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1

JUST ONE MEMORY: AN ATTEMPT AT AN AUTOBIOGRAPHY WITHOUT NARRATIVE IN THE WORK OF BILL VIOLA (Tylko jedno wspomnienie. Proba autobiografii bez narracji w pracach Billa Violi)

100%
Pitrus A.
Kwartalnik Filmowy
|
2011
|
issue 73
200-205
EN
The work of Bill Viola, an artist working with moving image, that is not film, is classified as video art, video environments or media installations. In his work there are a lot of autobiographical motifs, although the artists never uses the structures of classic narration, and never tells us a story. Rather he builds and constructs additional meanings on top of a traumatic event from his childhood, when he nearly drowned. The event was both traumatic and fascinating, as during the drowning Viola had an incredible, visual experience. In his work he returns to the drowning very often, but using different means and on different levels of conceptualization. Sometimes the scene from childhood returns in a literal sense, but more often as an attempt to find the 'hidden dimension' of the event. An excellent example of working through the autobiographical element is the work entitled The Reflecting Pool, a work that has been accepted into the canon of new media arts. It is this work that forms the basis of Pitrus' analysis in this article.
2

CINEMATIC AUTOBIOGRAPHISM - HISTORICAL AND THEORETICAL RECONNAISSANCE (Autobiografizm filmowy. Rekonesans historyczno-teoretyczny)

100%
Podsiadlo M.
Kwartalnik Filmowy
|
2011
|
issue 73
5-20
EN
The subject of the article is cinematic autobiographism: indication of main trends from which it originates and theoretical concepts attempting to set its boundaries. The first part discusses the process of cinematic autobiographism's occurrence in the history of the cinema and critical evidence regarding the presence of a cinematic creator and his or her autobiography as an important aspect of a cinematic work. At the beginning, cinematic autobiographical works existed within the trends of artistic cinema (avant-garde, underground, and new wave cinema) which was the first to give up the anonymity of the cinema and thus strengthened the position of a cinematic author. The taking over of documentary cinema - from cinéma-vérité through self-reflexive cinema to the more and more private cinema inspired by the style of home movie - was the next stage reached by the cinematic autobiographism. The second part of the article focuses on arranging abundant autobiographic film material (both documentary and feature), theoretical concepts, and terminological determinations according to three types of autobiographical 'self': empirical 'self', 'self' as porte-parole, and sylleptic 'self'.
3

STEVEN SPIELBERG - THE CINEMA OF AUTOBIOGRAPHICAL METAPHORS (Steven Spielberg. Kino autobiograficznych metafor)

100%
Kozlowski K.
Kwartalnik Filmowy
|
2011
|
issue 73
175-189
EN
The motif of growing up is the autobiographical dominant of Steven Spielberg's films. It is manifested in numerous characters; the main topic of this article is examining them. Particular attention has been paid to the following films: 'Duel' (1971), 'Jaws' (1975), 'War of the Worlds' (2005), 'Catch Me if You Can' (2002) and 'The Color Purple' (1985). The thesis of the author, who started from the results of Werner Faulstich's research and then took other films directed by Spielberg into consideration, is that various forms of the growing-up motif lead to a cinema of autobiographical metaphors created by the director. It means that the audience have to decode and find the metaphorical level of meanings of the films. Seeing only the surface makes their sense impoverished and sets the films in the commercial mainstream. Examining other autobiographical components of Spielberg's works may be a consequence of these reflections. The components could be: assuming the viewpoint of a child, a need of miracles (making imagination independent of the mind in a way) and the motif of unity of contrasts. Only such an extensive look can guarantee recognizing all autobiographical metaphors of Spielberg's works.
4

IS 'ME' MY HERO? ROLE-PLAY BY DAVID ALBAHARI

80%
Giergiel S.
Pamiętnik Słowiański
|
2007
|
vol. 57
|
issue 1
35-54
EN
This paper analyses three works by David Albahari - a collection of essays under the title 'Teret', and two novels: 'Pijavice' and 'Svetski putnik'. The study focuses on the relations between the empirical author, literary subject, and the characters portrayed in the three texts. Another focus of interest is the influence of history on the individual. Taking into consideration the author's comments in the works themselves, the world they uncover, and character construction, one finds their way to the writer's characteristic interpretation of historical facts. These pertain to the Serbian and Croatian reality of the 1990s: the time of war and first post-war years. It is strongly believed that while constructing the characters of 'Svetski putnik' and the novel 'Pijavice', Albahari used the elements of his personal biography and furnished them with views and experiences coinciding with his own. However, in all the three works, the author, playing games with the reader, 'juggled' with the roles of the empirical author, the narrator, and characters. This peculiar play with the reader (and with own biography) takes place on several levels: the narrator is not equipped with the author's biography, yet its traces are either invested into one of the characters, or affect the portrayed world. Thus, while lacking the identity within the personal plane, we get the integrity on the broader plane, which touches the identicalness of experience transferred thus onto a more general reflection on reality.
5

FROM ABOVE MISS HELENA'S MANOR TO AT THE FRONT OF THE POET'S HOUSE. THE CATEGORY OF NARRATION AND THE AUTHOR'S PRESENCE IN KONWICKI'S 'LAVA' AND 'BOHIN MANOR') (Polish title below)

80%
Kaniecki P.
Kwartalnik Filmowy
|
2011
|
issue 73
147-162
EN
(Polish title: Znad dworu panny Heleny przed dom Poety. Kategoria narracji a obecnosc autora w 'Lawie' oraz 'Bohini' Konwickiego). The text shows how similar is the narration of 'Lava', Konwicki's film adaptation of Mickiewicz's 'Forefathers' Eve', to the narration of Bohin Manor, a novel which was written just before 'Lava', and how similar is the autobiographic category in these two works (both of them are parabolas), but yet how different is the author's presence in them. In 'Bohin Manor', the narrator of the story is identified straightforwardly with Konwicki's 'I', as a figure of syllepsis (Ryszard Nycz's term for such narrator); in Lava, the Poet, who is the narrator in the film, is presented simultaneously as both Mickiewicz and Konwicki.
6

SURVIVORS FROM HOLOCAUST. A STUDY ON DOCUMENTARY FILM POETICS (Ocaleni z Holocaustu. Studium z poetyki filmu dokumentalnego)

80%
Hendrykowski M.
Kwartalnik Filmowy
|
2011
|
issue 73
80-99
EN
The study is a compact and straightforward guide aimed at anyone coming to the subject for the first time or just looking to improve their knowledge about documentaries relating to Holocaust. The paper offers both skimming and in-depth analysis of seven outstanding works made in the period 1993-2008 focused on key-problems of their distinctly different poetics. Author assembles evidence from the documentary film production of the time to describe the structure of message exposed in its narration, particular catches and figures, methods of lighting, framing, and editing as well as the collective feelings and emotions generated by these films. Hendrykowski considers the basic difference and fundamental conflict between two ways of thinking about manipulation in moving pictures language which establishes viewers' approach to using (or over-using) of various stylistic catches, patterns of composition and narrative figures in this kind of documentary and generally in movies. Marek Hendrykowski's study brings methodological revision of this important question.
7

THE AUTOBIOGRAPHICAL SITUATION IN 'ZERKALO' ('THE MIRROR') BY ANDREI TARKOVSKI (Sytuacja autobiograficzna w Zwierciadle Andrieja Tarkowskiego)

80%
Maron M.
Kwartalnik Filmowy
|
2011
|
issue 73
133-146
EN
The article discusses autobiographical plots of the movie 'The Mirror' by Andrei Tarkovski. The autobiographism is here the starting-point to contemplate the world and the presence of a man in it. The autobiographical situation may be understood as the submersion in temporality and spatiality of the world in order to establish - with the help of cultural act of self-reading - the category of individual life ('bios') and transcend it in the pursuit of universal life (eternity). According to creative philosophy of the Russian director, the real life has its sense and source in eternity. Tarkovski's film perpetuates time as life; time by the matter of the art transforms into eternal memory. Tarkovski's movie art appears therefore as an attempt of portraying and overcoming the conflict between the spiritual and historical worlds. The article points to a connection of Tarkovski's artistic search and his conception of the art together with philosophic and religious reflection of Russian thinkers such as Pavel Florensky or Nikolai Berdyaev.
8

'THE BEACHES OF AGNES': THE SELF-PORTRAIT OF VARDA (Plaze Agnes: autoportret Vardy)

80%
Lubelski T.
Kwartalnik Filmowy
|
2011
|
issue 73
33-41
EN
The work of Agnes Varda - one of the most personal and independent in whole history of the cinema - is not easily classified using the terms of genre traditionally used in film studies. Her feature films usually contain some documentary elements, while her documentaries are constructed following the rules of artistic creation. It is with this in mind that Lubelski presents Varda's The Beaches of Agnes (2008), which the director considers to be her true self-portrait. Lubelski lists arguments in order to confirm the thesis, that the self-portrait is a specific formula for The Beaches of Agnes, and a construction pattern for the film. But this self-portrait is one of a kind - a self-portrait, and yet imagination, in which Varda includes fragments filmed during real performance shows, in which she took part, news reports, and inter-textual references (quotes from her own films, reproduction of art etc). This is a very particular self-portrait, in which the author - although she is always present - pays more attention to others than herself, as if the reproduction of her own memories served to create new and refresh the old relationships with others, and did not serve the process of 'learning more about oneself'.
9

(SELF)THERAPEUTIC DIMENSION OF MARCIN KOSZALKA'S 'FAMILY FILMS ((Auto)terapeutyczny wymiar filmow Marcina Koszalki)

80%
Kozubek M.
Kwartalnik Filmowy
|
2011
|
issue 73
53-62
EN
The author analyses Koszalka's three documentaries which are the part of a set of so-called family trilogy: 'Takiego pieknego syna urodzilam', 'Jakos to bedzie' and 'Ucieknijmy od niej', treating them as if a director's selftherapy. In every single film the director is, at the same time, a creator, a main character and an inciter of events. Koszalka creates unusually personal, auteur, authentic cinema often on the brink of psychodrama and his selftherapy, which he openly admits to, does not rule out viewer's therapy for whom, his work might turn out to be difficult but really needful lesson. Since the author creates significant and revealing films and any fact in these pictures is only individual - a seemingly narcissistic director does not work only for himself, he does not try to explain certain phenomena only and exclusively for himself, he does not fulfil only his ambition and therapeutic needs.
10

SHRINKING THE WAR TO A LITTLE RED SPOT. AUTOBIOGRAPHIC DISPUTE IN 'THE THIRD PART OF NIGHT' BY ANDRZEJ ZULAWSKI (Dyskurs autobiograficzny w 'Trzeciej czesci nocy' Andrzeja Zulawskiego)

80%
Maszewska-Lupiniak M.
Kwartalnik Filmowy
|
2011
|
issue 73
163-174
EN
The author is mainly interested in the chosen aspect of autobiographic dispute, namely a film autobiographism understood as a defined communication attitude of the film author and the audience reaction generated by it. In this paper Maszewska-Lupiniak discusses autobiographism included in the fictional film narration of 'The Third Part of Night' by Andrzej Zulawski. His film, presenting a part of a family history, matches the autobiographic dispute. As a text about Holocaust it creates a universal message - the duality in the film structure makes us think about the relations between a creator and his work, between the ethical conditions of that relation. All that is reflected in the style and poetics of the film, which, in turn, makes the receiver of the story adopt a distant attitude.
11

THE AUTOBIOGRAPHICAL MOTIF IN THE FILMS OF MICHAEL MOORE (Motyw autobiograficzny w filmach Michaela Moore'a)

80%
Klejsa K.
Kwartalnik Filmowy
|
2011
|
issue 73
190-199
EN
Michael Moore is not only one of the most distinguished but also one of the most controversial contemporary filmmakers. His film style could be described as 'heterogenic' since Moore's films tend to employ various stylistic patterns, such as 'explanatory' and 'interactive mode' of documentary. The essay examines Michael Moore's documentaries in terms of their alleged implementation of director's autobiography. To illustrate that thesis Klejsa describes both visual and audible qualities of Moore's movies. First, the author examines the uses of first-person voice-over which is claimed to be a crucial feature of Moore's film style. Thereafter, Klejsa argues that scenes containing footage from directors family archive build a strong autobiographical context as well. In the conclusion, autobiographical strategies of establishing director's star persona in the realm of multimedia narratives have been discussed.
12

MARIAN MARZYNSKI - THE AUTOBIOGRAPHY OF A DOCUMENTARY FILMMAKER (Marian Marzynski. Autobiografia dokumentalisty)

80%
Jazdon M.
Kwartalnik Filmowy
|
2011
|
issue 73
42-52
EN
The aim of this article is to present the method and style of Marian Marzynski's documentary films. Marzynski is Polish-American filmmaker who explores his own biography in different ways in the documentaries that he makes. Jazdon presents the development of Marzynski's film career from cinema vérité docs made in Poland in the 1960s up, films that he made in Denmark - where he emigrated in the beginning of the 1970s (after the anti-Semitic actions undertaken by the communist government in Poland) and his American works - beginning with 'Return to Poland' (1981) up to the latest works like 'Settlement' (2008) and 'Skibet' (2010). Marzynski almost always appears in front of the camera in his films relating the theme from the film with his own biography of a Holocaust survival, immigrant, journalist or American citizen. He comments on the events presented in the film from off-screen and often initiates them. From film to film his works become more and more auto-documentaries up the docs rom recent years, such as Anya in and 'Out of Focus' (2004) or 'Life on Marz' (2007), with autobiography dominating in them.
13

CAMERA AS A SUPEREGO. ED PINCUS' 'DIARIES. 1971-1976' - THE BEGINNINGS OF PERSONAL DOCUMENTARIES ('Dzienniki. 1971-1976' Eda Pincusa albo poczatki dokumentalizmu osobistego)

80%
Przylipiak M.
Kwartalnik Filmowy
|
2011
|
issue 73
22-32
EN
It was a long maintained belief that the documentary is a genre that should serve a public service, and not a question of personal statement. Although various forms of expression or creation were accepted, it was unthinkable for the film maker to direct the camera at himself. Although documentary makers smuggled into their documentaries their own visions of the world, or even memories from their lives, it was only acceptable if carried out in a discrete fashion, hidden within the presentation of the outside world. This convention was systematically overcome by the American avant-garde. The work of Stan Brakhage, Jim McBride and Ed Pincus were the steps on the path towards personal documentary. The gesture of directing the camera at oneself proved to be infectious. This type of documentary quickly became a leading poetics in the Boston group of document makers (Alfred Guzetti, Ross McElwee or Rob Moss). Soon this form became one of the most commonly used in the practice of documentary making. Przylipiak's article focuses on the diary of Ed Pincus, who for five years filmed himself and his family.
14

EMPTY SPACE. AUTOBIOGRAPHICAL STRATEGIES IN DOCUMENTARY FILMS ON HOLOCAUST (Puste miejsce. Strategie autobiograficzne w filmie dokumentalnym o Zagladzie)

80%
Maka-Malatynska K.
Kwartalnik Filmowy
|
2011
|
issue 73
64-79
EN
Autobiographism relies on a kind of agreement with a viewer, listener or reader on basis of which culture text is deciphered as a record of an author's experience. It can be understood only when an artist's biography is known and functions in society. As Maka-Malatynska argues, autobiographical convention is rarely used in documentary films on Holocaust, which appears to be a consequence of psychological resistance to describing own experiences and overwhelming power of images in which the past is brought back to life. In the strict sense only a few films represent this trend in documentary cinema. An autobiography, an experience of a Holocaust is a theme in films by Mira Hamermesh and Marian Marzynski. In broader sense documentaries co-created by Survivors in which they are protagonists and narrators and where their stories determine film construction can be treated a autobiographical, e.g. 'Miejsce urodzenia' (Birthplace) by Pawel Lozinski (1992). More frequently autobiographical motifs are used in fiction films, although in such case they are not autobiographical in a narrow sense. Filmmakers, like Roman Polanski in Pianist (2002), hide behind someone else's story telling about their own experiences and emotions at the same time.
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