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Slow-czas, slow-cinema. Warstwa temporalna współczesnego neomodernizmu

100%
Syska R.
Media – Kultura – Komunikacja Społeczna
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2014
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issue 10/3
75-89
EN
The main subject of this article is focused on the phenomenon of the time in so-called slow-cinema. The author undertook the analysis of films directed by neomodernist filmmakers: Enrique Rivero, Alexandr Sokurov, Carlos Reygadas, Béla Tarr. He highlighted the specific way in which directors had made temporal ellipsis, plan-sequences and time-lasting vs. a character’s activity. He contrasted this type of films with the narration typical for the contemporary mainstream cinema
2
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Fakes of reality. Do we really need the paradigm of the documentary? From the ontology to the epistemology of movie images, i.e. there and back again

100%
Jakubowska M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2017
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vol. 21
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issue 30
EN
The starting point for this paper is the statement that we are witnessing a “mock-documentary boom” in contemporary cinema. Viewers today can be surprised and confused by the variety of “intercrossings” that are used in documentary and fictional strategies. The fact that there has been a growing number of films that do not respect the traditional division between fictional and non-functional cinema deserves deeper consideration. The introduction of the paper is focused on historical sources and classifications of this complex phenomenon (for example: the brothers Lumière tradition contrasts with that of Méliès). The main body of the paper is concentrated on the question of what cinema can offer in lieu of a documentary paradigm. It also tries to explore ontological and epistemological perspectives which can clarify some of the reasons for the popularity of mock-documentary and docufiction productions. It ends with a suggestion that the cinema is a domain of fakes of reality regardless of whether fictional or non-fictional narration is used to tell their stories. 
3
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Wizje hiszpańskiej wojny domowej w kinie przełomu XX i XXI w

100%
Szymański J.
Heteroglossia - studia kulturoznawczo-filologiczne
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2020
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issue 10
162-175
EN
The aim of this article is to provide the comparison between the visions of Spanish Civil War, which took place between 1936 and 1939, in the cinematography at the turn of the 20th and 21st century. In the first instance, it shows a brief historical introduction to the topic of this military conflict. Then, it critically reflects upon the attitude of the directors of the eight chosen titles (which were created between 1990 and 2019) towards the phenomenon of the civil war in Spain as well as analyses some aspects and circumstances of these pictures highlighted by their creators. Furthermore, the paper also reflects upon the transnational character of these productions as well as the transnational features of the conflict itself. Towards the end of the article, there is a summary of the directors’ visions of Spanish Civil War in the cinematography of the chosen period.
4
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Turning a blind eye to dying and eroticism: some remarks on contemporary cinema

86%
Jakubowska M., Michałowska M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2017
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vol. 21
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issue 30
EN
Since the beginning of the cinematographic industry there has been a visible interest in exploring two themes: death and sex, whereas the motif of dying and sexuality/eroticism seem to be mutually exclusive in mainstream movies to such extent that they rarely appear together on the screen. To shed some light on this cinema tendency of separating eroticism from dying we investigate some of the factors of the phenomenon as well as the ones that could have contributed to the shift we have noticed. The majority of films devoted to the subject of dying and eroticism concentrate on a very limited range of visual and narrative schemes. In our paper we present the main clichés, plot and visual schemes, motifs and narrative techniques in contemporary cinema. Although the unique power of the cinema is “matter of making images seen”, it could be argued that the cinema uses not only the command ‘open your eyes to’, but also the command ‘close your eyes to’. In this way, audiovisual culture closes its eye to the entwinement of the motif of dying with the themes of eroticism. 
5

Tatuaz po pijanemu: mumblecore

86%
Pitrus A.
Kwartalnik Filmowy
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2011
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issue 75-76
191-198
EN
In contemporary cinema one rarely has to deal with groups. Sometimes they are “formed” or “defined” by film critics, who identify similarities in the work of various artists. The case of the “new realists” discussed in this article is different. It is undoubtedly a group. Moreover it works under an already recognized label: mumblecore. The name was invented by Eric Masunaga – a sound engineer, working together with Andrew Bujalski – one of the most important representatives of the movement. The article analyses the work of the youngest generation of independent American filmmakers by referring to the work of their guru – John Cassavetes. It also shows the unique and original nature of the group’s achievements.
6
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Uważna kamera

72%
Taras K.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2020
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vol. 110
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issue 3
136-147
EN
Trying to prove the existence of the mindful camera, a camera that seeks to direct the audience’s attention to what could otherwise be overlooked, the author contrasts the ‘mindful camera’ work with the ‘contemplating camera’. The former is like a partner, even committed to the story, while the latter remains distanced. The mindful camera can be static or dynamic, follow the actor’s moves, or record scenes without people. Although at times it doesn’t contribute much to the action, it always enriches the narrative. What makes the camera work ‘mindful’? Is it a result of the director’s instructions (which also determines the director’s style), the experience of the director of photography, or perhaps the intuition of the camera operator? Examples of films which employ the mindful camera are presented. Shame by Steve McQueen (2011) and Joker by Todd Phillips (2019) are discussed as two features that say a lot about human society in the first two decades of the 21st century. While the former tells the story of the ultimate consumer, the latter focuses on a rebellion of the excluded. The mindful camera shots in Shame confirm the original, often purely intuitive interpretation. In Joker, the mindful camera sometimes sympathises with the loneliness of the main character. In Wojciech Smarzowski’s The Dark House (in Polish: Dom zły, 2009), the nuanced shots of the mindful camera seem to depict not so much a crime scene investigation but a falsification thereof. In turn, Denis Villeneuve’s Incendies (2010) contains merely three, albeit extremely important, mindful camera shots. They inform the viewer of the myth that is being reinterpreted in a specific reality, with the viewer as a witness. Another film by the same director, Sicario (2015), goes even further and offers only two mindful camera shots to show us that in the modern world the individual’s rights don’t exist, whether in a clash with a drug cartel or with the state.
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Ta śmieszna codzienność. Konwencje i źródła humoru w wybranych współczesnych komediach hiszpańskich

72%
Kaprzyk M.
Literatura i Kultura Popularna
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2018
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vol. 24
209 - 224
EN
In the article, the author aims to organize and describe the most popular conventions of Spanish film comedy, as well as describe the sources of humor in these movies. Starting with the begin­nings of contemporary (post-Franco) Spanish cinema, several important changes and developments are described. An economic and legal perspective provides background and a justification for the presented conventions. Additionally, several case-studies are analyzed, most importantly, films by Santiago Segura (the series of Torrente) and Emilio Martínez Lázaro (El otro lado de la cama, Los 2 lados de la cama, Ocho apellidos vascos and Ocho apellidos catalanes).
8

Kino zorientowane ku przedmiotom

72%
Marzec A.
Kwartalnik Filmowy
|
2020
|
issue 110 Poza człowiekiem
80-99
PL
Autor przygląda się świeżemu zjawisku, jakim jest zwrot ku rzeczom w kinie współczesnym. Interpretując filmy Quentina Dupieux oraz Petera Stricklanda, skupia się przede wszystkim na kluczowej w dotarciu do rzeczy samych w sobie kategorii powabu (allure) oraz odróżnia ją od zmysłowego uwodzenia, z którym najczęściej jest mylona. Następnie, odwołując się do teorii witalistycznego materializmu Jane Bennett oraz jej pojęcia siły rzeczy (thing-power), zastanawia się, na czym polega sprawczość przedmiotów i dlaczego tak trudno nam ją sobie wyobrazić. Obecny u Bennett pasywno-aktywny charakter sprawczości rzeczy prezentuje na przykładzie najnowszego filmu Jamesa Benninga Maggie’s Farm (2019). Autor udowadnia, że estetyka oraz retoryka w kinie zorientowanym ku przedmiotom nie są powierzchownymi ozdobnikami, nie pełnią roli ornamentu, lecz pozwalają poszczególnym twórcom filmowym w inny sposób spojrzeć na
EN
The author investigates the recent phenomenon of object-oriented cinema. Interpreting the films of Quentin Dupieux and Peter Strickland, he focuses primarily on the key category of speculative realism that is allure, and distinguishes it from sensual seduction, which is most often confused with. Then, referring to the Jane Bennett theory of vitalist materialism and her concept of thing-power, he asks about the agency of objects and why it is so difficult for us to imagine it. He presents the passive-active nature of agency of Bennett on the example of the latest film by James Benning, Maggie’s Farm (2019). The author proves that aesthetics and rhetoric in object-oriented cinema are not superficial ornaments, but on the contrary allow individual filmmakers to look at objects in a different way.
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