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1

Forms of Otherness. Films by Andrzej Baranski

100%
Jagielski S.
Kwartalnik Filmowy
|
2008
|
issue 64
167-184
EN
Baranski's style is a non-normative, as it opposes the formal strategies dominating in Polish cinema. In his films we are dealing with a strange paradox: although the artificiality of the presented vision is clearly marked, the viewer is under impression that these films are very real. That is because Baranski's aim is not to evoke the reality, to give us a faithful reproduction of an object or place, but rather he wants to offer the viewer their representation. The analysis of the style of the director is preceded by a presentation of his creative method that oscillates between ethnographic transparency and ethnographic fiction. In the main section of the article, the author presents some of Baranski's work ('At Home', 'Woman from the Provinces') and analyzes the intertextual references to formal structures of films such as Kaneto Shindo's 'Naked Island' or the contemplative cinema of Yasujiro Ozu. The author points out significant differences between Baranski's films and films described as 'cinema of moral anxiety' such as Wajda's 'Man of Marble' and Falk's 'Top Dog' (Wodzirej).
2

Being in the World That's Already Gone. The Cinema of Andrzej Baranski

100%
Jagielski S.
Kwartalnik Filmowy
|
2007
|
issue 59
174-193
EN
Andrzej Baranski's filmmaking is indirectly autobiographical: the personality of the director, hidden behind literariness (almost all of his films were based on auto-biographical texts), manifests itself primarily in his individual style. Unable to directly confront his 'self' on film, Baranski elevates this encounter via image demonstrator into the invisible, and invests his messenger with two contrasting looks: a distanced and nostalgic one. The former results from the necessity to exist in hostile present time as well as from a flight into the reality of someone else's memory, whereas the latter derives from the memory of the past; the past is his true spiritual present time. Baranski's uniquely peculiar and personal creative activity is also interpreted in the context of its complicated relations with the cinema and Polish cinematography at the turn of the 1970s and 1980s.
3

BARANSKI AND DWURNIK: 'CORNERSHOP, 360 degrees' - A SOCIOLOGICAL RECORD (Baranski - Dwurnik, 'Warzywniak, 360 stopni' - zapis socjologiczny)

63%
Cembrzynska P.
Kwartalnik Filmowy
|
2009
|
issue 65
155-168
EN
'Cornershop, 360 degrees' - is an ironic, and sometimes bitter, story of life on an estate, at the centre of which there is the cornershop. This animation by the director Andrzej Baranski and the painter, Edward Dwurnik, is based on a short story by Krzysztof Jaworski. The cornershop is the centre of the world for the people of the estate; this is where the chavs as well as adults congregate to have a drink and a cigarette. The cornershop is a source of pride which integrates the local community. Baranski and Dwurnik create a sociological record of the last decades of Polish society. They show those, for whom there is neither place nor future in the post transformation society
4

Worst Pictures. On Andrzej Baranski's film 'Fotografia jest sztuka trudna'

63%
Marecki P.
Kwartalnik Filmowy
|
2006
|
issue 54-55
237-244
EN
The text is an analysis of Andrzej Baranski's film 'Fotografia jest sztuka trudna' (1998), the adaptation of the humourous columns by Stanislaw Czycz, printed on the pages of the 'Przekrój' magazine in the years 1964-1969. The perverse hobby column was made up of mistaken pictures and commentaries by the amateur photographer. The author proposes a thesis that thanks to the adaptation of the peculiar content, Baranski managed to make a self-thematic film on the ontology of cinema and on the questions given to representation.
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