Search results

1

Photogenic qualities of aquatic landscapes in the works of Roman Polański

100%

Kita B.

Polish Journal of Landscape Studies

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2020

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vol. 3

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issue 6

109-120

EN

In his debut feature film, Knife in the Water (1961), and then in the subsequent films Cul-de-sac (1966), Pirates (1986), Frantic (1988), Bitter Moon (1992), Death and the Maiden (1994), and The Ghost Writer (2010), Roman Polański uses the element of water in a significant way. It is particularly interesting when water is visible and constitutes a crucial element of the films’ narrative-woven from water images and aquatic landscapes. So, how do aquatic landscapes function in Polański’s films? I believe that he develops his individual film style in which the element of water-its being filmed-both emphasizes the protagonists’ motivation, often conditions it, and is also a very important detail which shapes images and, therefore, affects the aesthetics of those images. Does a specific kind of aesthetics created by aquatic landscapes-which are characterized by a particular form of photogeneity-exist? Polański certainly does not use common visual clichés. The beauty of his aquatic landscapes is of a different type. They are interesting, original, non-intrusive, yet noticeable-even if they do not dominate the whole image. The text follows the director’s visual strategies which prove the photogenic potential of his films. I argue that this photogeneity-stemming from, inter alia, aquatic landscapes-determines the attractiveness of Polański’s films.

2

Kozioł ofiarny i człowiek bez skazy. Sprawa Dreyfusa w filmie Romana Polańskiego Oficer i szpieg i wybrane problemy jego recepcji

89%

Demby Ł.

Kwartalnik Filmowy

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2021

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issue 114 Zanieczyszczenie, brud, skaza

50-64

PL

Artykuł dotyczy filmu Romana Polańskiego Oficer i szpieg, którego akcja została oparta na historii jednego z najsłynniejszych procesów sądowych, tzw. afery Dreyfusa. Autorka analizuje postawy bohaterów tego filmu między innymi w kontekście znanej teorii „kozła ofiarnego” René Girarda. Kozłem ofiarnym jest w tym ujęciu Alfred Dreyfus, Żyd oskarżony i niesprawiedliwie skazany na wygnanie jako rzekomy szpieg niemiecki. Przeciwstawia się temu pułkownik Picquart, określony w filmie mianem „człowieka bez skazy”. Problem „skazy” w odniesieniu do niego i do innych postaci oraz do świata przedstawionego jest jednak dużo bardziej złożony, a największą skazą charakteru ludzkiego okazuje się obojętność.

EN

The article concerns Roman Polański’s film An Officer and a Spy, whose plot is based on the story of one of the most famous trials, known as the Dreyfus affair. The author analyses the attitudes of the film protagonists in the context of the well-known “scapegoat theory”, proposed by Rene Girard. Here, the notion of a scapegoat refers to Alfred Dreyfus, a Jew accused and unjustly sentenced to exile as an alleged German spy. The sentence is challenged by lieutenant colonel Picquart, who is defined in the film as a “flawless man”. The problem of “flaw” in relation to him and other characters and the world presented is much more complex, and indifference turns out to be the greatest flaw of the human nature.

3

Film i dramat. "Śmierć i dziewczyna" Romana Polańskiego

63%

Choczaj M.

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

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2009

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vol. 7

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issue 13-14

111-121

EN

Death and the Maiden by Roman Polański is an example of an experimental transposition of Ariel Dorman’s drama into the visual language of film. The merging of words and pictures in the film is compared to Bachtin’s dialogisation which permeates the element of the European novel. The meaning and motivation of the words in the characters’ dialogues influences the development of the action, form and rhythm of the takes as well as their juxtaposition with the characters and props. Polański does not limit himself only to a single-track effect. As dialogisation influences the forms of visualization, so images broaden the meanings of the dialogues, creating new contexts. The film is not only an attempt to prove that the alleged or real rapist was guilty, but also a study of the dishonoured woman’s fight for a right to live without traumatic reminiscences.

PL

Film and Drama. Roman Polanski’s “Death and the Maiden” Death and the Maiden by Roman Polański is an example of an experimental transposition of Ariel Dorman’s drama into the visual language of film. The merging of words and pictures in the film is compared to Bachtin’s dialogisation which permeates the element of the European novel. The meaning and motivation of the words in the characters’ dialogues influences the development of the action, form and rhythm of the takes as well as their juxtaposition with the characters and props. Polański does not limit himself only to a single-track effect. As dialogisation influences the forms of visualization, so images broaden the meanings of the dialogues, creating new contexts. The film is not only an attempt to prove that the alleged or real rapist was guilty, but also a study of the dishonoured woman’s fight for a right to live without traumatic reminiscences.

4

Czy artyście wolno być przestępcą? Kilka pytań bez odpowiedzi

62%

Giżycki M.

Kwartalnik Filmowy

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2021

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issue 113 Film i technologia

232-242

PL

Czy mamy bojkotować ważne filmy dlatego, że ich autorom/autorkom coś się zarzuca? Czy mamy poddawać ostracyzmowi dzieła artystów/artystek, którzy w pewnym momencie swojego życia opowiedzieli się po stronie zbrodniczych reżimów? Czy mamy usuwać pomniki z przestrzeni publicznych, bo powstały w niesłusznej sprawie, nawet jeśli są ważne z punktu widzenia historii sztuki? Czy można oceniać wartość dzieł sztuki przez pryzmat życia ich twórców/twórczyń. Te i podobne pytania zadaje autor i pozostawia je bez odpowiedzi, przypominając, że już Roland Barthes pisał, iż ukończone dzieło odrywa się od autora i zaczyna żyć własnym życiem.

EN

Should we boycott important films only because their authors have been accused of some misconduct? Are we to exclude works of artists who at some point sympathized with criminal regimes? Are we to remove monuments from public spaces because they served a wrong cause, even if they occupy an important place in the history of art? Should the value of a work of art be judged in the light of its creator’s life? The author asks these and similar questions and leaves them unanswered. He evokes, though, Roland Barthes’ idea that once completed, the work detaches itself from the author and starts its own life.

5

Fokalizacja taktylna w filmie. Uwagi wstępne na przykładzie Wstrętu Romana Polańskiego

51%

Birkholc R.

Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

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2022

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vol. 10

250-266

EN

The article is devoted to the issue of representing the tactile experiences of characters in films. Although the category of tactility is very popular among contemporary film scholars, it has not yet been the subject of extensive research in the field of structural poetics. The author examines the issue referring to the narratological concept of Mieke Bal and the category of focalization. Birkholc distinguishes the basic types of representing tactile experiences in films, which can be depicted both within the objective and subjective mode of narration. The author tries to prove the functionality of the category of tactile focalization, which allows to focus on issues which were marginalized by classic narratology.

PL

Artykuł poświęcony jest reprezentacjom taktylnych doświadczeń bohaterów w filmie. Choć zagadnienie taktylności cieszy się dużą popularnością wśród współczesnych filmoznawców, to jednak nie było dotychczas przedmiotem szerokich badań z zakresu poetyki strukturalnej. Autor ujmuje zagadnienie, odwołując się do koncepcji narratologicznej Mieke Bal oraz zaproponowanej przez badaczkę kategorii fokalizacji. Badacz wyróżnia podstawowe sposoby oddawania doświadczeń taktylnych w filmie, które mogą być przedstawiane zarówno w ramach narracji zobiektywizowanej, jak i w ramach subiektywizacji. Materiałem analitycznym jest Wstręt Romana Polańskiego, w którym doświadczenia taktylne głównej bohaterki organizują poetykę przekazu. Autor próbuje dowieść funkcjonalności kategorii fokalizacji taktylnej, pozwalającej zogniskować się na zagadnieniach z zakresu poetyki tekstu, które były marginalizowane przez tradycyjną narratologię.

6

Zagłada miasta. Warszawa w Pianiście Romana Polańskiego

32%

Jazdon M.

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

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2013

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vol. 12

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issue 21

77-95

EN

This article is an analysis of Roman Polanski’ The Pianist, focused on presenting how the city space in this film, both its exteriors and interiors, makes it a story of Warsaw during the Second World War. The gradual destruction of the city is presented in two supplementary fashions. On the one hand, there is as a quasi-documentary reconstruction of the past based on literary (Władysław Szpilman’s diary) and visual (archive photographs and films) material, while on the other, there is a symbolic narration, where particular places and events bear hidden meanings. Next to Chopin and his music, the piano, interiors and city walls, the most meaningful symbol in the film is a monument of Jesus Christ carrying the cross, a statue standing in front of The Church of the Holy Cross in Warsaw, a motif that appears in the second shot of the Pianist and returns three more times during the film.

PL

The Annihilation of a City. Warsaw in Roman Polanski’s The Pianist This article is an analysis of Roman Polanski’ The Pianist, focused on presenting how the city space in this film, both its exteriors and interiors, makes it a story of Warsaw during the Second World War. The gradual destruction of the city is presented in two supplementary fashions. On the one hand, there is as a quasi-documentary reconstruction of the past based on literary (Władysław Szpilman’s diary) and visual (archive photographs and films) material, while on the other, there is a symbolic narration, where particular places and events bear hidden meanings. Next to Chopin and his music, the piano, interiors and city walls, the most meaningful symbol in the film is a monument of Jesus Christ carrying the cross, a statue standing in front of The Church of the Holy Cross in Warsaw, a motif that appears in the second shot of the Pianist and returns three more times during the film.

Refine search results

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

2 Kwartalnik Filmowy

1 Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica

1 Polish Journal of Landscape Studies

1 Birkholc R.

1 Choczaj M.

1 Demby Ł.

1 Giżycki M.

1 Jazdon M.

1 Kita B.

1 2022

2 2021

1 2020