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1

W parku sekwoi. Hitchcock/Marker/Godard

100%
Kita B.
Kwartalnik Filmowy
|
2021
|
issue 115 Film formy, film treści
62-80
PL
Tekst stanowi refleksję na temat wzajemnych relacji Hitchcocka, Markera i Godarda. Główną ideą artykułu jest dostrzeżenie istotnego wpływu tego pierwszego na obu francuskich artystów, który w proponowanym ujęciu przejawia się w oddziaływaniu Zawrotu głowy (1958) na Pomost (1962), Bez słońca (1983) oraz Immemory (1997) Markera, a także na Nową falę (1990) i Historie kina (1988-1998) Godarda. Autorka zauważa, że francuscy reżyserzy wykorzystali ten sam film Hitchcocka, ale w nieco odmienny sposób. Obaj zaakcentowali uniwersalność opowieści o pamięci/zapominaniu oraz docenili kunszt twórcy thrillera, który był doskonałym, czułym na obraz stylistą. Jednak każdy z nich na swój sposób kreował postać Hitchcocka w swych dziełach. Marker podkreślał umiejętność manipulowania czasem i przestrzenią, doskonałość niemal ascetycznej formy zawartej w Hitchcockowskich prostych obrazach. Godard polegał zaś na Hitchcocku jako na mistrzu kina, następcy wielkich malarzy, który wywierał na publiczność ogromny wpływ dzięki umiejętności opowiadania filmowych historii obrazami.
EN
The text is a reflection on the relationship between the filmmakers mentioned in the title: Hitchcock, Marker, and Godard. The main idea of the article is to see the significant influence exerted by the British director on the French artists, which is manifested in the proposed approach primarily in the impact of Vertigo (1958) on Marker’s La Jetée (1962), Sans Soleil (1983), and Immemory (1997), as well as on Godard’s Nouvelle vague (1990) and Histoire(s) du cinéma (1988-1998). It is worth noting that each of the French directors uses the same Hitchcock's film in a slightly different range. Both emphasize the universality of the story of memory/forgetfulness and appreciate the craftsmanship of the father of the thriller – an excellent stylist who was sensitive to the image. Each of them, however, created the figure of Hitchcock in their works in a different way. Marker particularly emphasized the ability to manipulate time and space, the perfection of the almost ascetic form contained in Hitchcock’s simple images. Godard, in turn, relied on Hitchcock as a master of cinema, successor to great painters, who exerted great influence on the audience thanks to his ability to tell stories by means of film images.
2

Zbyt radykalny, by powstać? Historia „Kalejdoskopu” — ostatniego, nieukończonego filmu Alfreda Hitchcocka

100%
Witek M.
Prace Kulturoznawcze
|
2018
|
vol. 22
|
issue 3
65-81
EN
Between 1964 and 1967, at the end of his illustrious career, Alfred Hitchcock experienced an extraordinary moment of creative renaissance. Inspired by the dynamism and innovativeness of European cinema, he decided to reach for the subject and creative means that were ahead of his time. Unfortunately, one of the potential masterpieces of contemporary cinema has been hailed too radical, shocking and even repulsive to be made. This article is an attempt to reconstruct the intricate fate of the Kaleidoscope, the last of the unfinished film projects of Alfred Hitchcock. The existing materials and available sources have been analyzed and systematized in order to find an answer to a number of research questions, and in the end to try to find an answer to the most important one: why a project so meticulously prepared, and in many ways visionary has become an “unfinished work”? Moreover, within the scope of attainable facts an attempt has been made to reconstruct the motivations and the main stylistic and narrative motifs of the film. The potential relations between this project and the director’s earlier works, Psycho (1960) as well as later Frenzy (1972), have also been examined.
3

Moving Picture, Lying Image: Unreliable Cinematic Narratives

99%
Csönge T.
Acta Universitatis Sapientiae, Film and Media Studies
|
2015
|
vol. 10
|
issue 1
89-104
EN
By coining the term “unreliable narrator” Wayne Booth hypothesized another agent in his model besides the author, the implicit author, to explain the double coding of narratives where a distorted view of reality and the exposure of this distortion are presented simultaneously. The article deals with the applicability of the concept in visual narratives. Since unreliability is traditionally considered to be intertwined with first person narratives, it works through subjective mediators. According to scholarly literature on the subject, the narrator has to be strongly characterized, or in other words, anthropomorphized. In the case of film, the main problem is that the narrator is either missing or the narration cannot be attributed entirely to them. There is a medial rupture where the apparatus mediates the story instead of a character’s oral or written discourse. The present paper focuses on some important but overlooked questions about the nature of cinematic storytelling through a re-examination of |the lying flashback in Alfred Hitchcock's Stage Fright. Can a character-narrator control the images the viewer sees? How can the filmic image still be unreliable without having an anthropomorphic narrator? How useful is the term focalization when we are dealing with embedded character-narratives in film?
4
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JOSEPH CONRAD AND THE SILVER SCREEN

80%
Weseliński A.
Zeszyty Naukowe Uczelni Vistula
|
2017
|
issue 52(1) Filologia
77-88
EN
The filmography of films based on the works of Joseph Conrad testifies that since the silent film era numerous filmmakers have turned to Conrad for source material. In most cases, the screen adaptations of his works were artistic and box-office failures. The release of Francis Ford Coppola’s Apocalypse Now in 1979 sparked a revival of creative and commercial interest in Conrad as a source for films. Coppola’s picture, which has achieved the status of a modern classic, and Alfred Hitchcock’s famous adaptation of The Secret Agent (1936), seem to belie the prevailing opinion that Conrad’s works are impossible to adapt for the cinema successfully. This paper seeks to examine the ways in which Conrad’s works have been adapted and appropriated by two major film directors in the twentieth century.
PL
Filmografia adaptacji dzieł Josepha Conrada świadczy o tym, że od czasów filmu niemego liczni filmowcy sięgali po utwory Conrada jako materiał na scenariusze filmowe. W większości przypadków okazało się, że ekranizacje utworów Conrada to porażki artystyczne i fiasko finansowe. Film Francisa Forda Coppoli Czas Apokalipsy (1979) zapoczątkował odrodzenie artystycznego i finansowego zainteresowania środowiska filmowców twórczością Conrada. Obraz Coppoli, który osiągnął status współczesnej klasyki filmowej, oraz słynna adaptacja powieści Tajny agent w reżyserii Alfreda Hitchcocka (1936), wydają się zaprzeczać powszechnej opinii, że ekranizacje dzieł Conrada z góry skazane są na niepowodzenie. Celem artykułu jest zbadanie metod i środków artystycznego wyrazu jakimi posługiwali się dwaj czołowi reżyserzy XX wieku w swoich adaptacjach utworów Conrada.
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