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1

Kto polubi Mary Lennox? "Tajemniczy ogród" Agnieszki Holland i współczesne kino familijne

100%
Ostrowska-Chmura E.
Kwartalnik Filmowy
|
2013
|
issue 81
52-68
PL
"Tajemniczy ogród" ("The Secret Garden", 1993), pierwszy film zrealizowany przez Agnieszkę Holland w Hollywood, jest adaptacją powieści Frances Hodgson Burnett powszechnie uznawanej za klasykę literatury dziecięcej. Autorka artykułu twierdzi, że film ten jest efektem różnorodnych negocjacji między różnymi modelami i tradycjami estetycznymi kina – głównie hollywoodzkiego kina familijnego oraz europejskiego kina artystycznego. W pierwszej części artykułu omówiony jest kontekst produkcyjny "Tajemniczego ogrodu" i jego wpływ na ostateczny kształt artystyczny filmu. Następnie przedmiotem analizy jest kategoria kina familijnego, do której film Holland jest zaliczany. W części analitycznej artykułu autorka szczegółowo analizuje sekwencje początkową i końcową filmu, by na ich przykładzie omówić proces negocjacji estetycznych i ideologicznych.
EN
'The Secret Garden' (1993), the first film made by Agnieszka Holland in Hollywood, is based on a novel by Frances Hodgson Burnett, that is widely recognised as a classic of children’s literature. The author argues that this film is the result of various negotiations between the many different models and aesthetic traditions of cinema – mainly Hollywood family cinema and the European art cinema. In the first part of the article the author discusses the context of production of "The Secret Garden" and its influence on the final artistic shape of the film. Then the analysis turns to the category of family cinema, to which Holland’s film is said to belong. In the analytical part of the article the author analyses in detail the initial and final sequences of the film, and using them as an example, she discusses the process of aesthetic and ideological negotiations.
2

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

51%
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.
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