its place during the morningscreenings in the cinemas (53 shows for 9 thousand pupils: this fact reveals an educative sensibility of the Festival) and diverse situations of childhood have become subject of most films chosen for the international competition. The Chinese movie Aftershock is a dramatic story of two children, separated by an earthquake; Bi, dung so shows the loneliness of a child in a Vietnamese family where relations weaken; dramatic reminiscences of his childhood mark Morteza in Iranian La maison sous l’eau. A vision of the world of children’s plays and plans devastated by guerrilla war terrifies in Colombian Los colores de la montaña; cruelty of adolescents is one of the themes of the South Korean Poetry. Few of the films have presented a less somber vision: Palestinian documentary Fix Me, Iranian comedy Please Don’t Disturb and a parody Miss Tacuarembó. Despite different cultural contexts, the moviemakers reveal a responsible empathy toward children.
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Filmowe Marie z Nazaretu: XXI wiek

100%
Lis M.
Studia Filmoznawcze
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2019
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vol. 40
17-27
EN
Mary of Nazareth is for the Christians a particular figure: she is Mother of Jesus, mentioned in the New Testament. Since Jesus became protagonist of hundreds of films, also Mary has been present in numer-ous films: thus she can be found in cinematic adaptations of the Gospel, while she accompanies Jesus during his childhood, or his Passion, but usually she is not not the main character. Several publications interpret Mary in films (e.g., by Catherin O’Brien or Reinhold Zwick). The paper analyzes images of Mary in three recent films: in The Passion of the Christ (dir. Mel Gibson, 2004) there is a particular rapport between her and the suffering Son, in Let it be (dir. Guido Chiesa, 2010) near feminist Mary becomes an independent woman, whose understanding is necessary to understand Jesus, in The Star (dir. Timothy Reckart, 2017), an animation on the birth of Jesus, the pleasant figure of Mary lacks a serious psychological dimension.
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Film: apokryficzne loci theologici

100%
Lis M.
Studia Nauk Teologicznych PAN
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2019
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issue 14
61-74
EN
Numerous films, especially reinterpretations of the Gospel, can be read as loci theologici. Nevertheless, it’s important to recognize that the commercially motivated interest of filmmakers has its theological consequences: a resulting challenge is the catechetical use of apocryphal films in the pastoral praxis of the Church. The paper recalls main documents of the Church, relating to the cinema, stressing the absence of official teaching on the cinema in the last 20 years. Films, produced with commercial motivation, are often kitsch; it’s a result of tendencies to gain the possibly large audiences and to fulfill their expectations. An analysis of selected films (e.g. The Passion of the Christ and Son of God) indicates that the kitschy audiovisual apocrypha, superficial, emotional and lacking of authenticity, become a false filmic transformation of the message of the Bible. The paper postulates the need of constructing a theology of film: its object could be audiovisual texts, which extra-ecclesial theologies influence religious imagination and thinking of the viewers.
DE
Zahlreiche Filme, vor allem jene, die durch das Evangelium inspiriert sind, lassen sich in der Kategorie der loci theologici betrachten. Man muss dabei bedenken, dass das kommerzielle Interesse seitens der Filmmacher theologische Konsequenzen hat. Eine Herausforderung z.B. für die praktische Theologie sind oft verwendete katechetische Filme, die mit einem apokryphen, vom originalen Glaubensinhalten entfernenden   harakter gekennzeichnet sind. Der folgende Artikel zieht einige ältere Äußerungen des kirchlichenLehramtes heran, stellt gleichzeitig ein Schweigen bezüglich des Mediums Film in letzten beiden Jahrzehnten fest. Die hauptsächlich aus kommerziellen Gründen realisierten Filme sind manchmal kitschig, was Folge eines Bemühens ist, die Akzeptanz eines möglichst breiten Publikums zu erreichen und den Erwartungen zu entsprechen. Die Analyse der Fragmente von ausgewählten Filmen (Passion und Sohn Gottes) zeigt, dass kitschige Filmapokryphe durch ihre Oberflächlichkeit, ihre flache Emotionalität und durch den Mangelan Authentizität die Bibel verfälschen können. Der Autor schlägt vor, eine Theologie des Films herauszuarbeiten, welche imstande wird, Texte zu berücksichtigen, die durch ußerkirchliche Theologieentwürfe das religiöse Wissen und die Vorstellungskraft des  uschauers beeinflussen können.
PL
Liczne filmy, szczególnie inspirowane Ewangelią, można odczytywać w kategoriach loci theologici. Należy przy tym pamiętać, że motywowane komercyjne zainteresowanie twórców kina tematyką biblijną ma swoje konsekwencje teologiczne. Wyzwaniem, m.in. dla teologii praktycznej, stają się wprowadzane w obieg katechetyczny filmy, które naznaczone  są apokryficznością, oddalającą je od oryginalnych treści wiary. Artykuł, przywołując dawniejsze wypowiedzi Magisterium Kościoła na temat kina, zwraca uwagę na pomijanie przez kościelne nauczanie milczeniem medium filmu w ostatnich dwóch dziesięcioleciach. Realizowane głównie z powodów komercyjnych filmy poddają się również kiczowi, cowynika z dążenia do osiągnięcia akceptacji jak najszerszej publiczności oraz zaspokajania jej oczekiwań. Analiza fragmentów wybranych filmów (m.in. Pasja i Syn Boży) pokazuje, że sięgające po kicz apokryfy, przez powierzchowność, płytką emocjonalność i brak autentyzmu, stają się fałszem, dotykającym pośrednio Biblii, której treści ukazywane są w filmach. Autor postuluje konieczność wypracowania teologii filmu, swym zainteresowaniem obejmującą teksty, które swoimi pozakościelnymi teologiami wpływają na religijną wiedzę i wyobraźnię odbiorców.
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Holocaust, Dekalog i Kieślowski

100%
Lis M.
Studia Nauk Teologicznych PAN
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2016
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issue 11
207-216
EN
Among films on the Holocaust and indifference (or guilt) of Poles to the destiny of Jews, the Decalogue, eight (1988) by Krzysztof Kieślowski has a special place. Its main protagonists are Elżbieta, who as a Jewish girl during the World War II was refused to be saved by Zofia, now a professor of ethics, on the pretext of the Decalogue’s prohibition of lying. Their encounter after four decennia, allows us to know the truth about their past, and to offer and accept forgiveness. Kieślowski in his film introduces also a theological motive of God’s existence. Other film directors in numerous feature and documentary films also approached the matter of help offered to Jews, but also of indifference, or even responsibility of Poles for the Holocaust. A constant element is also the role of Christians who haven’t ever responded correctly to exigencies of their consciences and faith.
DE
Unter den Filmen, welche die Thematik der Vernichtung und Gleichgültigkeit (oder sogar der Mitschuld der Polen) gegenüber dem Schicksal der Juden zum Thema haben, hat der Dekalog, osiem [Dekalog, acht] (1988) von Krzysztof Kieślowski eine wichtige Bedeutung. Die Hauptfiguren sind hier Elżbieta, ehemals ein jüdisches Kind, dem die andere Hauptfigur - Zofia (heute Professorin für Ethik) während des Krieges ihre Hilfe verweigert hat, unter dem Vorwand des im Dekalog enthaltenen Verbotes der Lüge. Ihr Gespräch nach vier Jahrzehnten, in dem die Wahrheit über die Motive der damaligen Entscheidungen erkannt werden konnten, führt zur Vergebung und letztendlich zur Versöhnung. In seinem Film führt Kieślowski auch ein theologisches Motiv ein, indem er die Frage nach Gott stellt. Neben diesem Werk, ist das Thema der Hilfe für die Juden, aber auch der Gleichgültigkeit oder sogar der Mitschuld der Polen an ihrer Vernichtung gegenwärtig, und das in zahlreichen anderen polnischen Spielfilmen und Dokumentationen. Das Motiv, das darin immer wieder zurückkehrt, ist auch die Rolle der glaubenden Menschen, die nicht immer den Herausforderungen des Gewissens und des Glaubens standhielten.
PL
Pośród filmów, podejmujących tematykę Zagłady oraz obojętności (a nawet współwiny Polaków) na los Żydów, ważne znaczenie ma Dekalog, osiem (1988) Krzysztofa Kieślowskiego. Jego pierwszoplanowymi postaciami są Elżbieta, której jako żydowskiemu dziecku podczas wojny pod pretekstem zawartego w Dekalogu zakazu kłamstwa odmówiła ratunku Zofia, obecnie profesor etyki. Ich rozmowa po czterech dziesięcioleciach, pozwalająca na poznanie prawdy o motywach postępowania, prowadzi do opartego na przebaczeniu pojednania. Kieślowski w swoim filmie wprowadza również wątek teologiczny, stawiając pytanie o istnienie Boga. Oprócz utworu Kieślowskiego, tematyka pomocy udzielanej Żydom, ale również obojętności, a nawet współodpowiedzialności Polaków wobec Zagłady, obecna jest w licznych polskich filmach fabularnych i dokumentalnych. Wątkiem, który w nich powraca, jest także rola ludzi wierzących, którzy nie zawsze potrafili sprostać wymogom sumienia i wiary.
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Biblia w filmie

100%
Lis M.
Studia Nauk Teologicznych PAN
|
2009
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issue 4
335-348
EN
The presence of the Bible in the movies is a complex reality: besides direct interpretations of the stories from the Holy Scriptures, a number of films has been inspired by other cultural sources (passion-plays, arts, literature, music, other films). By reason of its subject and its non-religious origin, a biblical film is important for theologians: numerous audiovisual adaptations of the Gospel have raised the issues of the faithfulness of this particular kind of translation (transmediatization) of the Bible. A particular attention should be paid to Jesus-movies because of their impact on the audiences and very different ways of portraying of Jesus (from a relatively simple „historical” Jesus till elaborated Christ-figures).
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Kieślowski, the mysteries of screens and God

100%
Lis M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2018
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vol. 24
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issue 33
9-18
EN
The computer seems like a privileged personage in Decalogue 1 (Dekalog, jeden, 1987/88, prem. 1989, dir. K. Kieślowski): it is used by Paweł and his father to solve mathematical questions about Miss Piggy, to calculate the durability of the ice on the pond, to know what Mum is doing, and to control domestic devices. For Kieślowski the computer is not just a gadget: Krzysztof ’s lecture describes its potential and its possible autonomy. Independent from man (the computer switches itself on), it becomes his rival: Kieślowski proposes a critical interpretation of the computer as a new idol, promising unlimited memory and knowledge. A similar preoccupation can be found in the Black Mirror series, where new technologies, existing or as yet still fantastic, are becoming more and more intrusive in the lives of their human protagonists. The computer seems also to be a rival of God, present in symbols in Decalogue 1: a sign of him is not only the metaphysical man played by Artur Barciś, but also the biblical symbol of fire and the Madonna’s tears.
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Sexual abuse of minors by clergy in cinematography: unrecognized signs of the times

100%
Lis M.
The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II
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2022
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vol. 12
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issue 1
289-311
EN
Contemporary theologians apply the historic notion of loci theologici also to media and film. Films that show the Church in a critical way are also theologically significant. Therefore, one should be aware of the appearance of documentaries and feature films, which raise the issue of sexual abuse against the youngest (paedophilia) also in the Church. The article presents the most important films, produced since the end of the 20th century, whose authors present the crime of paedophilia, its victims, the mechanisms leading to its concealment and silence not only in the Church, but also in the media and society. Films about paedophilia, which are a recognisable voice of victims in the public space, a cry for truth and justice, can also be useful tools for media education.
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