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1

Joel Schumacher's Comment on 'Snuff Movies'

100%
Nadgrodkiewicz G.
Kwartalnik Filmowy
|
2006
|
issue 54-55
96-117
EN
The author analyses Joel Schumacher's movie 'Eight Millimeter' (1999) in which the film director makes references to a phenomenon of the so-called 'snuff movies'. He tries to show how Schumacher convinces the viewer of the existence of the organized industry of films depicting murder scenes. He claims that Schumacher repeated the most popular stereotypes concerning this 'urban legend' but declined to acknowledge the facts contradicting existence of the films. To prove the thesis that 'snuff movies' exist Schumacher attributed to the film such properties (issues of copies, aura and authenticity, contact with anti-pornographic discourses, voyeurism) that allow us to believe that the films are a kind of 'cultural concept' rather than authentic crime accounts. The author of this analysis also points out that 'snuff films' in 'Eight Millimeter' take on the form of modern 'trompe l'oeil', which would support their status as the simulacrum with no reference in reality.
2

Something beyond comprehension is happening on this street, in this house

100%
Nadgrodkiewicz G.
Kwartalnik Filmowy
|
2008
|
issue 61
70-77
EN
The article deals with the 'Exorcist' (1973) directed by William Friedkin, and the most popular interpretations of this film, which most commonly referred to the demon possession of Regan MacNeil, as a metaphor for socio-political unrest and the crisis of values in the USA in the late 60s and early 70s of the twentieth century. The author contrasts these typical readings of the classic horror with more recent interpretations expressing the fears of the last decade (such as the fear of the consequences of the American military presence in Iraq, or of sexual child abuse). The author suggests that the common factor present in all those interpretations is the tendency to interpret it in religious categories, or as universal struggle of good against evil. Such was the original intention of both Friedkin, and William Peter Blatty, the author of the text that the film was based on.
3

'The Life of Brian' Case or How to Deconstruct Biblical Epic Films

100%
Nadgrodkiewicz G.
Kwartalnik Filmowy
|
2006
|
issue 56
37-46
EN
Author draws on the meta-critical function of film parody in Dan Harries' 'Film Parody' to try to identify ways in which 'The Life of Brian' relates to the tradition of Biblical movies, especially Hollywood productions on the life of Jesus Christ. Author claims that Monty Python's film is characterized by subversive and deconstructive potential in relation to the Biblical epic films, and that the filmmakers used elements of parody to mock the way in which the Gospels had been depicted. He points out that 'The Life of Brian' is by no means a parody of the life and Passion of Christ, as suggested in film reviews. In his concluding remarks, the author of the essay says that from the historical point of view 'The Life of Brian' signalled an extreme exploitation of the formula of the Biblical epic film but it did not mark the end of the tradition of films based on Biblical themes. However, through a play with genre conventions 'The Life of Brian' indicated that the themes had gone out of fashion and at the same time - becoming the sign of transgression - had paved the way for a fresher look at Biblical themes.
4

Trailers: The Trio on Ode to Joy

51%
Nadgrodkiewicz G., Ciszewska E., Mostowska J.
Kwartalnik Filmowy
|
2007
|
issue 57-58
160-179
EN
In this three-part article its authors attempt to discuss one of the most exciting debuts in the Polish cinema of the recent years - 'Ode to Joy'. The first text, corresponding with the first part of the feature, examines the content of Anna Kazejak-Dawid's etude entitled 'Silesia' (Slask). One of the authors (G. Nadgrodkiewicz) makes a subjective evaluation of the degree to which the etude withstood the test of time and tries to decide to what extent the generational criterion may be useful in interpreting the etude. Commenting on Jan Komasa's episode, entitled 'Warsaw' (Warszawa), E. Ciszewska focuses on Poland's social stratification during transformation and on its consequences for the young. Also analysed is the manner in which hip-hop culture is represented here. The third text discusses Maciej Migas's episode 'Sea' (Morze). J. Mostowska focuses on the key plots, motifs and, first of all, on the central character to depart from generational tropes in favour of a reflection on the film itself - a work of art of the young director who wants to tell a story.
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