Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  history of the cinema
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Kino bez tajemnic

100%
Pitrus A.
Kwartalnik Filmowy
|
2011
|
issue 75-76
311-313
EN
The author reviews the book Cinema Without secrets edited by Ewelina Nurczyńska-Fidelska, Konrad Klejsa, Tomasz Kłys and Piotr Sitarski (Warsaw 2009). This volume is a supplement to the multimedia project run by the Polish Film Institute under the title “School film library”, and therefore is a guide aimed primarily at middle and high school students. The structure of the book is clear and simple. The book consists of two parts, made up of six segments in total. Two of the segments deal with the history of the cinema. The remainder are more general in character and deal with a variety of forms that film may take, both in terms of production and in terms of technique. The final part that deals with screen adaptations is a little set aside from the rest. However its presence is fully justified. We must after all remember that in the context of a school, film accompanies and is subservient to literature. Young readers can learn from how adaptations are made and also “why?” Reflections on the elements of film language are closely linked with aesthetic issues. All this is done smoothly, clearly and in a manner that allows the book to be read in two ways. One can read Cinema without secrets from cover to cover, or read selected chapters and treat the book as a sort of lexicon.
2
Content available remote

Film Zostawcie Robinsona! czyli węgiersko-kubańska interpretacja przygód bohatera powieści Defoe oraz inne filmowe adaptacje losów Robinsona Crusoe

94%
Bubak G.
Porównania
|
2019
|
vol. 25
|
issue 2
127-141
EN
The story of Robinson Crusoe has been told many times in the film, sometimes with faithfulness to the literary original, more often with numerous deviations and more or less ingenious variants. The creators of various ranks and authority inscribed the hero’s adventures in numerous genre schemes, ranging - in the most natural way - from adventure film to comedy and science fiction. It was Daniel Deofe’s story that provided the inspiration rather than the prototype of his hero – Alexander Selkirk. Interestingly, far-reaching transcripts of Robinson’s adventures already appeared in the 1930s. Little is known about what had happened before. The movies about which any information can be found are usually considered missing. In the paper, I write about the Hungarian-Cuban version of the adventures of Robinson Crusoe and about other films that could have been to some extent an inspiration for director Péter Tímár.
PL
Historia Robinsona Crusoe została w filmie opowiedziana wielokrotnie, czasem z dochowaniem wierności oryginałowi literackiemu, częściej z licznymi odstępstwami i mniej lub bardziej pomysłowymi wariantami. Twórcy różnej rangi i autoramentu wpisywali przygody bohatera w liczne schematy gatunkowe, poczynając – w sposób najbardziej naturalny – od filmu przygodowego, a kończąc na komedii i science fiction. Inspiracji dostarczał raczej Daniel Defoe niż prototyp jego bohatera – Alexander Selkirk. Co ciekawe, daleko idące transkrypcje przygód Robinsona pojawiły się już w latach trzydziestych ubiegłego wieku. O tym, co działo się wcześniej, niewiele wiadomo. Filmy, o których informacje można znaleźć, przeważnie uchodzą za zaginione. W swoim tekście piszę o węgiersko-kubańskiej wersji przygód Robinsona Crusoe oraz o innych filmach, które w pewnym stopniu mogły być dla reżysera tego dzieła, Pétera Tímára inspiracją.
3

Obok kanonu, ale w centrum spraw

84%
Helman A.
Kwartalnik Filmowy
|
2012
|
issue 79
222-226
EN
Andrzej Gwozdz’ book Not in the canon. In the Footsteps of German Cinema (Obok kanonu. Tropami kina niemieckiego, 2011) inaugurates a publishing series “Germany – Media – Culture” under the patronage of the Willy Brandt Centre for German and European Studies. The publication is the result of the author’s involvement in a research programme dealing with German cinema. This book is not a work of a film historian who tries to fill in the gaps. Rather it presents a cultural studies point of view, which finds interesting clues and ideas in film images. Such interdisciplinary research leads to innovative and original results. Gwozdz moves in the area of his choice equipped with a kind of compass: a set of preferred theoretical assumptions. For him, the history of the cinema is the history of techniques and forms of imaging, and, therefore, of different discourses and forms of visibility. Helman points to the fact that Gwozdz, even when he is writing about film makers and matters known to Polish cinema goers and researchers, reveals all those details in German cinema that we are unaware of. This is because previously we perceived them in a different way, from a different perspective and in a different context, in a different diachrony and synchrony.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.