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1

À propos realizmu

100%
Helman A.
Kwartalnik Filmowy
|
2011
|
issue 75-76
30–49
EN
The author argues that in the history of film studies there are few concepts so loaded with ambiguity, confusion, contradiction and controversy as “realism”. This term refers to various phenomena: artistic stance, means of expression, the on-screen effect, and the attitude of the audience. Realism is a term that is both theoretical and an element of the language of film criticism, it is also a common word used in everyday expressions. Any reflection on realism in cinema has been based on the belief in the “natural” or “innate” realism in film art, and refers to notions of naïve or common sense realism. The author proposes that the subject of the discussion be not realism tout court, but historically different variables of the “realistic” formation. Usually it is easy to show their direct relationship with the theoretical concepts of realism, though the relationship is not always unambiguous. It is sufficient to refer to examples to demonstrate that the collective, unifying approach to the definition of “realism” is not really possible.
2
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Kino pod presją

75%
HENDRYKOWSKI M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2016
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vol. 18
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issue 27
19-32
EN
Cinema under pressure The article contains a synthetic look at the issue of film censorship, taking into account its various forms. The author combines the perspective of a contemporary synchronous with the diachronic perspective, dating back to the distant origins of cinema and filmmaking, in conjunction with politics and ideology.
3
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Henry Giroux, studia kulturowe i krytyka filmowa, czyli pytania o granice między pedagogiką krytyczną a moralistyką

63%
Kruszelnicki W.
Forum Pedagogiczne
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2016
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issue 2/2
243-260
EN
My aim in this paper is to present one of the lesser known, in educational studies and in Polish pedagogy, fields of Henry Giroux’s scholarly work, that is film analysis. Another motivation for writing this critical essay was my growing contention that Giroux’s film criticism constitutes the weakest element within his programme of critical pedagogy. Moreover, I argue here that it can cast a shadow on his scholarly figure, undermining his otherwise well-gained authority as a cultural theorist and ridding his pedagogical thought of gravity through an infantilizing association with moralistic pronouncements, almost impudent social intervention, and conservative, in effect, since it is penetrated by distrustfulness toward artistic culture, the the defence of the idea of the utilitarian dimension of art – a belief that art ought to serve other than artistic/aesthetic functions – above all, educational and political ones.
PL
W artykule przybliżam pole naukowej aktywności Henry’ego Giroux, w którym zajmuje się on analizą filmu. Jest ono, jak można sądzić, najmniej znane polskiej pedagogice, a i w zagranicznych studiach edukacyjnych pojawiające się na ten temat komentarze są rzadkością. Twierdzę tu, że krytyka filmowa Giroux wydaje się metodologicznie najsłabszym elementem opracowywanego przezeń programu pedagogicznego; co więcej, może kłaść się cieniem na sylwetce naukowej badacza, podkopując zdobyty przezeń autorytet kulturoznawcy, a także odbierając powagę samej jego myśli pedagogicznej poprzez infantylizujące ją skojarzenie z moralizatorstwem, niemal nachalną społeczną interwencją i konserwatywną w gruncie rzeczy, jako że podszytą nieufnością wobec kultury artystycznej, obroną utylitaryzmu w sztuce – poglądu, że sztuka oprócz funkcji estetycznych spełniać ma inne, ważniejsze – przede wszystkim edukacyjne i polityczne.
4
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Tańczące muzy. Kino i korespondencja sztuk

63%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2009
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vol. 7
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issue 13-14
5-14
EN
How traditional arts are used and adapted by film? In what ways do they correspond and cooperate as structural elements supporting a fully coherent piece of film? These fundamental questions open many areas of film research. The paper examines three competing definitions of cinema as polimorfic art and gives overview of various versions and modes of coexistence of arts in film. Author argues that ambivalence is evidenced between policy of adapting established arts and policy of modelling new art by filmmakers. The role of film practice in orchestrating individual strategies is used to highlight this ambivalence. Aspirations good for one separate art can be wrong for film as specific medium and kind of art. „The play’s the thing”. As far as symbiosis of many different arts is important for cinema, culture of adaptation remains key question in film practice and filmmaking.
PL
Dancing muses. Cinema and the correspondance of arts How traditional arts are used and adapted by film? In what ways do they correspond and cooperate as structural elements supporting a fully coherent piece of film? These fundamental questions open many areas of film research. The paper examines three competing definitions of cinema as polimorfic art and gives overview of various versions and modes of coexistence of arts in film. Author argues that ambivalence is evidenced between policy of adapting established arts and policy of modelling new art by filmmakers. The role of film practice in orchestrating individual strategies is used to highlight this ambivalence. Aspirations good for one separate art can be wrong for film as specific medium and kind of art. „The play’s the thing”. As far as symbiosis of many different arts is important for cinema, culture of adaptation remains key question in film practice and filmmaking.
5
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Etiudy Romana Polańskiego

51%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2011
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vol. 9
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issue 17-18
159-198
EN
  Director/writer/actor Roman Polanski is one of the central figures in the history of Film School in Łódź. This study provides a detailed and comprehensive introduction to examine cinematic and artistic values of his early short films made between 1955 and 1961 in Poland and in France before his professional feature length debut “Knife in the Water” (1962). In his essential work Marek Hendrykowski looks at these nine shorts with in-depth analysis and adopts both historical and theoretical approach, making use of poetics terms, close reading method and socio-cultural interpretation. In its treatment of Polanski’s études this unique study discusses why these films are important in so many aspects and attracitve from many points of view and they have come to symbolise and represent modern cinema in Poland of the 1950s and early 1960s.
PL
Roman Polanski’s Short Films   Director/writer/actor Roman Polanski is one of the central figures in the history of Film School in Łódź. This study provides a detailed and comprehensive introduction to examine cinematic and artistic values of his early short films made between 1955 and 1961 in Poland and in France before his professional feature length debut “Knife in the Water” (1962). In his essential work Marek Hendrykowski looks at these nine shorts with in-depth analysis and adopts both historical and theoretical approach, making use of poetics terms, close reading method and socio-cultural interpretation. In its treatment of Polanski’s études this unique study discusses why these films are important in so many aspects and attracitve from many points of view and they have come to symbolise and represent modern cinema in Poland of the 1950s and early 1960s.
6
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Tajemnica korespondencji. O "Cudzych listach" Macieja J. Drygasa

51%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2012
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vol. 10
|
issue 19
5-14
EN
Maciej J. Drygas teaches film direction at Film School in Łódź. His lavishly illustrated recent work “Someone’s else letters” is one of the best Polish editing documentaries ever made. The product of extensive research provided by the author in many archives is sure to provoke much debate and discussion about lack of freedom, breaking law by the state secret institutions, crucial importance of human rights and misery of everyday life conditions in Poland 1944-1989. In so doing Drygas greatly enlarges our knowledge and the scope of any understanding of this period. Marek Hendrykowski’s study is the first complete presentation ever published, covering every aspect of this excellent film, expressing its significance and including detailed analysis of its poetics.
PL
The Secret of Correspondence. On Maciej J. Drygas’s Documentary Film „Someone’s else letters” (2010)Maciej J. Drygas teaches film direction at Film School in Łódź. His lavishly illustrated recent work “Someone’s else letters” is one of the best Polish editing documentaries ever made. The product of extensive research provided by the author in many archives is sure to provoke much debate and discussion about lack of freedom, breaking law by the state secret institutions, crucial importance of human rights and misery of everyday life conditions in Poland 1944-1989. In so doing Drygas greatly enlarges our knowledge and the scope of any understanding of this period. Marek Hendrykowski’s study is the first complete presentation ever published, covering every aspect of this excellent film, expressing its significance and including detailed analysis of its poetics.
7
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Cinema for children in Poland – a bastard child of popular culture, an element of cultural education

51%
Franckiewicz-Olczak I.
Acta Universitatis Lodziensis. Folia Sociologica
|
2020
|
issue 73
77-88
PL
Film w połowie lat pięćdziesiątych XX wieku głosem esencjalistycznych teorii filmowych przypieczętował swą przynależność do świata sztuki. Jednocześnie nie zrezygnował z, istniejącej od początku swego rozwoju, etykiety rozrywki dla mas. Na przestrzeni lat wypracował sobie również statut medium edukacyjnego, a jego znaczenie i wpływ na kulturę stworzyły potrzebę edukacji filmowej. I choć wiedza o filmie i kinematografii wprowadzana jest do programów nauczania w szkołach nie tylko w Polsce, nadal pokutuje nacechowane pejoratywnie przekonanie o wyłącznie rozrywkowym charakterze sztuki filmowej. Artykuł koncentrując się na nakreślonej tematyce, odwołuje się do wyników badań dotyczących wiedzy o filmie wśród dzieci i młodzieży oraz wyborów kulturalnych (wykorzystując dane dotyczące wyborów filmowych) opiekunów dzieci w celu analizy miejsca i roli filmu w rozwoju dzieci i młodzieży.
EN
In the mid-1950s, film sealed its place in the world of art with the voice of essentialist theories. At the same time, it did not give up its status as mass entertainment, which it had acquired at the beginning of cinematography’s development. Over the years, it has also developed its position as an educational medium, and its importance and impact on culture created the need for film studies. And although knowledge of film and cinematography is being introduced to school curricula, not only in Poland, the negative view that film is purely for entertainment purposes still prevails. Focusing on the subject outlined, the article refers to the results of research on film knowledge among children and young people, and on the cultural choices (using data on film choices) of parents and caregivers, to analyze the place and role of film in children’s and young people’s development.
8
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Intertekst w adaptacji filmowej

45%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2013
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vol. 13
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issue 22
266-272
EN
There are problems with discussing and interpreting film adaptation in the socio-cultural framework that is used for the semiotic, structural and aesthetic analysis of text. Even cinema as art often gives in to habit of talking about film “oeuvres” attributed to or identified in terms of an “author” and author’s cinema. It may be misleading to give too much weight and attention to the concept of “fidelity” of film adaptation, and it may be better to look at both – adapted piece of literature and its screen adaptation - as variously connected texts of culture confronting each other and participating in specific discourse. Marek Hendrykowski’s paper raises these questions, examines theoretical background of adaptation as form of communication, and reflects on the modelling linguistic aspects of intertextual analyses of film adaptation as a form of cultural translation.
PL
Dyskusja oraz interpretowanie adaptacji filmowej w społeczno-kulturowym odniesieniu, które jest typowym dla semiotycznej, strukturalistycznej oraz estetycznej analizy tekstu, bywa problematyczne. Nawet kino jako sztuka poddaje się zwyczajowi dyskutowania o filmowym dorobku przypisywanym lub identyfikowanym z „autorem” i kinem autorskim. Mylącym może być przecenianie i nadmierna uwaga poświęcana „wierności” adaptacji filmowej, a trafniejsze może okazać się spojrzenie zarówno na adaptowany utwór literacki, jak i jego wersję ekranową jako na połączone teksty kultury konfrontujące się wzajemnie i biorące udział w określonym dyskursie. Artykuł Marka Hendrykowskiego podnosi te kwestie, a następnie bada je w oparciu o teoretyczną podstawę, w ramach której postrzega się adaptację jako formę komunikacji oraz koncentruje się ona językowych aspektach analizy intertekstualnej adaptacji filmowej jako formy translacji kulturowej.
9
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Etiudy Andrzeja Brzozowskiego

45%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2011
|
vol. 9
|
issue 17-18
137-158
EN
  Marek Hendrykowski presents in his study the earliest fiction and documentary films made by Andrzej Brzozowski (1932-2005), excellent Polish filmmaker, 1971-2005 professor of the famous Film School in Łódź (PWSFTviT). “Sunflowers” (1953), “Escape” (1954/55), “Legend” (1957), “Jazz Talks” (1957) – these short films, preserved in the collection of Film School Archive, are almost unknown for wider audience in Poland and abroad. In the second part of his study Hendrykowski gives also an accessible overview of the historical evolution of the filmmaker through the close examination of another two outstanding short films made by him: By the Railway Track (1963) and Medallions (1966). Last two were adaptations of short stories written in 1945 by Zofia Nałkowska, a masterpiece of antinazi world lterature. The article deals with the most important values and close-reading thematic and stylistic areas of Brzozowski’s early works: those developing in the 1950’s and early 1960’s but having deep impact in the poetics of academic short film in Poland, whose form and course they have fundamentally redirected.
PL
Andrzej Brzozowski’s Film Etudes   Marek Hendrykowski presents in his study the earliest fiction and documentary films made by Andrzej Brzozowski (1932-2005), excellent Polish filmmaker, 1971-2005 professor of the famous Film School in Łódź (PWSFTviT). “Sunflowers” (1953), “Escape” (1954/55), “Legend” (1957), “Jazz Talks” (1957) – these short films, preserved in the collection of Film School Archive, are almost unknown for wider audience in Poland and abroad. In the second part of his study Hendrykowski gives also an accessible overview of the historical evolution of the filmmaker through the close examination of another two outstanding short films made by him: By the Railway Track (1963) and Medallions (1966). Last two were adaptations of short stories written in 1945 by Zofia Nałkowska, a masterpiece of antinazi world lterature. The article deals with the most important values and close-reading thematic and stylistic areas of Brzozowski’s early works: those developing in the 1950’s and early 1960’s but having deep impact in the poetics of academic short film in Poland, whose form and course they have fundamentally redirected.
10
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Wielkie figury semantyczne w dziele filmowym

38%
HENDRYKOWSKI M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2016
|
vol. 18
|
issue 27
199-216
EN
Great semantic figures in film This study is devoted to the key issue for any research on film, film art and audiovisual communication - great semantic figures. Marek Hendrykowski extrapolates the repertoire of basic concepts developed for decades in literary science (author, reader, narrator, narration, character, time, space, events, plot, style, composition, etc.) into academic film studies. Following important scientific ideas formulated half a century ago by the eminent literary theorist Janusz Slawinski, Hendrykowski stresses that the scientific sense of using these categories is not limited only to cataloguing them.
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