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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

Wnętrze salonu – wnętrze piekieł? Anioł zagłady Luisa Buñuela, 1962

100%
Lipka K.
Kwartalnik Filmowy
|
2012
|
issue 79
22-32
EN
In almost every film the interior plays a part. However sometimes we come across a storyline in which the interior plays a special role, becoming in a way the main protagonist of the film, deciding the course of the action and defining the meaning of the work. It would be difficult to find a better example of such work that Buñuel’s The Exterminating Angel, in which the “enchanted” interior of a rich, bourgeois living room traps a group of people, seemingly without any reason, cause or sense. The film is not totally surreal. It can be interpreted from a number of perspectives (political, social, psychological, philosophical), but it seems that these interpretations are obscured by the movie, and none of these interpretations is entirely undisputed (this is suggested by question marks in the text). It would be difficult to firmly maintain that the film is a masterpiece, but an opposing view is also of uncertain value. If the measure of a film’s greatness should be the possibility of diverse interpretations, then The Exterminating Angel would surely be among top films considered to be difficult, complex and over-intellectualised.
3
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The Film Document as a Testimony of the Present: A Sceptic at the Confessional

100%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2014
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vol. 15
|
issue 24
91-98
PL
The semiotic mechanism of representing time present in documentary film has remained the same since the 19th century up to this very day. This is governed without exception in the cinematographic “message” by the choice and combination of visual and audio elements shown on the screen, together with the process of fragmentation and segmentation of images in respect to the reality being communicated. The nature of information contained in the moving pictures is one of communicating integrated experiences of the world, and experiences of civilization and culture. Thus conceptualised, information and the process of informing have a dimension that is par excellence anthropological. There in fact lies the broadly understood process of experience on the part of man and society - regardless of the changeability and ad hoc nature of the subjects raised in a given piece of subject matter - representing each time its ‘what’ and ‘how’. Regardless of the means of film expression used, there is always the same point of significance: the difference in the potential between what is known and that which is unknown. That is why the creative documentary proves on each occasion to be a mutual discovery of both known and unknown reality - one shared by the filmmaker and audience.  
4
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Wpływ transformacji ustrojowej na estetykę i funkcje Polskiej Kroniki Filmowej na przykładzie sekwencji dotyczących wydarzeń z Marca ’68, Grudnia ’70 i Sierpnia ’80

75%
Hekert A., Łysakowska-Trzos A.
Przegląd Zachodni
|
2019
|
issue 3 (327)
249-264
EN
The aim of the article is to observe the changes that have taken place in the aesthetics and functions of the Polish Film Chronicle after 1989. To capture the transformation in the message of the PFC, documents on the months-symbols of the Polish People’s Republic period were analysed. The research problem is the analysis of six sequences: three produced during communism [Party Position (12B/68) Gdańsk and Gdynia – after the December events (50B/70) and the end of the strike (36A/80)], and three sequences broadcast after 1989 [That August 35/90, Three Decembers 51/90 and March Days (11/90). The individual documents are analysed using a classic method of study of the chronicle, proposed by Siegfried Kracauer in his work „From Caligari to Hitler”. The analysis includes the following elements: image, words, music, and sound, and – an element added by the authors of the present study — sequences adjacent to this sequence. The film study analysis is complemented by non-source-based knowledge of the period in question. After 1989, the Polish Film Chronicle changed its character, using in its message previously unpublished materials and reducing the emphasis on role of the off-screen reader. Despite renouncing its status as a „propaganda tube”, it did not lose its impressive function. The PFC newsreels are described chronologically, according to the events told, which allows to capture both the changes that took place in the chronicles after 1989, but also the modifications that took place in newsreels broadcast during the Polish People’s Republic period.
5

Joanna en face. O filmie Feliksa Falka

75%
Kaniecki P.
Kwartalnik Filmowy
|
2012
|
issue 77-78
157-167
EN
Joanna by Feliks Falk tells a story of a woman, who during the Second World War hides a Jewish child and is accused of inappropriate contacts with a German officer. Kaniecki points to three different problem areas presented in the film, which are connected to different protagonists. The film can be seen through the eyes of the little girl Rose, as a film dealing with the Holocaust, it can also be seen as a story of a sacrifice of Joanna, finally it can be seen as a film – and that theme is connected to the figures of the accusers – that is the director’s manifest against shallow reasoning and quick judgements of choices people make in extreme situations. In this respect the film is also a comment of the current Polish situation relating to lustration.
6

Między mitem i historią jest realność zła. Ryś Stanisława Różewicza

75%
Frąc W.
Kwartalnik Filmowy
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2012
|
issue 77-78
147-156
EN
The aim of Lynx, a film by Stanislaw Rozewicz, is to show the reality of evil, and overcome the boundary between its mythical representation and its occurrence in history. The audience is confronted with two extreme forms of evil that originate on the opposing poles of human free will. The first of these refers to the biblical myth of Adam and the problem of individuals yielding to evil. The second one, associated with the experience of Shoah, confirms the existence of evil in the human being, but above all in people, especially in the social, and systemic dimensions. The visual narrative in the film is a confrontation of both of these faces of the reality of evil, which confirms their interdependence and mutual entanglement, that cannot be fully explained and rationalised. Because of that the thesis about the banality of evil seems to be unacceptable.
7

Tak zwane kino klasyczne

75%
Kempna-Pieniążek M.
Kwartalnik Filmowy
|
2012
|
issue 79
233-239
EN
In her review of the second volume of the History of Cinema (Historia kina. Kino klasyczne, ed. Tadeusz Lubelski, Iwona Sowińska, Rafał Syska, 2011), the author draws attention to the ambiguity of the title concept of Classic Cinema. The opalescent nature of the term has been consciously exploited by the editors of the book. Kempna-Pieniążek argues that the second volume of the History of Cinema is dominated by three understandings of film classicism: institutional, stylistic and cinephilic. The first of these is represented by those authors who look at the organizational structures, modes of production, historical, political and social contexts of development of film art. The second is specific to researchers who analyse “classic” in terms of transnational formula of aesthetic of film that is subjected to local modifications. And the third kind of understanding leads to the combination of “classical” with the “classic”. While taking note of some minor defects of the book, the author of the review stresses the value of the volume, that she considers to be a good compendium of knowledge and a useful teaching aid in the area of history of film.
8

(Bez)sens życia we wczesnych filmach Wojciecha Jerzego Hasa

75%
Mazierska E.
Kwartalnik Filmowy
|
2012
|
issue 77-78
95-110
EN
The paper argues that the early films of Wojciech J. Has, namely Petla (Loop, 1957), Wspolny pokoj (A Shared Room, 1959) and Zloto (Gold, 1961), convey the idea or a sensation that life has no ultimate or deeper meaning. However, one can also identify a certain trajectory in Has’s films: Loop is the most pessimistic of Has’s films; in Gold the author is closer to affirming life, although the film still comes across as rather pessimistic. Mazierska tries to identify reasons for the pessimism of Has’s films by emphasising the link between Has’s characters and those populating existential works, which were very influential at the time Has made his films. The author of the paper also points to their transformation, marked by gradual diminishing of their existential aspect; this being replaced by socialist realism. She also argues that the transformation in Has’s early cinema can be seen in terms of the shift from tragedy to melodrama. The essay is also informed by a discussion of Has’s approach to gender and comparison of his films to those made by Jerzy Skolimowski at a similar time.
9

Blask męskiego związku. Ziemia obiecana Andrzeja Wajdy jako film kumpelski

75%
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.
10

Hollywoodzki gotyk i zamknięta przestrzeń ogniska domowego

75%
Włodek P.
Kwartalnik Filmowy
|
2012
|
issue 79
62-78
EN
In the 1940s several dozen Hollywood films belonging to the Gothic series of film noir were made. The repetitive plots typically revolved around beautiful young women, usually right after the wedding, who are persecuted, tortured, and driven mad by their husbands. Even if the perpetrators were characters other than husbands (e.g. employers, relatives, close friends), the events in these films always took place in the confined space of the main heroine’s house, that is in a place where, by definition, she should feel safe. Not only because the house simply is associated with a sense of security, but also because – according to the conservative message coming from the Hollywood of those years – the house was simply the place in which women belonged, whilst realising their dreams and ambitions in a happy marriage. The Gothic series, also referred to by many other names such as “paranoid women’s movies” or “persecuted wife cycle”, shows how this closed space becomes an arena of marital nightmare, revealing a gap of subversion in a seemingly clear ideological transmission subjected to the dictates of the Hays Code.
11

Transferując Chopina. Chopin, piewca wolności Gezy von Bolvary’ego

75%
Sowińsk I.
Kwartalnik Filmowy
|
2012
|
issue 77-78
6–24
EN
Abschiedswalzer, the biography of Frederic Chopin made in the Third Reich, is usually seen as a surprisingly friendly towards Poland and Polish people. The film is regarded by contemporary film historians opposed to the typical argument that film entertainment during the Nazi era was extremely politicised, as well crafted, and free of ideological elements typical of cinematic entertainment of the time. However an analysis of how Chopin’s music is used, the construction of the main characters, omissions and distortions of historical facts, gender strategies applied and the role of the language leads to a different conclusion. The film shows a deep ambivalence towards Chopin. An affirmation of his music is accompanied by discrediting him as a man and as a patriot, which results in visible “germanization” of Chopin presented in the film, which germanization however remains incomplete. From the film it might be inferred what were the official priorities of the German foreign policy of the time (correct relations with the neighbouring states, and also an anti-soviet direction) but also the expansionist ambitions of the Third Reich. Before the Germans began to realize the idea of colonising the East by military means, the expansion was a cultural one, and was served by films such as Chopin, the Bard of Freedom.
12

Romantyczni Stanisława Różewicza. Między marzeniem a rzeczywistością

63%
Maron M.
Kwartalnik Filmowy
|
2012
|
issue 77-78
55-71
EN
Maron presents a little known film by Stanislaw Rozewicz – The Romantics (1970) – an intimate historical and psychological drama, which takes place during the late Spring of the Nations period (winter of 1849, after the fall of the Poznan uprising), in an aristocratic manor in Greater Poland region (Wielkopolska), where two young brothers are hiding – the conspirators Wladyslaw and Henryk. Through their history Rozewicz shows how the romantic notions and ideas (messianism, national philosophy, poetry, the ideal of romantic love and romantic act) penetrated into the consciousness of people and determined their existence, placing it between the dreams of the free life and harsh political reality. The director sketches the portraits of the protagonists in a realistic manner as well as the social and psychological conflicts between them. Despite this “realistic” trend in Rozewicz’s film, as in the works of the romantics, the visible world relates primarily to the “invisible” world of existential and spiritual values. The Romantics is a work that accurately reflects ideals and problematic of romanticism, and also illustrates typical Polish combination of reality and phantasm.
13

Wojna mile widziana

63%
Gierszewska B. L.
Kwartalnik Filmowy
|
2012
|
issue 79
227-232
EN
A book review of Małgorzata Hendrykowska’s Polish film on war and occupation. Topics, themes, questions (Film polski wobec wojny i okupacji. Tematy, motywy, pytania, 2011). Gierszewska notes that the author presents a multi-threaded discussion of World War II as seen through the film lens, and also presents a new and ordered interpretation of Polish film productions on war since the end of World War II to the present day, taking into the account historical and political contexts. The reviewer believes that the book is interesting and Hendrykowska presents us with a work rich in facts, reliable from the scientific point of view, objective and interpretively tailored to the needs of modern education in the field of World War II in Polish cinema. Importantly, Hendrykowska re-read the film content ignoring the false messages of political propaganda. The reality of war and occupation, presented free of ideology, one of the most important topics in Polish cinema in the period of 1945-2010, is thus presented and re-described from a new perspective. So far Polish film studies literature and teaching lacked a multifaceted attempt to reconstruct the complex issues of World War II and the wartime occupation as seen through the prism of the film. Małgorzata Hendrykowska fills this gap.
14

O trudności ekranizacji. Andrzej Wajda i „Jądro ciemności”

63%
Janikowska A.
Prace Kulturoznawcze
|
2018
|
vol. 22
|
issue 3
93-100
EN
The purpose of the article is to characterize and analyze the possible shape of a film adaptation of Heart of Darkness by Joseph Conrad, which Andrzej Wajda never accomplished. Through using archival materials, notes, letters, scripts and screenplays the author of the article reconstructs the creative work of the director on the idea of the movie and the issues which eventually prevented a finalization of this project. The article refers not only to Wajda’s unrealized film, but also to Conrad themes present in the director’s creations.
15
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Obraz intelektualisty we współczesnym dyskursie filmowym lat 1968–1990

63%
Domke R.
Dzieje Najnowsze
|
2020
|
vol. 52
|
issue 2
EN
In the article, I am going to present the image of Polish intellectual based on selected film motifs. The cinema of the Polish People’s Republic created a distinct type of Polish intellectual who appeared in many films. He was not, however, a homogenous type, since a noble assistant or professor was contrasted with a cynical associate professor. I will try to capture the common features and answer the question whether it is possible to talk about a specific, consistent image of an intellectual in the then Polish People’s cinema, or whether the discussed types differ from each other.
PL
W artykule zamierzam zaprezentować obraz polskiego inteligenta na wybranych motywach filmowych. Kino PRL wykreowało osobny typ inteligenta, który pojawiał się w wielu filmach. Nie był jednak typem jednorodnym, gdyż szlachetnemu asystentowi czy profesorowi przeciwstawiano cynicznego docenta. Postaram się uchwycić cechy wspólne i odpowiedzieć na pytanie, czy możemy mówić o pewnym spójnym wizerunku intelektualisty w ówczesnym kinie Polski Ludowej, czy też omawiane typy różnią się od siebie.
16

Jakiej historii potrzeba? Tematyka obozowa w zapomnianych tekstach Andrzeja Brychta i Tadeusza Hołuja

63%
Łysak T.
Kwartalnik Filmowy
|
2012
|
issue 77-78
168-184
EN
Polish People’s Republic implemented its historical policy by employing film and literature in order to portray the martyrdom brought about by the Nazi occupation of Poland. The decade of the 1960’s was the most prolific period when it comes to the number of films devoted to the Holocaust and the camps. Some of the films were clearly motivated by political concerns and the fear that the past was forgotten and underrepresented in cultural representations. Two writers – Andrzej Brycht and Tadeusz Holuj – played a key role in bringing the past to the limelight despite generational differences between them. Holuj was a former inmate at Auschwitz-Birkenau whereas Brycht knew the past mainly from cultural representations.
17

Mocne filmy i głębokie kompleksy. Róża Wojtka Smarzowskiego wobec Jak być kochaną Wojciecha J. Hasa

63%
Morstin A.
Kwartalnik Filmowy
|
2012
|
issue 77-78
201-210
EN
The article is a comparative analysis of Wojtek Smarzowski’s Rose (Roza) and Wojciech J. Has’ How to be loved (Jak być kochaną), films that are connected in their theme of sexual violence in the context of the Second World War. Taking into the account the historical context within which the films were made, and the post-war trauma, the author points to the changes that took place over the last fifty years in the language of film and ways of presenting violence (in particular, war rape of women). In addition the author also considers the image of a soldier of the Polish Home Army (Armia Krajowa) in both films, the role and the way the female protagonist is constructed, and her place in the presented world.
18

Wesele Andrzeja Wajdy jako mandala

51%
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.
19

Katyń i Generał „Nil” a (długi) zmierzch paradygmatu

51%
Adamczak M.
Kwartalnik Filmowy
|
2012
|
issue 77-78
72-94
EN
This paper builds upon on insights of Artur Zmijewski on recent national blockbusters contained in a volume of The Polish Cinema (Kino polskie) from 1989 to 2009: A Critical history. The insights go beyond the generally accepted views on those films. The author then examines the films Katyn and General “Nil” as phenomena reflecting the kind of “posthumous life” of the romantic paradigm of Polish culture buried nearly two decades ago by Maria Janion, that for decades was seen as anachronistic, but that remains popular and is occasionally revived. He describes its fate in the culture of the Socialist People’s Republic of Poland (PRL), and also considers memoirs as historical sources. In the last part of the article Adamczak presents a new perspective of seeing Jerzy Skolimowski’s Essential Killing and Anna Jadowska’s General as attempts of breaking out of the magic circle of constantly renewing opposition between romanticism and anti-romanticism.
20

Przygody Franka Dolasa albo co Giuseppe robił w Warszawie

51%
Zwierzchowski P.
Kwartalnik Filmowy
|
2012
|
issue 77-78
185-200
EN
This article is devoted to Polish comedies made in 1960s and dealing with the Second World War. The films analysed are: Stanislaw Lenartowicz’s Giuseppe in Warsaw, Tadeusz Chmielewski’s Where is the General? and How I caused the Second World War, and Bronislaw Brok’s Cafe “Under a lamprey”. The presented films posed questions and presented situations that were not that different from those described by the Polish Film School, however they provided completely different answers, thus becoming a part of the cinema of new memory. Visions of the world, the war and the Polish role in it presented in those films fitted in well with the political and ideological context of the time, and the societal expectations. The comedies avoided controversies, and referred to the stereotypes and auto-stereotypes accepted within the society, and applied conventions of the genre, in particular – farce. Their present day popularity proves that they represent values that go beyond the cultural politics of the decade.
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