Results found: 2

Search results

Search:
in the keywords: Juris Podnieks

Sort By:

Limit search:

Case of an artist as a scriptwriter in the works of Latvian documentary filmmaker Juris Podnieks

100%

Balčus Z.

Panoptikum

2013

issue 12(19)

174-186

Original study devoted to the collaboration between little known Latvian documentary filmmaker Juris Podnieks, and scriptwriter Arnolds Plaudis. Zane Balčus goes beyond traditional analysis focused on film style and interpretation, taking into account wide spectrum of visual documents (illustrated scripts), reflecting in an original way the process of developing an artwork by two creative personalities. The author reconstructs the image of their collaborative work following press materials, interviews and other written and drawn data.

Oryginalne studium poświęcone współpracy mało znanego na zachodzie litewskiego dokumentalisty Jurisa Podnieksa i scenarzysty Arnolda Plaudisa. W swoim artykule Zane Balčus wykracza poza tradycyjną analizę skoncentrowaną na opisie stylu i interpretacji, badając zróżnicowany materiał obejmujący szerokie spektrum materiałów wizualnych (ilustrowane scenariusze) odzwierciedlających w oryginalny sposób proces powstawania dzieła realizowanego przez dwie niezwykłe osobowości. Autorka rekonstruuje obraz ich wspólnej pracy sięgając po materiały prasowe, wywiady, teksty i szkice.

Films that Gave Us Boldness: East European Documentaries Screened in Poland (1987-1993) as Refl ected in the Film Press of the Time

63%

Hučková J.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

2014

vol. 15

issue 24

270-276

“Films from East” signalling the political breakdown in the middle of the 1980s (the Gorbachev era) were welcom ed in the offi cial circulation system. Th e fi lms were screened not only in festival cinemas, but on TV as well, and were discussed in newspapers and magazines. Soviet fi lms were especially important because they were able to carry new information about the changes taking place in Eastern Europe. If independent ideas appeared in a Polish fi lm, it could be banned from screening, as censorship was sensitive to works “threatening socialism” and “disturbing the alliance”. Th e only country in our part of Europe which did not need to be afraid of “disturbing the alliance” was the Soviet Union. We can distinguish three groups of such documentaries: analyses of social life (for example: Is It Easy to be Young? by Yuris Podnieks, Borderline by Tatiana Skabard), fi lms about contemporary threats, provoked by the Chernobyl disaster (An Unpublished Album by Victor Kripchenko and Volodymyr Taranchenko, Chernobyl the Chronicle of Diffi cult Weeks by Volodymyr Shevchenko) and documentaries “squaring accounts” with history, fi lling in so-called “blank spots” (Termination of an Agreement by Murat Mamedov, Solovki Power by Marina Goldovskaya).

Refine search results

1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Panoptikum

1 Balčus Z.

1 Hučková J.

1 2014

1 2013

Search results

Case of an artist as a scriptwriter in the works of Latvian documentary filmmaker Juris Podnieks

Films that Gave Us Boldness: East European Documentaries Screened in Poland (1987-1993) as Refl ected in the Film Press of the Time