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  1. 2 Kwartalnik Filmowy

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  1. 1 Maciejewski L.

  2. 1 Toniak E.

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  1. 1 2008

  2. 1 2007

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1

The Histery of the History. On Agnieszka Holland's 'Fever'

100%
Toniak E.
Kwartalnik Filmowy
|
2007
|
issue 57-58
278-286
EN
the authoress examines in her essay on Agnieszka Holland's 'Fever' (1981), the film adaptation of Andrzej Strug's modernist novel 'The Story of One Bullet' on the 1905 revolution, why revolutionary Kama, the only film heroine, is treated by the director with such cruelty, extreme violence and why her portrayal differs considerably from the literary prototype. The adaptation of 'The Story of One Bullet' was a kind of a rite of transition for the young director - Holland was supposed to make a new transcription; to transcribe two male-written texts for the language of images: the 1909 novel and the 1979 adaptation of Krzysztof Teodor Teoplitz. Holland, who used to film 'scenes from a private life', stepped for the first time in male-centred History, built on the paradigm of heroic death. Analysing 'Fever's' hysterical narrative, the film's composition, scenes' framing and departures from the literary prototype, she examines Holland's successive concessions to the dominant discourse - to find herself in the field of male-centred History.
2

Two Hearts, two Hurts; Different Sex? An Interview with Agnieszka Holland

100%
Maciejewski L.
Kwartalnik Filmowy
|
2008
|
issue 62-63
154-168
EN
Agnieszka Holland's 'A Girl Like Me: The Gwen Araujo Story', a 2006 TV-film, almost unknown in Poland, was for many American transsexuals and their families a moment of revelation. Made for the Lifetime channel, a station specializing in family programming, such as good food programs, the film was not only screened during prime-time but also was seen by a record number of viewers, usually reserved for great cinema blockbusters. During the first showing of the film, the story of Eddy-Gwen, a transsexual boy, was seen by over five million viewers. Hollands film met not only with great commercial success but also with critical acclaim of the press and film critics (the film was awarded a number of prizes). The author talks to the director about the problem of transsexualism, about Polish cinema that is unable to believably present eroticism and also about depicting sexual matters in her own films. The interview serves as a context for author's complementary article that brings the film closer to the readers.
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