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1

LIVING MEMORIALS, MEMORY AND FORGETTING IN THE FILM GYUMRI (Zywe pomniki. Pamiec i zapomnienie w filmie Gyumri)

100%
Sikora S.
Kwartalnik Filmowy
|
2010
|
issue 69
121-130
EN
At least 25 thousand people lost their lives in 1988, when a massive earthquake hit Gyumri, a city in Armenia. one third of the victims were children. In her film Jana Sevcíková attempts to show how this traumatic event is remembered. This film in not only an attempt to reconstruct the flow of the events - it chronicles the sequence of events using film and photography, it also shows how the events are remembered and how this memory is a part of contemporary consciousness of people who survived, and people who were affected indirectly by what happened, for example the children born after the tragedy, and after their siblings' death. This is how Sevcíková also deals with post traumatic memories.
2

FROM THE VIEWPOINT OF A GHANEAN PHOTOGRAPHER (Z punktu widzenia ghanijskiego fotografa)

100%
Sikora S.
Konteksty - Polska Sztuka Ludowa
|
2008
|
vol. 62
|
issue 2(281)
184-185
EN
The film 'Future Remembrance. Photography and Image Arts in Ghana' by Tobias Wendl and Nancy du Plessis (1998) proposes an interesting examination of the significance and condition of photography in Ghana at the turn of the 1980s. Its authors considered such issues as the comprehension of realism and truth in photographs as well as the rank of the photographer. Although the statements made by assorted photographers make it possible to include the understanding of the photographic image into such concepts as indistinguishability (H-G. Gadamer), in the author's opinion they may be just as well treated as a special game played with realism, photography and reality.
3

COLOURED THREADS. THE STITCHES SPEAK (Kolorowe watki. Opowiesci kutchanskich haftów)

100%
Sikora S.
Kwartalnik Filmowy
|
2011
|
issue 74
195-197
EN
A twelve minute, animated film The Stitches Speak (Nina Sabnani, 2009) deals with the issue of the convergence of voice, narration, and fabric as the products of a person with the person's life history. Animated fabrics speak with the voices of their makers. This charming film that gained recognition on many film festivals, perfectly intertwines the two levels of narrative (image and word), allowing the viewer at the same time to enter the means of perceiving and speaking of the women of the Kutch region. As Judy Frater, an anthropologist engaged in the making of the film notes: We can see how they speak about their work. The animation of the fabric is an interesting way of realistically 'describing' and presenting this phenomenon.
4

THE CHANGING SUBJECTS OF ETHNOGRAPHIC NARRATIVES. REPORT FROM THE NAFA FESTIVAL (2010) (Zmieniajace sie podmioty narracji etnograficznych. Sprawozdanie z festiwalu NAFA /2010/)

100%
Sikora S.
Kwartalnik Filmowy
|
2010
|
issue 71-72
313-317
EN
The last festival of the Nordic Anthropological Film Association took place in Aarhus. Alongside it a scientific conference was held on Perceiving Children. Visual Anthropology of Childhood (the conference was organised by Ditte Marie Seeberg and Rossella Ragazzi). Films presented at the festival dealt with a wide variety of subjects, and not just children, however a number of films shown were about childhood. Amongst others David MacDougall's Gandhi's children (2008) was presented. The report analyses only a small number of films presented, rather the author concentrates on different types of narratives encountered in contemporary anthropological film.
5

A DOUBLE PORTRAIT. THE IMAGE OF DEPRESSION (Portret podwójny. Wizerunek depresji)

100%
Sikora S.
Kwartalnik Filmowy
|
2009
|
issue 66
182-190
EN
'Beyond the Forest. Life in a Dying Culture in Transylvania' by Gerald Igor Hauzenberger is a complex, multilayered work. The film presents a disappearing culture of the German minority in Transylvania. The culture that has roots in the migration that took place in the 12th century is captured in a double portrait of a man and a woman living in two places distant from one another. It is thanks to this technique that Hauzenberger was able to create a complex and deep understanding of Johann Schuff. This controversial figure was not only a member of the Waffen SS in his youth, but continues to have racist views of ethnic minorities. This however does not prevent him from having a relationship of sorts with local Gypsies. Through the analysis of Schuff as a person, one is able to gain a deeper understanding of the role ideology plays in the life of a man. It also offers an alternative view of the complex history of Europe.
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