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Europa bije się w piersi. Recenzja książki „Postkolonialna Europa. Etnoobrazy współczesnego kina” Krzysztofa Loski

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Czerkawski P.
Studia Filmoznawcze
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2017
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vol. 38
185-191
EN
The subject of the present paper is a book „Postkolonialna Europa. Etnoobrazy współczesnego kina” by professor Krzysztof Loska from the Jagiellonian University, focused on an attempt to analyse the cinema of the Old Continent from post-colonial point of view. The review underlines a valuable contribution to Polish film studies that the book makes and emphasizes the scale of research underta­ken, as well as the manner accuracy and the ability to perform a witty interpretation of each and every movie. In accordance to the reasoning included in the review, all these features can be noticed in parti­cular in the chapters dedicated to the French cinema. In the present paper the author also pays attention, though, to omission of few movies that are strongly tied to the subject of Loska’s considerations and some irrelevance of the chapter named „Hybrydowość...” in relation to the rest of the book. However, those little concerns do not affect a very high rating of the quality of the reviewed book.
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Recenzja: Książka "Skolimowski. Przewodnik Krytyki Politycznej" wraz z jej cieniami i blaskami

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Czerkawski P.
Studia Filmoznawcze
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2013
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vol. 34
219 - 224
EN
Review of the Political Critique Companion to Skolimowski is an attempt to add a few words of commentary about the reception of production of the one of the most original directors in the history of the Polish cinema. The texts contained in the book prepared by the Political Critique did not avoid some traps. Reflection about the eponymous hero of the book — rightly regarded as a master of creating his own legend — for some of the authors became only a pretext to the unsophisticated self-creation. But most of them have found a perspective which is uncommon in the considerations about Skolimowski’s works. In this light the analysis of the Moonlighting as a prophetic warning of the errors of political transformation, or the detecting of intertextual relations with Gombrowicz’s work, not in Ferdydurke but in the much earlier The Shout is highly intriguing. Overall lecture of the book allows to see it as an unfulfilled but useful and original work. It is difficult to escape an impression that a book of Political Critique with all its cracks corresponds perfectly with the ups and downs in Skolimowski’s career.
3
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Bliscy nieznajomi. Obraz Ukrainy w polskim kinie po 1989 roku

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Czerkawski P.
Studia Filmoznawcze
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2016
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vol. 37
243-255
EN
This text happens to be an attempt to look at the image of Ukraine in Polish cinema after the political and social changes of 1989. The big part of the article focuses on TV documentaries which come back to the most significant moments of common Polish-Ukrainian history and tell us stories of people who were equally important for both cultures. The text deals also with a difficult subject of cultural superiority, ignorance and neocolonial stereotypes reflected by some Polish films about Ukraine and Ukrainian people. On the other hand, the article also analyses well-known documentaries, such as Piano by Vita Drygas or The Dybbuk. A Tale of Wandering Souls by Krzysztof Kopczyński. The author is convinced that both films are able to combine high artistic values with an empathic view of the modern Ukrainian reality and the country’s complicated past. The article ends with a conclusion that those documentaries can be treated as the role models for future Polish films about Ukraine. Translated by Piotr Czerkawski
4
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Recenzja: Z ziemi włoskiej do Polski... i z powrotem. O książce "Polsko-włoskie kontakty filmowe", red. A. Miller-Klejsa, M. Woźniak, Łódź 2014, ss. 216

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Czerkawski P.
Studia Filmoznawcze
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2015
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vol. 36
311 - 317
EN
The Polish and Italian culture have been intermingling and inspiring each other for many years. Their correlations are clearly visible also in the world of cinema, therefore the appearance of a book such as Contacts between Poland and Italy in the area of the cinema. Topoi, co-productions, reception should arouse appropiate interest, especially because the publication edited by Dr Anna Miller-Klejsa meets the expectations. The review attached to the present volume analyses in as much detail as possible all the texts included in it and also tries to reconstruct the holistic image of contacts between Poland and Italy in the field of cinema that arises from the text.
5
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Peryferie mają głos. O książce Jarosława Pietrzaka "Smutki tropików. Współczesne kino Ameryki Łacińskiej jako kino polityczne", Warszawa 2016, ss. 312

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Czerkawski P.
Studia Filmoznawcze
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2018
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vol. 39
185-190
EN
This text is a review of the book by Jaroslaw Pietrzak Smutki tropików. Kino Ameryki Łacińskiej jako kino polityczne (Tristes Tropiques. The Cinema of Latin America as a Political Cinema). The review draws attention to the specifics of the author’s viewpoint, which connects his interest in politics, culture, cinematography, while drawing from a strong influence of leftist sensibilities. In the line of arguments presented in the text, the essayistic freedom Pietrzak uses to connect seemingly distant issues, makes reading his book a satisfactory, erudite adventure. However, it seems to be problematic in the moments in which the author gives in to his emotions and uses persuasive tactics closer to the publicists manifestos rather than any analytic deliberations. The book review concludes that Smutki tropików, despite several critical flaws, finally earns a respectable position, in particular with the essays This first September 11, 1973, Santiago de Chile and The Communist Go to Heaven deserving a praise.
6
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Kim pan jest, panie Łoźnica?

100%
Czerkawski P.
Studia Filmoznawcze
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2014
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vol. 35
63 - 72
EN
This text happens to be one of the first attempts at the analysis of Sergei Loznitsa’s output in Polish film criticism. The director of In the Fog is nowadays one of the most established artists of Eastern Europe. Having been awarded several times for his documentary movies, he has proven his talent also as the author of two plots that were assigned to the Main Competition category at the Cannes Film Festival. The article familiarizes Polish readers with Loznitsa’s work with particular emphasis on the complicated identity of the director. Sergei Loznictsa — born in Belarus, brought up in Kiev and today living in Berlin — is making his movies mostly on Russian province. His biographical experiences enable him to adopt at the same time the perspective of an outsider and a man that knows perfectly the reality he is describing. Due to lack of interest in Loznitsa’s work among Polish film experts, this text provides information about the director and invites to further investigation in the field of his output. It may seem especially encouraging in the times of modern-day political crisis in Eastern Europe whose origins, broadly described by the author, may lie in the consequences of the collapse of the Soviet Union.
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