Search results

1

Mike Leigh po raz pierwszy

100%

Pitrus A.

Kwartalnik Filmowy

|

2017

|

issue 100 O świętowaniu

253-257

PL

Recenzja książki Artura Piskorza „Kino organiczne Mike’a Leigh” (2016). Jak podkreśla Pitrus, publikacja Piskorza jest pierwszą na polskim rynku pracą poświęconą dokonaniom tego brytyjskiego reżysera. Nie jest to jednak kompletna monografia twórcy, bowiem Piskorz ujmuje dokonania bohatera swojej pracy w sposób aspektowy, chcąc nieco zawęzić perspektywę i uczynić tom łatwiejszym w lekturze, ale także zapewne dążąc do samookreślenia przyjętej perspektywy badawczej. Pitrus zwraca uwagę, że Artur Piskorz jest nie tylko kulturoznawcą spoglądającym na kino, ale także anglistą zainteresowanym kulturą Wielkiej Brytanii, w tym również samym jej językiem, co także znalazło odzwierciedlenie w tej publikacji. Recenzent omawia budowę książki i jej najważniejsze założenia metodologiczne, wskazuje jej ewidentne zalety, ale także pewne braki, zaś w zakończeniu pozwala sobie na sugestię, że z autorem „Kina organicznego” należy dyskutować i upominać się o uwzględnienie innych perspektyw interpretacyjnych, choć jego publikacji nie można odmówić spójności.

EN

Review of Artur Piskorz’s book “Kino organiczne Mike’a Leigh” [“Mike Leigh’s Organic Cinema”] (2016). As Pitrus emphasizes, Piskorz’s publication is the first work on the Polish market devoted to the achievements of this British director. However, this is not a complete monograph on the director, because Piskorz captures the achievements of the protagonist of his work only in a certain aspect, in order to narrow down the perspective and make the volume easier to read, but also probably striving to define the adopted research perspective. Pitrus points out that Artur Piskorz is not only a culture studies specialist looking at the cinema, but also an English philologist interested in the culture of Great Britain, including its language, which is also reflected in this publication. The reviewer discusses the construction of the book and its most important methodological assumptions, indicates its stronger points, but also some shortcomings, and in the end allows himself to suggest that one should question the author of “Organic Cinema” strategy and demand that he takes into account other interpretative perspectives, although his publication cannot be denied consistency.

2

Poetics of the Happy Ending in Mike Leigh's Films

51%

Śliwińska A.

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

|

2015

|

vol. 16

|

issue 25

95-103

EN

Poetics of the Happy Ending in Mike Leigh’s Films While the most recent cinema is about surprising us with strange formal solutions, whose finale is intended to completely confuse and outsmart us, Mike Leigh makes fi lms which surprise us with their “typicality”, at the same time (paradoxically) leading to fi nales that we may not expect. Among researchers on melodrama, there are voices clearly assessing happy endings negatively. It is pointed out that a happy ending oft en looks as if it were “tacked on” and artifi cial, ignoring the overall plot rather than being integral to the rest of the fi lm. In the case of Mike Leigh’s films, the situation looks (ostensibly) similarly. Leigh oft en leads the viewer through the dramatic lives of his characters, and watches the process of families’ lives being ruined, one aft er another, only to finally make them rise like a phoenix from the ashes. It may be stated that Leigh’s fi lms in a somewhat artifi cial way take advantage of the happy ending. Th is artifi ciality, however, is not about a banal or ridiculous ending, but about one we have not been prepared for by the director.

3

The City According to Mike Leigh

44%

Śliwińska A.

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

|

2013

|

vol. 12

|

issue 21

107-113

EN

The City According to Mike Leigh The key to the interpretation of the image of London presented in Mike Leigh’s films can be found in his own words: “I actually do think London is a hidden city the way New York isn’t.” and “You can get the hang of New York, but London is a collection of villages. It takes a long time to get under its skin.” London in Mike Leigh’s films perfectly matches the director’s creative thought, exposing social differences and the lack of communication in the family. However, the director releases his characters from the dark corners and hideous streets, and lets more light and nature into their lives. Thanks to this, as he has said, the city becomes a collection of small villages, which for him is the greatest value of the place where he lives and makes his

Refine search results

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

1 Kwartalnik Filmowy

2 Śliwińska A.

1 Pitrus A.

1 2017

1 2015

1 2013

Mike Leigh po raz pierwszy

Poetics of the Happy Ending in Mike Leigh's Films

The City According to Mike Leigh