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1

Żywy teatr, martwe oko, umarli w piwnicy i buty trupa – wokół „Umarłej klasy” Tadeusza Kantora w zapisie filmowym Andrzeja Wajdy

100%
Sosnowska D.
Kwartalnik Filmowy
|
2014
|
issue 87-88
197-204
PL
Tekst dotyczy relacji między spektaklem teatralnym – „Umarłą klasą” Tadeusza Kantora – a jego zapisem filmowym autorstwa Andrzeja Wajdy. Wychodząc od tezy, że film ten ocalił spektakl i jest przykładem wzorcowej rejestracji wydarzenia teatralnego, autorka wskazuje na stojące za takim przekonaniem definicje teatru i filmu. Śledząc wypowiedzi Wajdy dotyczące rejestracji „Umarłej klasy” oraz jego praktyki teatralnej, Sosnowska wskazuje na paradoksy wynikające z rozumienia teatru jako „żywego”, efemerycznego i wymagającego ocalania, a filmu jako trwałego i „martwego” medium. Idąc za rozpoznaniami Rebeki Schneider, autorka proponuje, by spojrzeć na teatr inaczej – jako na swoiste archiwum używające innych mediów, by „trwać” na swój performatywny sposób. Przy takim założeniu okazuje się, że relacja między spektaklem Kantora a zapisem filmowym Wajdy może być rozumiana zupełnie inaczej. Film nie tyle ocalił spektakl, ile zmienił go we własne powtórzenie, stając się niezbywalnym elementem „Umarłej klasy”.
EN
The article deals with the relationship between theatrical spectacle – “Dead Class” by Tadeusz Kantor – and its film recording by Andrzej Wajda. Starting from the thesis that this film rescued the spectacle and is an example of a master recording of a theatrical event, the author points out the definitions of theatre and film on which this conviction is based. Sosnowska in her analysis of Wajda’s statements on the recording of the “Dead Class” and his theatrical practice, points out the paradoxes resulting from understanding theatre as a “life performance”, ephemeral and in need of a rescue, and film as a dead and lasting medium. Following the points made by Rebecca Schneider, the author suggest that we look at the theatre in another manner – as a kind of an archive that uses other media, in order to survive in its performative way. Given such understanding, it turns out that the relationship between Kantor’s spectacle and Wajda’s film recording might be understood in a completely different way. The film not so much rescued the spectacle, but it turned it into a repetition of itself, becoming an essential element of the “Dead Class”.
2

Pocałunek śmierci. Przestrzeń pozakadrowa w filmach Michaela Haneke, Aleksandra Sokurowa i Andrzeja Wajdy

75%
Falkowska J.
Kwartalnik Filmowy
|
2014
|
issue 87-88
217-230
PL
Autorka skupia się w tekście na zagadnieniu przestrzeni pozakadrowej jako odrębnej kategorii estetycznej, która pełni różne funkcje w filmach Michaela Haneke, Andrzeja Wajdy i Aleksandra Sokurowa. Wszyscy trzej filmowcy kierują uwagę widza w przestrzeń pozakadrową na odmienne sposoby i posługując się innymi kontekstami diegetycznymi. Haneke robi to przez ukrycie przed widzem scen skrajnej przemocy, Wajda – w scenach przesyconych refleksją i smutkiem, a Sokurow wtedy, gdy nie chce pokazać pewnych faktów czy stanów umysłu. Każdy z nich skutecznie i po mistrzowsku tworzy „niepomyślane” i przekonująco wykorzystuje przestrzeń „pozakadrową” jako: przestrzeń „niesamowitą” (Haneke), niewypowiedzianą i ahistoryczną (Sokurow), bądź jako reprezentującą „niewyrażalną” melancholię i smutek (Wajda). Autorka wybiera jedynie niektóre filmy wspomnianych reżyserów, by ów fenomen poddać szczegółowej analizie. Swój esej zamyka konkluzją, że prawdziwym mieszkańcem przestrzeni pozakadrowej jest śmierć obecna w filmach wszystkich trzech reżyserów.
EN
The essay introduces off screen space as a separate aesthetic category which performs different functions in the films of Michael Haneke, Andrzej Wajda, and Alexander Sokurov. All three filmmakers direct the attention of spectators to off screen spaces in different ways and in different diegetic contexts. Haneke directs the spectators’ attention off screen when he hides scenes of extreme violence to the audience. Wajda directs the spectators off screen in the scenes of reflection and sadness while Alexander Sokurov redirects the spectators off screen when he is unwilling to show certain facts or states of mind. Each of them is effective and masterful in creating “the unthought” and convincingly using “off screen” space as “the uncanny” in Haneke, “the inexpressible” melancholia and sadness in Wajda, and the unsaid and ahistorical in Sokurov. The author chooses only some films of the above mentioned directors to analyze this phenomenon in detail. She concludes her essay with a statement that the real inhabitant of the off screen space is death present in the films of all three filmmakers.
3

The Splendour of Male Relationship. Andrzej Wajda’s "The Promised Land" as a buddy film

71%
Jagielski S.
Kwartalnik Filmowy
|
2013
|
issue Special Issue - Polish Film Scholars on Polish Cinema
37-66
EN
One of the dominant themes in the work of Andrzej Wajda is the male homo-social desire. In "The Promised Land" it takes on a particularly dangerous form. Placing homosexuality (or more broadly – sexual minority) within a context of tolerant and accepting male community does not fit into accepted narrative of the nation, within which gays are always presented as enemies. Although in the film the ideal body of a Pole is contrasted with the anti-body of a homosexual Jew, the relations between them are not shaped according to the national, anti-gay script. Multicultural male homo-community is an alternative to family life and nation-state identity. In Wajda’s film the weaning patriotic ethos clashes with the emerging, future oriented community. The analysis of the male homo-social community is preceded by a presentation and analysis of the American sub-genre of buddy films of the 1970s, to which Wajda directly refers.
4

Recepcja polskich filmów w świetle teorii afektu. „Wałęsa. Człowiek z nadziei” Andrzeja Wajdy (2013) i „Róża” Wojciecha Smarzowskiego (2011)

71%
Janina F.
Kwartalnik Filmowy
|
2016
|
issue 95 Transnarodowość kina polskiego
204-212
PL
Tematem artykułu jest zagraniczna recepcja polskich filmów, zwłaszcza tych zawierających komponent „historyczności”. Chociaż oczywistością wydaje się to, że im mniej wiemy o danym kraju, tym słabiej rozumiemy konkretny film i niesiony przezeń przekaz, to jednak istnieją pewne fascynujące reguły rządzące procesami rozumienia filmu, które zasługują na staranną analizę. Zgodnie z teorią afektu recepcja m.in. takich polskich filmów, jak „Róża”, „Wałęsa. Człowiek z nadziei” czy „Popiół i diament” jest uzależniona nie tylko od kognitywnego przetwarzania faktualnych danych dostarczanych przez film, ale także od złożonego procesu negocjowania odbiorczego między wiedzą o faktach a ich interpretacją, jak również w odniesieniu do czynników wiążących się z zapleczem politycznym widza, jego wykształceniem i wrażliwością emocjonalną. Falkowska wychodzi od brytyjskiej nowej fali lat 60. i podejmuje refleksję nad filmami dotyczącymi historii, a następnie koncentruje się na „Wałęsie. Człowieku z nadziei” (2013) Andrzeja Wajdy oraz jego „Popiele i diamencie” (1957), a także na „Róży” (2011) Wojciecha Smarzowskiego. W swej argumentacji autorka skupia się na interpretacji filmu o Lechu Wałęsie – produkcji, która w Polsce spotkała się z emocjonalnym odbiorem, natomiast poza granicami kraju została przyjęta raczej łagodnie.
EN
The focus of the article is the reception of Polish films abroad, especially the ones with the historical component as its building part. While it seems obvious that the less you know about a particular country, the less you understand of the film and the message it communicates, there are some fascinating rules which govern the processes of understanding or lack of understanding that merit careful scrutiny. According to the affect theory, the reception of Polish films like “Rose”, “Walesa. Man of Hope”, “Ashes and Diamonds”, and other, depends not only on a cognitive processing of factual information conveyed by the film, but also on a complex negotiation of the spectator’s own meanings generated by the knowledge of facts and their interpretations as well as the facts pertinent to his/her own social and political background and education and emotional sensitivity. Falkowska uses British New Wave from 1960s as a starting point for the discussion of films with historical content and then concentrates on “Walesa. Man of Hope” (dir. Andrzej Wajda, 2013), “Ashes and Diamonds” (dir. Andrzej Wajda, 1957) and “Rose” (dir. Wojciech Smarzowski, 2011). The majority of her argument focuses on the interpretation of “Walesa. Man of Hope”, the film which has raised some emotions in Poland while receiving a mild response elsewhere
5

A Bodiless Enemy

71%
Marszałek R.
Kwartalnik Filmowy
|
2013
|
issue Special Issue - Polish Film Scholars on Polish Cinema
31-36
EN
The following is the text of Rafał Marszałek’s address during the international conference on "The Warsaw Uprising in the Context of Polish-German Relations" (Warsaw, 30 March – 1 April, 2007). Marszałek argues that there is no room for an "absolute enemy" in the selected works by Andrzej Wajda, Kazimierz Kutz and Andrzej Munk of the so-called "Polish Film School" and that the films are free of the hatred to the Germans as invaders and occupiers. What emerge from the films are a toothless enemy and then a bodiless enemy. The thesis is exemplified in "Canal" – the death of the Warsaw insurgents is portrayed in a symbolic language; in "Ostinato lugubre", the second part of "Eroica", in which the Germans (as enemy) are not the demonic personification of oppression; in "The Dog" (part of "Cross of Valor") – the hero saves the life of the dog guarding inmates at an Auschwitz death camp; in "Speed", one of few war films in the history of cinema that does without the character of a (German) enemy. Marszałek points out that the "dematerialization" of the enemy flows from the special (both psychological and moral) instinct of self-preservation rather than forgiveness.
6

"Wojny na narracje": "Wałęsa. Człowiek z nadziei” Andrzeja Wajdy i kobieca historia (herstory) Solidarności

63%
Radkiewicz M.
Kwartalnik Filmowy
|
2015
|
issue 92 Kino polskie i polityka
171-185
PL
Tekst zbiera wątki filmowe, publicystyczne i biograficzne, składające się na kobiecą historię Solidarności, która w powszechnej świadomości została zmarginalizowana albo nigdy nie miała w niej swojego trwałego miejsca. Dlatego obok opracowań Shanny Penn i innych historyczek, jako materiał zostaje tu wykorzystana biografia Danuty Wałęsy, film Andrzeja Wajdy „Wałęsa. Człowiek z nadziei”, a także zapiski jego scenarzysty Janusza Głowackiego. We wszystkich tych źródłach pojawiają się postacie kobiet w różny sposób powiązanych z działalnością opozycyjną oraz z Solidarnością. W ich (auto)narracjach pojawiają się te same epizody – choć często widziane z odmiennych punktów widzenia – i konteksty: praca, życie domowe, dzieci, aktywizm kosztem wolnego czasu. W analizie tych kobiecych historii przydatne okazuje się pojęcie „trans-sferu”, które Krystyna Duniec i Joanna Krakowska w swojej książce „Soc, sex i historia” definiują jako przeniesienia zainteresowań z racjonalnej sfery rozumu na sferę intymności, oraz z pamięci zbiorowej, na pamięć indywidualną.
EN
The article considers film, journalistic and biographical themes that make up women’s history (herstory) of Solidarity, which in popular consciousness has been marginalised or even never had a presence. That is why next to studies by Shana Penn and other women historians, the biography of Danuta Wałęsa, Andrzej Wajda’s film „Wałęsa, Man of Hope”, and notes of the screenwriter Janusz Głowacki will be used in the following argument. In all of these sources there appear female figures that are linked in various ways with the opposition and Solidarity. In their auto-narrations there appear the same episodes and contexts, though seen from different points of view: work, family life, children, activism at the expense of free time. In the analysis of these female histories the concept of “trans-sphere” proves to be particularly useful. This concept is defined by Krystyna Duniec and Joanna Krakowska in their book „Soc, sex and history” as a transfer of interest from the rational realm of reason to the realm of intimacy, and from the collective memory to individual memory.
7

Blask męskiego związku. Ziemia obiecana Andrzeja Wajdy jako film kumpelski

54%
Jagielski S.
Kwartalnik Filmowy
|
2012
|
issue 77-78
25-54
EN
One of the dominant themes in the work of Andrzej Wajda is the male homo-social desire. In the Promised Land it takes on a particularly dangerous form. Placing homosexuality (or more broadly – sexual minority) within a context of tolerant and accepting male community does not fit into accepted narrative of the nation, within which gays are always presented as enemies. Although in the film the ideal body of a Pole is contrasted with the anti-body of a homosexual Jew, the relations between them are not shaped according to the national, anti-gay script. Multicultural male homo-community is an alternative to family life and nation-state identity. In Wajda’s film the weaning patriotic ethos clashes with the emerging, future oriented community. The analysis of the male homo-social community is preceded by a presentation and analysis of the American sub-genre of buddy films of the 1970s, to which Wajda directly refers.
8

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

36%
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.
9

Holokaust i polityka

36%
Rutkowska T.
Kwartalnik Filmowy
|
2012
|
issue 77-78
319-322
EN
A book review of Marek Haltof’s Polish Film and the Holocaust. Politics and Memory (2012), in which the author takes up the question of representation of Holocaust in Polish film. Haltof carries out a meticulous analyses of films, and relates them to the political, ideological and cultural contexts of time in which they were made. Amongst others he considers: Wanda Jakubowska’s The Last Stage, Aleksander Ford’s Border Street, Andrzej Wajda’s Generation and Andrzej Munk’s The Passenger. Haltof also discusses films made after the end of 1989, after a period of silence (the years of 1965-1980), when the subject of the Holocaust was reluctantly taken up by film-makers. Amongst others he considers Andrzej Wajda’s Korczak and Roman Polański’s The Pianist. Haltof’s book can also be viewed in terms of an important contribution towards the discussion of Polish national memory.
10

Wesele Andrzeja Wajdy jako mandala

36%
Kuśmierczyk S.
Kwartalnik Filmowy
|
2012
|
issue 79
6–21
EN
The author calls on the concept of the mandala by C. G. Jung as ideogram expressing the content of the mental state in the current stage of the development of the inner man. The interpretation of Wedding as a mandala presents the location of the action as a quadrilateral inscribed in a circle. The analysis reveals the three sequences comprising the film, the fractal triadic structure of the whole work, the metamorphosis of the characters, and its close relationship with changing time and space and the importance of vision scenes. The author discusses the mythic-initiation structures and the rite of passage structure using the interpretative framework of Arnold van Gennep. He analyzes the unity of the visual and audio layers of the film, interpreted in the light of Paul Florensky’s ideas on golden highlighting in Russian orthodox icons. He discusses the colour scheme of the film, which is judged to be a remarkable achievement by Witold Sobociński cinematography. He shows the symbolic meaning of the colours that refer to color semantics in Polish folk culture and their relationship with the symbolism of the mandala form and the metamorphosis of the characters.
11

Obrazy Holokaustu w filmach z okresu polskiej szkoły filmowej (1955-1965)

28%
Haltof M.
Kwartalnik Filmowy
|
2012
|
issue 77-78
112-146
EN
The author analyses the ways Holocaust was presented in Polish films that were made during the existence of the Polish Film School. Using the examples of films, the majority of which remains in the shadow of the great „canon” of the Polish school, Haltof attempts to place the image of Holocaust presented in them within the artistic, historical and political context. The author analyses films such as Andrzej Wajda’s Samson, and Generation, Ewa and Czeslaw Petelski’s Barker, Stanislaw Rozewicz’s Birth Certificate, Jerzy Zarzycki’s White Bear, and Andrzej Munk’s The Passenger, as well as two short films: Andrzej Brzozowski’s By the Railway Track, and Janusz Morgenstern’s Ambulance. By analyzing them, the author writes about how ways of connecting and disconnecting the Polish and Jewish fate, the tragedy of children that were victims of the Holocaust, about the attitudes of Poles towards Jews seeking help, and of the film attempts to find the psychological dimension of the relationship between the oppressed and the oppressors.
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