Search results

1

Współczesny surrealizm czeski i odnowa języka. Wczesne filmy Jana Švankmajera

100%

L. Owen J.

Panoptikum

|

2008

|

issue 7(14)

237-258

EN

This essay is a critical study of the Czech animator and filmmaker Jan Švankmajer, one that pays particular attention to Švankmajer’s early works of the 1960s and ‘70s. The primary theme of this study is Švankmajer’s complex and multi-faceted engagement with the idea of language. Among the issues considered are the question of whether Švankmajer’s films ‘signify’ in any meaningful or straightforward fashion; the rejection of, and polemic with, the verbal model of language; the cultivation of a sensuous, affective formal ‘language’; Švankmajer’s interest in the communicative properties, the secret content, of objects; and the relation of language or self-expression to the childhood experience that Švankmajer valorises. I will connect these preoccupations back to Švankmajer’s involvement with the Czech Surrealist Group and his absorption of other traditions of the (Czech and international) avant-garde. Ultimately this essay will show that Švankmajer’s work, and not least in its engagement with language, is politically critical and subversive, whether considered in relation to the neo-Stalinist regime under which Švankmajer has made most of his films, or in a broader context. While eschewing any kind of naively utopian libertarianism, Švankmajer’s work is oppositional in its challenge to the codification of language systems by authoritarian regimes, and in implicitly censuring a civilisation that both reduces objects to their utilitarian function and represses the imaginative life (along with the possibility of expressing this) that we enjoyed in early childhood.

2

"Nieustanne błąkanie się w tę i z powrotem". Aktualizacja kategorii modernizmu w relacji do kina czeskiego

100%

Świętochowska G.

Panoptikum

|

2014

|

issue 13(20)

70-88

EN

"Diamonds of the Night" dir. Jan Nemec is commonly classified as modernist in Czech literature on the subject and in comprehensive publications trying to determine aesthetic, historical and temporal specificity of this artstic movement.

3

Odlot za Atlantyk. Amerykański debiut Miloša Formana

75%

Marek H.

Kwartalnik Filmowy

|

2016

|

issue 93-94 Kino amerykańskie

193-200

PL

Marek Hendrykowski przeprowadza historyczną rewizję oceny „Odlotu” (1971) Miloša Formana, wskazując, że dzieło to należy do czołówki najwybitniejszych osiągnięć kinematografii amerykańskiej przełomu lat 60. i 70. Według autor film ten sytuuje się w kręgu krzywdząco niedocenionych zjawisk historii kina amerykańskiego. Kasowa porażka „Odlotu” sprawiła, że na długie lata stał się on przykładem rzekomego niedopasowania wybitnego filmowca z Europy do Nowego Świata – Ameryki i Hollywood. Hendrykowski zauważa m.in., że z dzisiejszej perspektywy dzieło Formana zdumiewa mistrzostwem warsztatowym oraz konsekwencją reżysera w przenoszeniu do nowych warunków bagażu twórczego, z którym opuścił Czechy i Europę. Podkreśla również, że niezwykłą wartością „Odlotu” jest nieustanna obecność w nim ironii poznawczej, charakterystycznej nie tylko dla samego Formana, ale poniekąd także dla filmów szkoły czeskiej. Autor konkluduje: Forman zainicjował „Odlotem” pewien nurt poszukiwań, który miał się stać wskazówką i dążeniem dla szeregu innych filmowców za Oceanem. Nie chodzi o takie czy inne podobieństwa, nawiązania czy zapożyczenia stylistyczne, lecz o nowatorski model niebanalnego kina fikcji i wpisany weń makroobraz rzeczywistości.

EN

Marek Hendrykowski carries out a reassessment of “Taking Off” (1971) by Miloš Forman, and argues that the film belongs among the top films of American cinematography of the 1960s and 1970s. According to the author the film situates itself in a circle of unjustly underrated phenomena of the history of American cinema. The box office failure of the “Taking Off” meant that for years the film was set as an example of alleged mismatch of prominent European filmmaker and the New World – America and Hollywood. Hendrykowski notes that from today’s perspective Forman’s work is astounding in terms of workshop and the director’s insistence at transferring his creative character from Czechoslovakia and Europe to America. He also points out to the importance of cognitive irony present throughout “Taking Off”, which is characteristic to Forman and other members of the Czech school of film. The author concludes: “by <> Forman initiated a new direction in research, which was to become a new signpost and aim for many other filmmakers on the other side of the ocean. It is not a question of similarities, references or stylistic borrowings, but an original model of feature film and the image of reality contained within”.

4

Wyboje na „drodze do Europy”. Nowa odsłona kina drogi i ponowne mapowanie narodu w Europie Środkowej po 2004 roku

63%

Gott M., Van Heuckelom K.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

|

2020

|

vol. 12

|

issue 1

80-97

EN

This paper is dedicated to the analysis of the development of Central European road movies after 2004, with special consideration given to Polish and Czech cinematography. The films which have been discussed are Polish productions Francuski numer (2006, directed by Robert Wichrowski) and Handlarz cudów (2009, directed by Bolesław Pawica and Jarosław Szoda), as well as Czech Rodina je základ státu (2011, directed by Robert Sedláček) and Pusinky (2007, directed by Karin Babinská). Although these films – to a certain extent – follow the fixed paths, we put forward the assumption that at the same time, they use the tools of road movies in an innovative and varied manner, responding to problems, dilemmas and perspectives of Central Europe after 2004.

PL

Niniejszy tekst poświęcony jest analizie rozwoju środkowoeuropejskiego kina drogi po roku 2004, ze szczególnym uwzględnieniem kinematografii polskiej i czeskiej. Omawiane przez nas filmy to produkcje polskie Francuski numer (2006, reż. Robert Wichrowski) i Handlarz cudów (2009, reż. Bolesław Pawica, Jarosław Szoda) oraz czeskie Rodzina fundamentem państwa (Rodina je základ státu, 2011, reż. Robert Sedláček) i Buziaczki (Pusinky, 2007, reż. Karin Babinská). Chociaż filmy te do pewnego stopnia podążają utartymi ścieżkami, stawiamy tezę, że równocześnie na różne sposoby nowatorsko wykorzystują one narzędzia kina drogi, odpowiadając na problemy, dylematy i perspektywy Europy Środkowej po 2004 roku.

5

Proza Bohumila Hrabala oczami JiŘíego Menzla

63%

Kufel K.

Ogrody Nauk i Sztuk

|

2014

|

issue 4

595-602

PL

Artykuł dotyczy adaptacji fi lmowych sześciu książek Bohumila Hrabala (Perełki na dnie, Pociągi pod specjalnym nadzorem, Sprzedam dom, w którym już nie chcę mieszkać, Postrzyżyny, Święto przebiśniegu, Obsługiwałem angielskiego króla), stworzonych przez Jiříego Menzla. Zawiera krótkie opisy sylwetek pisarza i reżysera oraz próbę specyfi kacji ich relacji na płaszczyźnie tworzenia obrazu fi lmowego. Przeanalizowana została w nim tematyka poszczególnych dzieł oraz charakterystyczne cechy ich ekranizacji.

EN

The article concerns six movie adaptations of Bohumil Hrabal’s books (Pearls of the deep, Closely observed trains, I’ll sell the house in which I can live no more, Cutt ing it short, The snowdrop festival, I served the king of England), created by Jiří Menzel. It includes not only short profi les of both the writer and the director and an attempt at describing those two’s relationship while making the movies, but also an analysis of the work’s themes and distinguishing features of their movie versions.

6

Otakar Vávra i kino Protektoratu Czech i Moraw

51%

Guzek M.

Przegląd Zachodniopomorski

|

2015

|

issue 3

145-163

EN

Otakar Vávra is one of the most interesting directors of the European cinema, and not only because of his perennial professional activity that lasted over 80 years. His formula for creativity consisted in adapting the native literature, in using films to artistically comment on the world, in treating the cinema as a segment of the whole culture, and not as its exclusive centre. The director’s project had to include the 20th-century politics, which tossed Czechoslovakia back and forth from democracy to totalitarianism. After the Munich Agreement or Munich Diktat (September, 1938) Czechoslovakia broke up and what was left was transformed into the Protectorate of Bohemia and Moravia and the Slovak Republic. The Czech cinematography became then a kind of chessboard, a confrontation area for various film directors’ and producers’ ambitions, for directives of the Protector’s Office (Reichsprotektor), for the expectations of the Czechs who collaborated with the Germans, for the courage and meanness of different people. Such were the circumstances under which Otakar Vávra made 12 films; and he was in touch both with conspiring professionals who were building the foundations for the future post-war cinematography (Vladislav Vančura) and with collaborating Barandov dictators (Miloš Havel). In his films appeared German dignitaries’ favourites (Lída Baarová, Adina Mandlová) and victims of the Nazi terror (Anna Letenská). Vávra’s films made during the Protectorate (and all of them have survived) and watched now may be interpreted in numerous ways; one of them is the biographical perspective.

7

"Czeski błąd" i polski "Kret". O różnych filmowych obliczach lustracji

51%

Pomostowski P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2012

|

vol. 11

|

issue 20

83-92

EN

The issue of settling accounts with modern history is a topic often taken up in contemporary Polish cinematography. The delicate and intriguing problems of lustration, memory, guilt, and forgiveness are, however, not only a Polish concern. In 2009, Kawasaki’s Rose, directed by Jan Hřebejku, was presented during the Berlinale. Almost a year later, Rafael Lewandowski’s debut film The Mole was released in Polish cinemas. Both the Czech and the Polish productions constitute attempts at facing the embarrassing problem faced by Poles and Czechs in terms of the problems mentioned above. A closer look at the phenomenon, viewed from two different perspectives (Polish in The Mole and Czech in Kawasaki’s Rose), provides a particularly interesting angle for analyzing this subject. In the article, the works of Rafael Lewandowski and Jan Hřebejk are compared in an effort to answer the question of what image of society emerges from these films. How do different historical and cultural conditions influence the process of shaping people’s attitudes in the face of similar problems. The author performs a film study analysis on these works, based on interviews with their authors and important reviews of them. Literary works that are topically connected with them, including Revised Edition by Péter Esterházy and The Curtain by Milan Kundera, constitute an essential context.

PL

Kawasaki’s Rose and The Mole. Two Film Faces of Lustration The issue of settling accounts with modern history is a topic often taken up in contemporary Polish cinematography. The delicate and intriguing problems of lustration, memory, guilt, and forgiveness are, however, not only a Polish concern. In 2009, Kawasaki’s Rose, directed by Jan Hřebejku, was presented during the Berlinale. Almost a year later, Rafael Lewandowski’s debut film The Mole was released in Polish cinemas. Both the Czech and the Polish productions constitute attempts at facing the embarrassing problem faced by Poles and Czechs in terms of the problems mentioned above. A closer look at the phenomenon, viewed from two different perspectives (Polish in The Mole and Czech in Kawasaki’s Rose), provides a particularly interesting angle for analyzing this subject. In the article, the works of Rafael Lewandowski and Jan Hřebejk are compared in an effort to answer the question of what image of society emerges from these films. How do different historical and cultural conditions influence the process of shaping people’s attitudes in the face of similar problems. The author performs a film study analysis on these works, based on interviews with their authors and important reviews of them. Literary works that are topically connected with them, including Revised Edition by Péter Esterházy and The Curtain by Milan Kundera, constitute an essential context.

Refine search results

2 Panoptikum

1 Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Kwartalnik Filmowy

1 Ogrody Nauk i Sztuk

1 Przegląd Zachodniopomorski

1 Gott M.

1 Guzek M.

1 Kufel K.

1 L. Owen J.

1 Marek H.

1 Pomostowski P.

1 Van Heuckelom K.

1 Świętochowska G.

1 2020

1 2016

1 2015

2 2014

1 2012