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  1. 6 Studia Filmoznawcze

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  1. 6 Idczak A.

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  1. 2 2018

  2. 1 2017

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1
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Hanna i „jej” kino. O książce Kino Hanny Schygulli (red. A Gwóźdź, Wrocław 2015)

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Idczak A.
Studia Filmoznawcze
|
2017
|
vol. 38
193-200
EN
The paper is a review of Kino Hanny Schygulli (a volume published in the series “Niemcy — Media — Kultura” (“Germany — Media — Culture”)), edited by Andrzej Gwóźdź. Contributors of the publication represent various disciplines and present their own unique view. As a consequence, the main aim of the volume — which is to show a phenomenon of Schygulla’s art of acting in the broadest perspective — is fulfilled. The actress is presented as a creative entity, an exceptional co-author of films in which she performed. The author of the review claims that although the contributors analyze an interesting and still undescribed issue, the book does not meet the reader’s expectations, provoked by the editor’s initial assumptions expressed in the preface. The biggest deficiency of the volume seems to be the lack of solid theoretical background in describing the connection between the author and the actor developed in theatre and film studies.
2
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James Broughton — portret artysty z czasów rewolucji seksualnej

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Idczak A.
Studia Filmoznawcze
|
2015
|
vol. 36
215 - 228
EN
The article is an attempt to introduce to Polish audience the artistic works and the person of James Broughton, one of the most important representatives of the American avant-garde. Outlining his profile, Idczak tries to show it as widely as possible against a broader background of the period, referring to debates about artistic strategies and poetic cinema fought by other avant-garde authors (for example Maya Deren). The main aim is to show Broughton mostly as an artist, not as a social activist. In his work the poetic and cinematic aspirations were intertwined and mutually conditioned. The article focuses on the themes found in the entire Broughton’s oeuvre: the body, eroticism, ecstasy, motion (as the most important notion of being), love, and finally — joy, as a form of artistic message and myth.
3
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Recenzja: Trzy spojrzenia. O książce Nataszy Korczarowskiej-Różyckiej Inne spojrzenie...Wyobrażenia historii w filmach Wojciecha Jerzego Hasa, Jana Jakuba Kolskiego, Filipa Bajona i Anny Jadowskiej

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Idczak A.
Studia Filmoznawcze
|
2015
|
vol. 36
319 - 326
EN
The article is a review of Natasza Korczarowska-Różycka’s last book Inne spojrzenie... Wyobrażenia historii w fi lmach Wojciecha Jerzego Hasa, Jana Jakuba Kolskiego, Filipa Bajona i Anny Jadowskiej (Łódź 2013). According to the reviewer, the book is a bold attempt to combine film analysis with social issues. Korczarowska-Różycka proposed her own perspective of film reading on the intersection of close film analysis, sociological attitude and historical reflections about collective memory. She sees movie as a document of some socially established historical points of view or images, but also as a dynamic force, that is transforming and recreating these images. Her selection of directors and applied methodological basis allow her to avoid clichéd reflections on genre of historical cinema, but also lay her work open to the charge of certain arbitrariness. The author tries to not only present Korczarowska-Różycka’s book, but also bring out its theoretical background and place it in the broader context of memory studies.
4
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Inny horyzont? Wokół książki Tadeusza Sobolewskiego: "Kino swoimi słowami"

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Idczak A.
Studia Filmoznawcze
|
2014
|
vol. 35
281 - 291
EN
The article is an attempt to look at the work of Tadeusz Sobolewski as a film critic in the context of his collected newspaper features in Kino swoimi słowami. Comparing earlier published texts (from the book Za duży blask) with these from the new book, the author describes the change of perspective with which Sobolewski looks at the cinema in these two volumes. Showing the style of Sobolewski’s writings, the article identifies the differences between the objectives of critical program (similar to hermeneutics) and the practical consequences, resulting from the selection of texts in the book. It also poses the question, what horizon opens up before cinema critics in connection with publishing Sobolewski’s texts from Kino swoimi słowami in a strictly scientific series Horyzonty kina (The Horizons of Cinema).
5
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Historia i metoda. O książce Piotra Witka "Andrzej Wajda jako historyk. Metodologiczne studium z historii wizualnej", Lublin 2016, ss. 712

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Idczak A.
Studia Filmoznawcze
|
2018
|
vol. 39
165-172
EN
The review aims to shed light on the methodological concepts proposed in Piotr Witek’s book, and consider the possibility of applying them to the film studies. The reviewer highlights the book’s main concept, which is depicting Andrzej Wajda as a historian and treating his artistic works (feature films, documentaries and TV Theatre) as historical sources. This approach bases on visual history. In the paper the reviewer talks over the broadening of the frames of historiography done by Witek, and justifies this gesture as a well based on methodological roots of poststructuralism. Witek shows a broad interest in Wajda’s ways of understanding history, his philosophical assumptions, and the issue of artistics tools used in Wajda’s works about the past events. Apart from the reliable analysis of Wajda’s films, discussed book endeavor to build a conceptual platform, on which history and film studies might meet. Unfortunately, it turns out that the latter is dominated in Witek’s methodological concept.
6
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Pamięć monumentalna? O ostatnim filmie Andrzeja Wajdy

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Idczak A.
Studia Filmoznawcze
|
2018
|
vol. 39
127-143
EN
The paper attempts to study the Afterimages, the last Andrzej Wajda’s film, in the light of its critical reception in Poland. The author investigates what place in collective memory of Polish viewers oc-cupies both the director and the protagonist — Władysław Strzemiński. The author argues that the exceptional circumstances, like jubilee celebrations and director’s funeral — turned critical attention away from the film itself to the entire director’s oeuvre. Afterimages, interpreted with the category of “monumental memory”, allows the author of the presented paper to show the place of Wajda’s work in Polish contemporary film culture. The author argues that this peculiar position is determined by a combination of social expectations and imaginations, and historical conditions, but above all by the way of perceiving the role of art in a changing society. In this context the question about problematic memory of the avant-garde seems to be crucial.
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