Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  Cinema of Moral Anxiety
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Head of Medusa, or realism in films of the Cinema of Moral Anxiety

100%
Kwartalnik Filmowy
|
2013
|
issue Special Issue - Polish Film Scholars on Polish Cinema
231-256
EN
The article discusses the films belonging to the Cinema of Moral Anxiety (1976-1981) as the most characteristic examples of realism in film in Polish cinematography between 1945 and 1989. The main aim of the early feature films of Krzysztof Kieślowski, Agnieszka Holland, Feliks Falk, Janusz Kijowski, and the work by Andrzej Wajda, Krzysztof Zanussi and Janusz Zaorski that can be classified as Cinema of Moral Anxiety, was a critical description of reality. This description was possible, thanks to skillful handling of the medium of photographic realism and realism in staging. The first part of the article presents in brief the historical and cinematographic context of the origins of the Cinema of Moral Anxiety. The second part discusses the major films of the movement in terms of the relationship between the strategies used in them and the process of creation of their critical and descriptive character. The order of the argument is set out by the achievements of four film cinematographers: Sławomir Idziak, Edward Kłosiński, Jacek Petrycki and Krzysztof Wyszyński. The following are the key issues: how does photographic realism manifests itself in film? How does it define their aesthetics and what is its impact on the creation of the director’s reflection upon socio-political context of the time? What are the limitations and difficulties associated with the aesthetics of realism? The third part of the article deals with the relationship of the realist aesthetics of the films belonging to the Cinema of Moral Anxiety movement with the moral reflection contained within them. The article concludes with some reflection upon typical protagonists of the films of the Cinema of Moral Anxiety.
2
Publication available in full text mode
Content available

Część zamiast całości czyli sposób na cenzorów. "Szkoła podstawowa" Tomasza Zygadły – wzorcowy film kina „nowej zmiany”

80%
Jazdon M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2014
|
vol. 15
|
issue 24
281-286
EN
Mikołaj Jazdon in his article presents an analysis and interpretation of a documentary that became a “trademark” of the young generation’s cinema from the decade of the Cinema of Moral Anxiety in Poland. Zygadło filmed the social behaviour of students in a Warsaw primary school to depict the fatal influence of the communist system on Polish youth, who were encouraged to tattle on each other. The method of portraying a social group from one place, as in Zygadłos Primary School, became popular among other documentary filmmakers from his generation. They began to shoot films about institutions like factories, schools or hospitals, focusing on the social relations between the people working there. These films were intentionally made as metaphors of Poland in the 1970s and of the rules operating in a country ruled by the Communist Party. The auteur strategy of depicting reality in a “pars pro toto” manner allowed documentary filmmakers to outwit the Party censors.
PL
Mikołaj Jazdon in his article presents an analysis and interpretation of a documentary that became a “trademark” of the young generation’s cinema from the decade of the Cinema of Moral Anxiety in Poland. Zygadło filmed the social behaviour of students in a Warsaw primary school to depict the fatal influence of the communist system on Polish youth, who were encouraged to tattle on each other. The method of portraying a social group from one place, as in Zygadłos Primary School, became popular among other documentary filmmakers from his generation. They began to shoot films about institutions like factories, schools or hospitals, focusing on the social relations between the people working there. These films were intentionally made as metaphors of Poland in the 1970s and of the rules operating in a country ruled by the Communist Party. The auteur strategy of depicting reality in a “pars pro toto” manner allowed documentary filmmakers to outwit the Party censors.  
3

Ewa vs. Agnieszka. Reprezentacje reżyserek w wybranych filmach Andrzeja Wajdy i Barbary Sass

41%
Talarczyk-Gubała M.
Kwartalnik Filmowy
|
2012
|
issue 77-78
282-297
EN
The article is devoted to the analysis of representations of women directors as key characters in Polish feature films, beginning with Agnieszka from the original version of the script of the Man of Marble(1963) by Andrzej Wajda, and ending with Magda (T. Budzisz-Krzyzanowska) in the Immoral Story (1990) by Barbara Sass-Zdort. The analysis of the representations of female directors as protagonists in feature films is one of the key themes of the yet unwritten history of women in cinema during the socialist period in Poland. The time gap between the two selected films allows one to show the generational change in the image of the female directors in Polish film culture and her status in the symbolic space. It becomes especially evident when two images of Agnieszka are contrasted, the first modelled on Agnieszka Osiecka, and the other on Agnieszka Holland. Reflection inspired by gender and women’ studies in the context of Central European cinema inspire a new understanding of the mythical heroine of the Cinema of Moral Anxiety, and characters inspired by her. Inspired by the many comparisons between Agnieszka (K. Janda) with the anti-heroine Ewa, from Barbara Sass-Zdort debut film Without Love (1980), a comparative characteristic is carried out: the allegory of Freedom, and the new eternal Eve. The relationship between the main female characters of the film Without Love, a photojournalist and a female worker, was used as a model for the toxic and potentially sisterly relationship between the director and the actress in the Immoral Story. Reducing the character of the female director to a voice is interpreted as a significant absence, that is to be filled by aggressive excesses, screams and stage make up of the fallen star.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.