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On a construction site – a change of perspectives. Architecture in Polish documentaries of the 1960s.

100%
Otto W.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2017
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vol. 22
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issue 31
123-134
EN
Film documentaries: Energia [Energy] by Władysław Ślesicki and Czas przemiany [The Time of Transformation] by Andrzej Piekutowski are film examples of changing perspectives in Polish documentary film of the 1960s. The creators undertook the themes known from the socialist realism cinema, such as industrialization and the value of human labour, but they did so in the poetics of authorial cinema, creating films with a deeper, symbolic message and in a lyrical atmosphere.
2
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„Takim zapamiętałem Mietka”. Władysława Ślesickiego "Płyną tratwy" (1962)

100%
Pławuszewski P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2014
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vol. 15
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issue 24
287-294
EN
The article That’s How I’ve Remembered Mietek aims to throw light on the origins and the final artistic form of Władysław Ślesickis documentary The Rafts Sail (1962). The movie depicts the story of a young Mazurian boy named Mietek, who crosses the line between childhood and adulthood (when, as a raftsman, he floats timber down the river). This film was probably the first time when the director’s poetic attitude towards filmmaking resulted in such a sublime documentary portrait, devoid of any words. Looking back, The Rafts Sail (awarded the Lion of San Marco at the Venice Film Festival in 1962) can be perceived as a clear symptom of Ślesickis masterpieces, such as Before Leaves Fall [1964] or The Family of Man [1966].
PL
The article That’s How I’ve Remembered Mietek aims to throw light on the origins and the final artistic form of Władysław Ślesickis documentary The Rafts Sail (1962). The movie depicts the story of a young Mazurian boy named Mietek, who crosses the line between childhood and adulthood (when, as a raftsman, he floats timber down the river). This film was probably the first time when the director’s poetic attitude towards filmmaking resulted in such a sublime documentary portrait, devoid of any words. Looking back, The Rafts Sail (awarded the Lion of San Marco at the Venice Film Festival in 1962) can be perceived as a clear symptom of Ślesickis masterpieces, such as Before Leaves Fall [1964] or The Family of Man [1966].  
3

Przygody Stasia i Nel w świecie marketingowego PR-u. Analiza kampanii promocyjnej W pustyni i w puszczy Gavina Hooda

89%
Sowiński E.
Kwartalnik Filmowy
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2023
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issue 121 Kino i młoda widownia
119-143
PL
Polski film dla dzieci i młodzieży nieczęsto był przedmiotem zainteresowania badaczy filmu. Jeszcze rzadziej zajmowano się zagadnieniami związanymi z jego produkcją, dystrybucją oraz promocją. Niniejszy artykuł jest próbą wypełnienia tej luki. Przedmiotem zainteresowania autora tekstu są działania z zakresu marketingowego PR-u, które miały miejsce w procesie promocji W pustyni i w puszczy (reż. Gavin Hood, 2001). Autor bada, na ile podjęta strategia PR-owa bazowała na schemacie, który sprawdził się przy okazji promocji Ogniem i mieczem (reż. Jerzy Hoffman, 1999), a także czy jej autorki inspirowały się działaniami, które podjęto w epoce gierkowskiej przy promocji pierwszej adaptacji powieści Henryka Sienkiewicza – W pustyni i w puszczy (1973) w reżyserii Władysława Ślesickiego. W analizie tej autor zastanawia się również nad wpływem działań PR-owych na recepcję krytyczną filmu, do czego służą mu archiwalne materiały prasowe.
EN
Polish film for children and young adults has not often drawn the interest of film researchers. Issues related to its production, distribution, and promotion have been addressed even less frequently. This article is an attempt to fill this gap. It discusses the marketing public relations activities undertaken to promote In Desert and Wilderness (W pustyni i w puszczy, dir. Gavin Hood, 2001). The author examines to what extent the PR strategy was based on a formula that worked well in the case of With Fire and Sword (Ogniem i mieczem, dir. Jerzy Hoffman, 1999), as well as whether the publicists were inspired by activities undertaken during the promotion of the first adaptation of Henryk Sienkiewicz’s novel – In Desert and Wilderness (1973), directed by Władysław Ślesicki. In this analysis, the author also examines the impact of PR activities on the critical reception of the film, drawing on archival press articles.
4
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Reżyserskie szlify. Władysław Ślesicki w Szkole Filmowej (1950-1955)

63%
Pławuszewski P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 17
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issue 26
282-290
EN
Movie Director Exercise. Władysław Ślesicki and a Film School (1950–1955) The article discusses Władysław Ślesicki’s studies at the Lodz Film School (1950–1955). The years he spent at Film Directing Department were fruitful not only because of a few worth-while writings, but also due to some of his first directing experiences. Ślesicki was an assistant on the set of Kazimierz Karabasz’s school films, but he also directed his own (debut) short movies (the short feature Kawaler Kubiak; the short documentary Jedzie tabor). The claim is also made that these early works foreshadow his unique cinematic style, which Władysław Ślesicki developed especially within the documentary genre and which gave him a lasting place in the history of Polish cinema.
5
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View from the inside. The images of the city in the “black series” documentary films in Poland in the 1950s

51%
Szpulak A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2017
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vol. 22
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issue 31
113-122
EN
The article analyses the particular interest that the documentary filmmakers of the late 1950s had in the architectural and urban issues. The reasons for this phenomenon are situated in several plans: they refer to the image of reconstruction from the war devastation and the reaction to its falsification in the period of socialist realism. They refer to the social interests of the filmmakers and to the strategy of metaphorising and allegorising the images of the city, which was handy in the times of censorship as it extended meanings and applied non-literality. The article analyses various film incarnations of this phenomenon.
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