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„Mój przyjaciel z Haify powiedział, że gdy śni, nie śni o wrogu, lecz o sobie samym”. Studia nad konfliktem palestyńsko‑izraelskim jako wyzwanie dla studiów nad Zagładą

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Tomczok M.

Narracje o Zagładzie

2018

issue 4

67-80

In the article, the author endeavours to describe the advantages of juxtaposing studies on the Palestinian-Israeli conflict with the Holocaust studies. Arguments for it are found in works in sociology and philosophy of prejudice and ethnic conflicts (Monika Bobako), reflections on memory and decolonisation (Michael Rothberg), and – especially – those on dual nationality as a philosophical issue (Judith Butler). However, the author primarily focuses on further developing Butler’s intriguing theory of vulnerability and applying it to fragility as a political, architectural, and existential problem. In order to do so, the author discusses the poetry of Mahmud Darwish (hardly present in Poland) and the film Notre musique by Jean-Luc Godard.

W artykule autorka próbuje opisać zalety wynikające z zestawienia studiów nad konfliktem palestyńsko-izraelskim z badaniami Zagłady. Argumentów dostarczają jej prace z zakresu socjologii i filozofii uprzedzeń oraz konfliktów etnicznych (Monika Bobako), refleksji nad pamięcią i dekolonizacją (Michael Rothberg), a szczególnie – nad dwunarodowością jako problemem filozoficznym (Judith Butler). Badaczka stara się jednak przede wszystkim rozwinąć ciekawą teorię wulnerabilności J. Butler i odnieść ją do kruchości jako problemu politycznego, architektonicznego i egzystencjalnego. W tym celu omawia słabo obecną w Polsce poezję Mahmuda Darwisha oraz film Nasza muzyka Jeana-Luca Godarda.

Strategie obrazu. O „adaptacjach” Jeana-Luc Godarda

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Kita B.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

2013

issue 5

152-161

The article results from introductory research into the question of broadly defined pictorialness of film images in Jean-Luc Godard’s works. Strategies of the image inscribed by the director in his own films may be interpreted as a type of adaptations of paintings. Recollection of the most exemplary adaptations of paintings in the trilogy: Passion (1982), First Name: Carmen (1983) and Hail Mary (1984), and in the early film Pierrot le fou (Pete the Madman; 1965) evokes reflections upon the nature of the film image. It also testifies to the constant search for the nature of pictorialness and experiments with pictures stemming from various disciplines which meet in one work. The mode of existence of painted images in relation to the film, characteristic of Godard, is described by Jacques Aumont as “cinematization” (to be differentiated from the known kinetisation), that is the mechanism of the film image emerging from a painting. Thus characteristic and unique image strategies can be deciphered from Godard’s works. The strategies should not necessarily be seen as determinants of quotations, although they point to their origin, but as an element enriching the reflection on film–cinema. Research in the scope of lighting, composition of frame, colour (Godard–colourist), artistic shaping of frame, all lead the filmmaker directly from the film image to the painted image, and the other way round. Hence Godard seems to approach the substantiation of Andre Malraux’ Museum of Imagination understood as an archive of images, realizing the idea completely in “Histoire(s) du cinéma” (1988–1998) – a project broadly described and appreciated by its contemporaries.

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1 Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

1 Narracje o Zagładzie

1 Kita B.

1 Tomczok M.

1 2018

1 2013

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„Mój przyjaciel z Haify powiedział, że gdy śni, nie śni o wrogu, lecz o sobie samym”. Studia nad konfliktem palestyńsko‑izraelskim jako wyzwanie dla studiów nad Zagładą

Strategie obrazu. O „adaptacjach” Jeana-Luc Godarda