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Tourism and film in the Polish People's Republic in the 1950s

100%
Ciszewska E.
Turystyka Kulturowa
|
2017
|
issue 2
178-194
PL
The article considers the relationship between film and tourism in the initial period of the Polish People's Republic (PPR). It puts forward the question about the possibility of applying the concept of film tourism (film-induced tourism) to research into the relationship of the cinematographic industry and tourism in Poland in the 1950s. The presented argument assumes that considerations in this field should rely on textual analyses, extended by reception of supplementary materials. Research into the phenomenon of the relationship between film and tourism requires understanding the realities of how the tourism industry functions, hence the article also discusses the key problems associated with the growth of tourism in Poland and Czechoslovakia in the 1950s. The proposed research approach is illustrated by a discussion of the film-tourism relationship on the example of the first post-war Polish-Czechoslovakian co-production entitled What Will My Wife Say to This? (Co řekne žena/Zadzwońcie do mojej żony, 1958, by Jaroslav Mach). The text considers the role the film was given in the process of building positive meanings associated with Poland as a tourist destination, and how these associations were constructed.
2
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O braku utopii. Przestrzeń i bohaterowie w filmie Opowieści o zwyczajnym szaleństwie Petra Zelenki

100%
Ciszewska E.
Panoptikum
|
2010
|
issue 9(16)
206-219
EN
An article explores possibility of applying Michel Foulcaut’s heterotopies and Marc Augé’s non-places discourses to the movie Tales of Ordinary Madness (Příběhy obyčejného šílenství, 2005) by probably most acclaimed contamporary Czech director Petr Zelenka. This text bears the assumption that space (in this particular case mise-en-scène) can visualise some contemporary social and psychological issues: it can reflect or underline conflicts and problems that characters are dealing with. As author suggests, in this particlular movie, the way the film space is designed and its dramatical role has a great influence on how Peter, movie‘s main character, is being perceived. What‘s probably the most interesting, film hero settled in space that can be described as supermodernity, seems to have a lot in common with traditional „little Czech man“ personality model.
3
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Film Education in Poland – Historical Outline and Current State of Research

100%
Ciszewska E.
Panoptikum
|
2017
|
issue 18(25)
10-27
EN
The text explores traditions of film education, understood as education through film, in Polish film studies. Although film education has been a de facto part of informal education, we can trace many initiatives aimed at making it an element of formal schooling. Hence the attempt to incorporate film education into school curriculums at various levels of education, undertaken mainly by academic film experts (B. W. Lewicki, E. Nurczyńska-Fidelska). School film education has been fraught with numerous technological obstacles, as well as a lack of available materials to use as a foundation for educational practice. It has also been a challenge to develop appropriate competences of teaching staff. Film education has not found its place as a subject within formal education until today. The current fragmentation of entities responsible for it, and the lack of a coherent strategy means that film education becomes the domain of commercial and non-commercial programmes implemented in cinemas for the purposes of school education.
4

ON THE PARTICULAR VALUES OF FRENCH VERB TENSES ('PASSE COMPOSE, IMPARFAIT, FUTUR SIMPLE ET FUTUR ANTERIEUR') (Sur les valeurs particulieres des temps verbaux (passe compose, imparfait, futur simple et futur anterieur))

100%
Ciszewska E.
Linguistica Silesiana
|
2009
|
vol. 30
113-126
EN
The intent of this article is to present the particular example of use of 4 tenses in the indicative mood: 'passé composé, imparfait, futur simple, futur antérieur'. This analysis is based on various excerpts of texts dating back to XIXth and XXth centuries. The authoress analyses the influence of a number of factors on the interpretation of particular verbal forms appearing in studied sentences. Research takes into account: category of the verb, its aspect, person, adverbs of time, modality particles, verbs of opinion, certain adverbs (e.g. 'jamais, rarement' and those expressing opposition), type of sentence (negative, interrogative), register (written / spoken language), intonation.
5

W pułapce przedmiotów Jana Švankmajera

100%
Ciszewska E.
Kwartalnik Filmowy
|
2021
|
issue 114 Zanieczyszczenie, brud, skaza
233-238
PL
Książka Bogusława Zmudzińskiego Twórczość filmowa Jana Švankmajera. Główne konteksty kulturowe i ideowe (2020) jest próbą odpowiedzi na pytanie o zasadnicze konteksty dla analizy krótkometrażowej twórczości Alchemika z Pragi. Autor przekonuje, że Jan Švankmajer jest kontynuatorem i polemistą wobec dzieła i twórczości malarza manierycznego, Giuseppe Arcimboldiego. W zebranych esejach Zmudziński analizuje wybrane aspekty twórczości Švankmajera lokując je w kontekście dzieła Arcimboldiego. Na uwagę zasługują w szczególności poruszone przez autora publikacji zagadnienia festiwalowej recepcji twórczości Švankmajera oraz postulat uwzględnienia lokalnych kontekstów powstawania filmów w procesie finalnej interpretacji dzieła.
EN
Bogusław Zmudzinski’s book Twórczość filmowa Jana Švankmajera. Główne konteksty kulturowe i ideowe [Film Works of Jan Švankmajer: Main Cultural and Ideological Contexts] (2020) is an attempt to answer the question about the contexts essential in analyzing the short film work of the Prague Alchemist. The author argues Švankmajer’s works is a polemical continuator of the oeuvre of the mannerist painter Giuseppe Arcimboldi. In his essays, Zmudzinski analyzes selected aspects of Švankmajer’s work by locating them in the context of Arcimboldi’s painting. Although the reviewer criticizes the disorderly line of argumentation, she acknowledges Zmudzinski’s research proposals as broadening the field of consideration of Polish and Czech film animation. Particularly noteworthy are the issues of festival reception of Švankmajer’s works and the postulate to take into account the local contexts of filmmaking in the process of the final interpretation of the work.
6

Zagraniczna twórczość Krzysztofa Zanussiego w okresie PRL-u. Konteksty i konsekwencje współpracy z niemieckimi producentami telewizyjnymi

63%
Ciszewska E., Kasprzak M.
Kwartalnik Filmowy
|
2018
|
issue 103 Młode kino polskie - konfrontacja pokoleń
138-153
PL
Artykuł ma na celu przybliżenie kontekstów zagranicznej twórczości Krzysztofa Zanussiego oraz polskiej recepcji prasowej jego filmów z tamtego okresu. Efekty współpracy Zanussiego z niemieckimi producentami (firmami produkcyjnymi i stacjami telewizyjnymi) w większości były niedostępne dla polskich widzów i pomijane w polskim piśmiennictwie filmowym, co doprowadziło do wykształcenia się niepełnej – czy wręcz przekłamanej – sylwetki twórczej reżysera. Skutkowało to istotnym przesunięciem recepcji sylwetki samego Zanussiego i osłabieniem jego pozycji w polu polskiej kinematografii
EN
The article aims to bring the context of foreign creativity of Krzysztof Zanussi and the Polish press reception of his films from that period. The effects of Zanussi’s cooperation with German producers (production companies and television stations) were mostly unavailable to Polish viewers and omitted in Polish film literature, which led to the development of an incomplete – or even distorted – creative figure of the director. This resulted in a significant shift in the reception of Zanussi’s work and weakening his position in the field of Polish cinematography.
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