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1

Architectural space of Jan Rybkowski’s Warszawska premiera and Aleksander Ford’s Młodość Chopina. The film vision of 19th-century cities in the times of socialist realism

100%

Kurpiewski P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2017

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vol. 22

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issue 31

5-12

EN

Two Polish historical films set in 19th-century cities were created. The paper analyzes film images of Warsaw, Paris and Vienna. For the needs of Warszawska premiera [Warsaw Première] and especially Młodość Chopina [Youth of Chopin] impressive sets of 19th-century cities were built in an atelier in Łódź. The author presents the main architectural principles behind these visions and points to the problems faced by the artists who wanted to create a credible and convincing illusion of the past. The films of socialist realism are today a peculiar souvenir of the Stalinist culture with its brazen propaganda message. It is, however, worth noting that the staging and decorations in the films depicting the past were created with great historical accuracy and some of the solutions applied during the production of Warsaw Première and Youth of Chopin were a great hint for later films of a similar character.

2

Film Krzyżacy Aleksandra Forda. W uścisku rozmaitych ideologii

100%

Skowronek B.

Res Gestae. Czasopismo Historyczne

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2011

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vol. 11

186-194

PL

The article discusses various ideological conditionings in whose clutch Ford’s film “Knights of the Teutonic Order” is located. They cause that it is impossible to perceive the film onesidedly.“Ideological conditionings,” close to the notion of “discourse,” are defined in this article in accordance with the research in cultural studies as all social sets of convictionsand imaginations of reality which create a socially defined identity, determine the way of conceptualization of the surrounding world – also the forms of the cinematic expression of this world. Ideological discourses which determined the artistic, formal and philosophical shape of “Knights of the Teutonic Order” were mainly: the original text of Henryk Sienkiewicz’s novel, his model of literature and the model of a specific philosophy of history that results from it; recipients’ expectations characteristic for common rationality with their typical receptionmodels, the accepted understanding of the film adaptation of literature, the acknowledged model of intersemiotic translation, genre features of a historical film and the set of formalways of film expression used, current policy of the Communist government in 1960 and the original strategy of Alexander Ford, the film director.

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Ważyk – Ford – Starski. Historia pewnego scenariusza

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Małgorzata Hendrykowska M. H.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2019

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vol. 26

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issue 35

35-61

EN

The article presents the complicated story of a script, originally titled “ID Card”, was written in mid-1948 by Adam Ważyk. Had the script been approved for production, it would have been one of the first Polish post-war feature films. However, this did not happen. Apart from Adam Ważyk, Aleksander Ford, Jan Fethke and Ludwik Starski also worked on subsequent versions of the script. Due to complex political circumstances, none of the versions presented was approved by decision-makers. The author presents subsequent versions of the script which change along with social and political changes in Poland. The last version entitled “False Papers”, written by Ludwik Starski in 1968, contains clear elements of an action film. However, this was not a good time for this type of production. Over a period of 20 years, the script of “False Papers” underwent a peculiar metamorphosis: from a political pamphlet, to a didactic story, and finally, an action film with an unexplained mystery and war in the background. None of these versions became a film.

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2 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Res Gestae. Czasopismo Historyczne

1 Kurpiewski P.

1 Małgorzata Hendrykowska M. H.

1 Skowronek B.

1 2019

1 2017

1 2011

Architectural space of Jan Rybkowski’s Warszawska premiera and Aleksander Ford’s Młodość Chopina. The film vision of 19th-century cities in the times of socialist realism

Film Krzyżacy Aleksandra Forda. W uścisku rozmaitych ideologii

Ważyk – Ford – Starski. Historia pewnego scenariusza