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Intertekstualność i gatunkowość jako klucz interpretacyjny filmu. Trzy kolory. Biały Krzysztofa Kieślowskiego

100%
Fiołek-Lubczyńska B.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2012
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vol. 17
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issue 3
205-219
EN
The article defines notions such as intertextuality and film genre. These notions enable the interpretation of Kieslowski’s Three Colours. White. Its reception from an intertextual-ity perspective shows its affinities with Charlie Chaplin’s productions. The hero of Biały, Karol, is a counterpart of the Chaplinian heroes. Kieślowski merges genre conventions, which is why genre theory offers another interpretative key to Three Colours. White. Its plot’s structure is built on elements of comedy, crime story, as well as drama. Thanks to Kieślowski’s convention manipulations, White shows postmodernist features.
2
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The “Salt of the Earth” documentary film by Wim Wenders as an implementation of the „text within a text” rhetorical strategy

100%
Fiołek-Lubczyńska B.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2017
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vol. 43
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issue 5
211-222
EN
Wim Wenders’s report is devoted to the output of the world-renowned photographer Sebastião Salgado. The presentation of his works in the documentary employed the text within a text composition, or rather „photography within a documentary”. The director emphasised the photographs and the statements by the photographer in such a way that the viewers could learn about Salgado as the author of his works and as a human, a humanist concerned about the fate of contemporary human beings. The analysis and the interpretation of the report enabled me to reflect theoretically on the definition and the specificity of photography.
3
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Reportaż telewizyjny w służbie dziennikarstwa poszukującego prawdy o człowieku i świecie

100%
Fiołek-Lubczyńska B.
Łódzkie Studia Teologiczne
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2022
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vol. 31
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issue 3
231-242
EN
The aim of this article is to draw attention to TV reportage as a message that tries to convey the truth about the human being and the world to the viewer. The reportage is treated as a journalist message in which the subjective narrative of the producer (reporter) shapes their work. The reportage can therefore be treated as a „text” which is a reliable description of reality as well as a work and a manifestation of artistry. The English version of Wikipedia (the so-called free encyclopedia) includes the term „narrative journalism” and characterizes it as containing verified and reliable information conveyed by the media. The media coverage produced by a journalist-reporter must therefore present true stories, in which the creator does not resign from the principles of dramaturgy and subjectivization. All journalist measures, however, focus on the superior function, which is an attempt to tell the truth about important issues, covering various areas of life – from politics through economy, science, racial problems to family relations and internal conflicts that people experience. The characteristic of „narrative journalism” thus evokes the genre features of reportage. This genre is creatively cultivated by the most eminent journalists of all the media – the press, radio and television. The article highlights the work by Monika Meleń and Barbara Włodarczyk, whose reportage presents the truth about the human and the world.  
4
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Grand Theatre, Oratory and Anthropology in the Documentaries of Andrzej Fidyk

100%
Fiołek-Lubczyńska B.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2014
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vol. 15
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issue 24
137-144
PL
The article centres on the documentary works of Andrzej Fidyk. The director is fascinated by cultural anthropology. Showing diff erent aspects of social life in a theatrical manner is an omnipresent motif in his movies. A fi lm in general, by its nature, is a spectacle, but the director depicts within its reality diff erent kinds of spectacles: parades, as in the title of Th e Parade, musical scenes in Yodok Stories, and carnival in Carnaval…. Th e crown jewel in this double, increasing spectacularity is Carnaval. Th e Biggest Party In Th e World, and the movie inside the movie – Cameramen from Calcutta. A religious spectacle can be found inside Staszek’s Dream  abstracts314 in Teheran. Scenes of muslim grief three years aft er the death of Chomeini, inside a country considered to be exemplary in its religiousness are compared to “the trend of going to orthodox churches” in Russia. Th e most interesting by the criteria of spectacularity is Carnaval…, which has been the subject of many analysis and interpretations by cultural theorists, anthropologists and sociologists. Fidyk in his movie shows the nature of this spectacle with great fi nery. 
5
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The Condition of Polish Autobiographical Documentaries – More Similar to a Reality Show?

63%
Fiołek-Lubczyńska B., Barczyk-Sitkowska A.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2016
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vol. 35
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issue 5
177-184
EN
The autobiographical documentary has a number of elements which resemble those of a reality show. Such documentaries can be considered to be young directors’ responses to this TV genre and its celebration of voyeurism. The purpose of this article is to outline the similarities and differences between these two genres. The article consists of four parts: the first discusses the essence of the autobiographical documentary, the second focuses on the reality show, the third analyses the movie Moje dwadzieścia okrążeń by Łukasz Konopa, and the fourth is a summary of the considerations made in the text.
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From the editors

63%
Worsowicz M., Fiołek-Lubczyńska B.
Acta Universitatis Lodziensis. Folia Litteraria Polonica
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2019
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vol. 54
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issue 3
9-9
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