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1
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England in a Miniature in Mike Leigh's "The Short and Curlies"

100%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2012
|
vol. 10
|
issue 19
23-31
PL
Mike Leigh’s films are known for having kept the same tone and having played out the same melody for years. It is noteworthy that all the themes which Mike Leigh developed in his subsequent films, appeared in The Short and Curlies. Short scenes from the life of the English in The Short and Curlies can be seen in each scene of the film. From details such as a street with a perfectly straight terrace of houses with small gardens to social questions that are constant in the British culture. This ordinary, everyday observation gave rise to the plot of The Short and Curlies, revolving around a love affair of Joy (Sylvestra Le Touzel), a young woman working at a chemist’s and Clive (David Thewlis), a man who communicates with her only by means of his humourless jokes. Another story in the film is a complicated relationship of an eccentric hairdresser Betty (Alison Steadman), who is more interested in the life of the pharmacist than in the life of her own daughter Charlene (Wendy Nottingham). As Ewa Mazierska says: “Mike Leigh was once called the painter of miniatures – his films and TV productions for which he is equally praised and admired, concentrate on life of «small people with small gardens»”. Mike Leigh knows that his strengths are well written dialogues and this extraordinary skill to become a fictional character possessed by the actors he chooses.
EN
England in a Miniature in Mike Leigh's “The Short and Curlies” Mike Leigh’s films are known for having kept the same tone and having played out the same melody for years. It is noteworthy that all the themes which Mike Leigh developed in his subsequent films, appeared in The Short and Curlies. Short scenes from the life of the English in The Short and Curlies can be seen in each scene of the film. From details such as a street with a perfectly straight terrace of houses with small gardens to social questions that are constant in the British culture. This ordinary, everyday observation gave rise to the plot of The Short and Curlies, revolving around a love affair of Joy (Sylvestra Le Touzel), a young woman working at a chemist’s and Clive (David Thewlis), a man who communicates with her only by means of his humourless jokes. Another story in the film is a complicated relationship of an eccentric hairdresser Betty (Alison Steadman), who is more interested in the life of the pharmacist than in the life of her own daughter Charlene (Wendy Nottingham). As Ewa Mazierska says: “Mike Leigh was once called the painter of miniatures – his films and TV productions for which he is equally praised and admired, concentrate on life of «small people with small gardens»”. Mike Leigh knows that his strengths are well written dialogues and this extraordinary skill to become a fictional character possessed by the actors he chooses.
2
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Wyreżyserować lekcję. Nauczyciel jako aktor, reżyser i mistrz

100%
Łukowicz M.
Z Teorii i Praktyki Dydaktycznej Języka Polskiego
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2020
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vol. 29
71-85
EN
The article’s aim is to compare the specificity of two theoretically quite remote professions - that of a film director and a teachers. The analysis of differences and convergence points of the said jobs is to capture and particularise the potential of their mutual inspiration. What constitutes the exemplary material around which the presented research revolves are: the elements of the school didactic-upbringing process, work with film crew, and producing and theatrical play. Significant reference points for the analysis were the greatest role models in the field of pedagogics and film directing.
3
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Biografia nieobecna. Wokół życia i twórczości Ireneusza Plater-Zyberka

71%
Zawisza R.
Acta Baltico-Slavica
|
2014
|
vol. 38
296-314
EN
Ireneusz Plater-Zyberk (1896–1946), was a writer and a film producer, adventurer and gallant. His life is an incredible story of the disabled individual who succeeded in an amazing career. Plater-Zyberk was born in a wealthy landowning family who lived at the estate of Vabole in Latvia. He was born without hands and at that time, due to his disability, was classified as "margins of society." Thanks to perseverance and commitment of his mother, he graduated as an extern student from high school in Warsaw, Poland. His career includes Life without Hands, memories, and two novels. He was a co-author of first movie in Poland with stunt effects Dead Node (1927), which unfortunately wasn’t preserved. Also, he was recognized as a documentary creator as well as an initiator of film production regulations.
PL
Ireneusz Plater-Zyberk (1896 lub 1897–1946) był literatem i twórcą filmowym, nieco awanturnikiem i bawidamkiem. Jego postać to niezwykły przykład niepełnosprawnego, który osiągnął w dwudziestoleciu międzywojennym znaczącą karierę. Ireneusz Plater-Zyberk pochodził z zamożnej rodziny ziemiańskiej, zamieszkałej w majątku Wabol na Łotwie. Urodził się bez rąk i w ówczesnej rzeczywistości miał pozostać na marginesie społeczeństwa. Dzięki wytrwałości matki udało mu się ukończyć jako ekstern gimnazjum w Warszawie. W swoim dorobku ma wspomnienia Życie bez rąk oraz dwie powieści. Ważną rolę odegrał Plater jako scenarzysta i reżyser, był m.in. współtwórcą pierwszego polskiego filmu z efektami kaskaderskimi „Martwy węzeł” (1927). Miał on również ogromne zasługi jako twórca filmów dokumentalnych i jednocześnie inspirator zmian w prawodawstwie dotyczącym produkcji filmowej. Tłem jego twórczości pisarskiej jest burzliwe i pełne przygód życie osobiste, romanse i popełniony mezalians, które z racji kalectwa były traktowane przez społeczność ziemiańską pobłażliwie i z dużą wyrozumiałością.
4
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My Characters. Reflections of a Documentary Film Director

71%
Dashuk V.
Kultura-Społeczeństwo-Edukacja
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2016
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vol. 9
|
issue 1
15-27
PL
The author, being a documentary film director, analyzes an important part of a documentarian’s work – relations with characters. She describes this unique kind of a bond that develops between a director and his or her protagonists. The process of coming closer to characters is investigated in detail and the strategies of gaining the characters’ trust are named. The issues what problems the director experiences on the way and how they can be solved are addressed. The questions of the director’s responsibility regarding the characters and unexpected provocations on their side, as well as of mutual protagonist-director influence are brought up. All matters referred to in this article are illustrated by examples from the director’s professional life.
5
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Biografia nieobecna. Wokół życia i twórczości Ireneusza Plater-Zyberka

71%
Zawisza R.
Acta Baltico-Slavica
|
2014
|
vol. 38
EN
An Absent Biography. About the life and work of Ireneusz Plater-ZyberkIreneusz Plater-Zyberk (1896–1946), was a writer and a film producer, adventurer and gallant. His life is an incredible story of the disabled individual who succeeded in an amazing career. Plater-Zyberk was born in a wealthy landowning family who lived at the estate of Vabole in Latvia. He was born without hands and at that time, due to his disability, was classified as "margins of society." Thanks to perseverance and commitment of his mother, he graduated as an extern student from high school in Warsaw, Poland. His career  includes Life without Hands, memories,  and two novels. He was a co-author of first movie in Poland with stunt effects Dead Node (1927), which unfortunately wasn’t preserved. Also, he was recognized as a documentary creator as well as an initiator of film production regulations. Biografia nieobecna. Wokół życia i twórczości Ireneusza Plater-ZyberkaIreneusz Plater-Zyberk (1896 lub 1897–1946) był literatem i twórcą filmowym, nieco awanturnikiem i bawidamkiem. Jego postać to niezwykły przykład niepełnosprawnego, który osiągnął w dwudziestoleciu międzywojennym znaczącą karierę. Ireneusz Plater-Zyberk pochodził z zamożnej rodziny ziemiańskiej, zamieszkałej w majątku Wabol na Łotwie. Urodził się bez rąk i w ówczesnej rzeczywistości miał pozostać na marginesie społeczeństwa. Dzięki wytrwałości matki udało mu się ukończyć jako ekstern gimnazjum w Warszawie. W swoim dorobku ma wspomnienia Życie bez rąk oraz dwie powieści. Ważną rolę odegrał Plater jako scenarzysta i reżyser, był m.in. współtwórcą pierwszego polskiego filmu z efektami kaskaderskimi „Martwy węzeł” (1927). Miał on również ogromne zasługi jako twórca filmów dokumentalnych i jednocześnie inspirator zmian w prawodawstwie dotyczącym produkcji filmowej. Tłem jego twórczości pisarskiej jest burzliwe i pełne przygód życie osobiste, romanse i popełniony mezalians, które z racji kalectwa były traktowane przez społeczność ziemiańską pobłażliwie i z dużą wyrozumiałością.
6
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"Wieczór" Edwarda Żebrowskiego - autorska kopia

71%
Szpulak A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2012
|
vol. 10
|
issue 19
81-87
EN
The aim of this article is interpretation of the short film directed in 1964 by Edward Żebrowski, student of Film School in Łódź. Author is considering the many aspects of the relationships between study film and two years earlier debut of Roman Polanski, the famous Knife in the Water. He shows that by using the concept of feature of more experienced colleague, Żebrowski at the same time creates the foundations for his own film language and manifests its own perception of the world, as well as interpersonal problems, developed in further work.
PL
Edward Żebrowski’s “Evening” – the Creative Copy The aim of this article is interpretation of the short film directed in 1964 by Edward Żebrowski, student of Film School in Łódź. Author is considering the many aspects of the relationships between study film and two years earlier debut of Roman Polanski, the famous Knife in the Water. He shows that by using the concept of feature of more experienced colleague, Żebrowski at the same time creates the foundations for his own film language and manifests its own perception of the world, as well as interpersonal problems, developed in further work.
7
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Jazzowość filmu - filmowość jazzu. O muzyce Krzysztofa Komedy w filmach krótkometrażowych Romana Polańskiego

71%
Pomostowski P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2012
|
vol. 10
|
issue 19
95-103
EN
The relationship between a film director and the composer of the film soundtrack is an exceptionally interesting research subject. Even more so in the context of Krzysztof Komeda’s music in Roman Polański’s film etudes. It is a rare case for the influence of music on a film and for the influence of the film on the music to be so significant in the shaping of the styles of two artists on the threshold of their careers, one of whom is a composer, the other one being a film director.In the article, the author attempts to prove that creating a film using directing solutions that refer to jazz music elements is just as possible as the transformation of a jazz composer (in the context of a film) into an author of music which also becomes a film soundtrack. What is more, the mutual inspirations translate into the artistic development of both artists which is noticeable in their subsequent joined works. Those are: Two Men and a Wardrobe (1958), The Fat and the Lean (1961) and Mammals (1961).The author performs a film study-musicological analysis of the films mentioned above on the basis of the works of Marek Hendrykowski, Alicja Helman, Zofia Lissa, and Emilia Batura; he also uses the opinions of the authors themselves on their shared films which are the subject of the analysis mentioned. Examining the role of Krzysztof Komeda’s music in Roman Polański’s short films proved that apart from functionalizing the basic element of a music piece (melodics, agogic, rhytmics, and meter), the element of improvisation – characteristic of jazz – can also occur in a film, present both in its visual as well as in the sound layer. Thus, the use (on both levels) of elements of two kinds of art different from each other (in an ontological sense) has a significant influence on the shaping of the unique style of both artists.
PL
The Jazziness of a Film – the Filmicness of Jazz. About the Music of Krzysztof Komeda in the Short Films of Roman Polański The relationship between a film director and the composer of the film soundtrack is an exceptionally interesting research subject. Even more so in the context of Krzysztof Komeda’s music in Roman Polański’s film etudes. It is a rare case for the influence of music on a film and for the influence of the film on the music to be so significant in the shaping of the styles of two artists on the threshold of their careers, one of whom is a composer, the other one being a film director.In the article, the author attempts to prove that creating a film using directing solutions that refer to jazz music elements is just as possible as the transformation of a jazz composer (in the context of a film) into an author of music which also becomes a film soundtrack. What is more, the mutual inspirations translate into the artistic development of both artists which is noticeable in their subsequent joined works. Those are: Two Men and a Wardrobe (1958), The Fat and the Lean (1961) and Mammals (1961).The author performs a film study-musicological analysis of the films mentioned above on the basis of the works of Marek Hendrykowski, Alicja Helman, Zofia Lissa, and Emilia Batura; he also uses the opinions of the authors themselves on their shared films which are the subject of the analysis mentioned. Examining the role of Krzysztof Komeda’s music in Roman Polański’s short films proved that apart from functionalizing the basic element of a music piece (melodics, agogic, rhytmics, and meter), the element of improvisation – characteristic of jazz – can also occur in a film, present both in its visual as well as in the sound layer. Thus, the use (on both levels) of elements of two kinds of art different from each other (in an ontological sense) has a significant influence on the shaping of the unique style of both artists.
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