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Barbara Hammer’s History Lessons as a documentary utopia

100%
Talarczyk-Gubała M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2017
|
vol. 21
|
issue 30
PL
This article is devoted to the third part of Barbara Hammer’s documentary trilogy, History Lessons. The author analyzes and interprets the form and message of this post-queer essay, with the aim of describing its formula in relation to the mockumentary and found-footage film conventions. She goes back to the pioneer of found footage in the history of world cinema, Esfir Shub, and the position of women in production culture. She refers to Hammer’s debut film, Dyketactics (1974), to describe Hammer’s artistic and political tactic, consisting of intercepting images of women, rooted in visual history, and the subversive quotation of these images against the idea and context of the original. Dyketactics in History Lessons is about quoting archival materials from the genres of documentary, popular science and pornography with the aim of writing the history of the lives of lesbians in the US from the period before the Stonewall riots, where there is very little coverage of the story. The falsifying of archival materials through the editing manipulation of imagery and sound paradoxically uncovers not so much the truth about the lives of lesbians, as what seems to be hidden in images created with a completely different aim than telling the herstory of American women of various orientations and races.
2
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Scena deskorolkarzy w Berlinie Wschodnim. Procesy pamięci, (re)kreacja przeszłości a fikcjonalność filmu To nie Kalifornia

86%
Sitek G.
Media – Kultura – Komunikacja Społeczna
|
2014
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issue 10/2
69-84
EN
Analysis of the form of the film This ain’t California by Marten Persiel, 2012,about a skating park in East Berlin, is the subject of the article. The article analyses the problem of the complex relations between fiction and reality in the film of Marten Persiel. The author tries to show the film in the context of a trend of creation and documentary in film history in relation to voices that show the film as staged. An important context of the analysis is found footage, biographical narration and mock-documentary. The author aims to describe the documentary character of the film as a description of generation of people, whose youth was in the 1970s and 80s in East Germany. The article shows the choices of characters of the film as the need for self-expression and personal liberty in the reality of the communist system.
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Obraz Polski Ludowej w MC. Człowiek z winylu i Jaskółce w reżyserii Bartosza Warwasa

86%
Sikorska J.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2015
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vol. 17
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issue 26
197-204
EN
The Image of The Polish People’s Republic Present in Bartosz Warwas’ Mc. Człowiek z winylu and Jaskółka The article is an analysis of the films Mc. Człowiek z winylu and Jaskółka, both directed by Bartosz Warwas, in terms of how they present the image of the Polish People’s Republic. In the first movie, the director presents the subject in a humorous way, through the use of a mockumentary formula. Jaskółka, on the other hand, is a feature film, in which the image of the PRL emerges through a retrospective presentation of the history of the life of the main character – Agnieszka Jaskółka. Both films have a number of references to the Polish Cinema of Moral Anxiety as well as the use of archival footage, but they present it in a different manner.
PL
The Image of The Polish People’s Republic Present in Bartosz Warwas’ Mc. Człowiek z winylu and Jaskółka The article is an analysis of the films Mc. Człowiek z winylu and Jaskółka, both directed by Bartosz Warwas, in terms of how they present the image of the Polish People’s Republic. In the first movie, the director presents the subject in a humorous way, through the use of a mockumentary formula. Jaskółka, on the other hand, is a feature film, in which the image of the PRL emerges through a retrospective presentation of the history of the life of the main character – Agnieszka Jaskółka. Both films have a number of references to the Polish Cinema of Moral Anxiety as well as the use of archival footage, but they present it in a different manner.
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