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1

Parodie, trawestacje, uwertury – znaczenie zabiegów stylizacyjnych w szkolnych etiudach Marka Piwowskiego

100%

Mąka-Malatytńska K.

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

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2014

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vol. 14

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issue 23

129-141

EN

The subject of the article Parodies, travesties, overtures – meaning of styling treatments in Mark Piwowski’s school films are Marek Piwowski’s early, short films and the stylistic and parodic elements he used. As the starting point of the discussion, Katarzyna Maka-Malatynska adopts the findings of Jerzy Ziomek and Ryszard Nycz, and their definition of parody. Using categories of literary and film studies, the author examines four school films of the creator of The Cruise. Acknowledging parody as the first degree of mockumentary after Roscoe and Hight, she proposes that Piwowski’s first films be seen as mockumentary, which could result in a new interpretation of his later works.

PL

The subject of the article Parodies, travesties, overtures – meaning of styling treatments in Mark Piwowski’s school films are Marek Piwowski’s early, short films and the stylistic and parodic elements he used. As the starting point of the discussion, Katarzyna Maka-Malatynska adopts the findings of Jerzy Ziomek and Ryszard Nycz, and their definition of parody. Using categories of literary and film studies, the author examines four school films of the creator of The Cruise. Acknowledging parody as the first degree of mockumentary after Roscoe and Hight, she proposes that Piwowski’s first films be seen as mockumentary, which could result in a new interpretation of his later works.

2

Telewizja miejscem rozwoju filmowych form dokumentalnych

100%

Sosnowska J.

Biuletyn Edukacji Medialnej

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2014

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issue 1

123-136

EN

The article is demonstrating the situation of the documentary on television. The documentary at contemporary television is an inherent element of showing reality, however species mutations of this form caused, that for her the clean form belonged to the exceptional subject matter. Documents found their place mainly in thematic or film channels. However the place of the document not only very much changed, but also her status. An expansion of many subspecies of television improved the exclusiveness of the documentary nonfictional on television. Today they are dominating, documentary fictionalised series, mockumentary whether widely comprehended forms realites TV.

3

Horror paradokumentalny — próba charakterystyki gatunku

86%

Żakieta K.

Panoptikum

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2013

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issue 12(19)

46-60

EN

This article aims to define the characteristics of horror vérité. The author raises issues related to the phenomenon of genealogical contexts – such as cinema vérité or mockumentary that have significantly influenced the formal shape of the species discussed. The controversial film Cannibal Holocaust (1979) dir. Ruggero Deodato, which is considered a pioneering image relative to the horror vérité is discussed in this article. It is one of the first examples in which blurring the boundary between fiction and reality by an extremely reliable styled on the documentaries. The use of 16 mm tape or simulated found footage became an extremely effective method to stimulate the viewer bored with conventional, petrified determinants of the horror genre. This paved the way for other films, and the turning point was amazing blockbuster The Blair Witch Project (1999) dir. D. Myrick, E. Sanchez. The story of the witch of Blair was executed in an almost ascetic manner according to the principle “less is more”. This film has cemented the characteristics of the documental horror set of tricks: shaky camera, natural lighting, unprofessional acting, reflexivity and specific marketing strategies that activate the viewer using a variety of metatexts (casus Sundance and web site). Series such as Paranormal Activity or [REC] show that through balancing on the edge of fictional and factual order, the recipient accustomed to exaggerated gore, is able to refer again to the basic determinant of horror – fear. Paradocumentalism’s immersion can be achieved with varying degrees of intensity and it is up to the viewer to decide whether he will step up to the plate.

4

"Treasures from the Wreck of the Unbelievable" - archeologia jako element strategii artystycznej Damiena Hirsta

75%

Brillowski W.

Artium Quaestiones

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2020

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issue 1

123-170

EN

The most important element of Damien Hirst's multimedia project "Treasures from the Wreck of Unbelivable" was the exhibition, presented from April 9 to December 3, 2017 in Venice, in the galleries of the Pinault Foundation in Punta della Dogana and Palazzo Grassi. It was completed by several book publications and a 90-minute film of the same title, made available globally on the Netflix online platform on January 1, 2018. The exhibition included over a hundred objects, mainly sculptures, made in various techniques and materials in a wide range of sizes. The film, stylized as a popular science documentary, presents the fictional story of their discovery and exploration at the bottom of the Indian Ocean, and their transport to Venice. It develops the main idea of the exhibition – a fictitious vision of the origin of these objects from an ancient wreck, filled with artistic collections, belonging to a fabulously rich ancient Roman freedman, with the significant name Cif Amotan II (anagram from “I am a fiction”). Realizing this fancy artistic vision, most of the works were made as if they had been damaged by the sea waves and overgrown with corals and other marine organisms. Hirst created a comprehensive and all-encompassing narrative using the principle of "voluntary suspension of unbelief," formulated by Samuel T. Coleridge. The artist sets himself and the viewer on a fantastic journey into the ancient past, taking up subjects central to his ouevre for decades: faith, relations of art and science, transience and death. He does this by means of numerous references to the artistic and mythological heritage of antiquity, not only Graeco-Roman, but also of other great cultures and civilizations. Although the formal and technical aspects of the project will also be discussed, the main goal of the author is to analyze how Hirst used the knowledge of antiquity (classics) to create both the exhibition itself and the mockumentary. The artist made archeology an element binding his narrative together, showing in the film not only how artefacts were obtained from the bottom of the ocean. He also presented a number of tasks that scientists deal with at various stages of the project – from the first discovery, through interpretation and conservation, to the presenting at the museum-like exhibition. Of course, his purpose was not to create a study in the methodology of underwater exploration, but to reflect on the cognitive power of science examining remains of ancient times. By juxtaposing two possible attitudes towards relics of the past, i.e. the strict discipline of the scholar and the imagination of the treasure hunter, he concludes that narratives arising from them will both have the character of a mythical tale. The ontic status of the artefacts themselves, as the things of the past, left in a fragmentary state by the passage of time, sets all the stories related to them within the discourse of faith.

5

Archiwa antropocenu. Mockument przyrodniczy i dekolonizacja natury

72%

Borowski M.

Prace Kulturoznawcze

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2018

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vol. 22

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issue 1-2

97-111

EN

The present article is set in the context of the discussion about the Anthropocene as a new geological epoch of Earth and the period of human dominance over nature. This debate is focused mainly on the relationships between scientific discoveries and politics. However, critics of the Anthropocene have pointed out the era of unprecedented exploitation of natural resources is accompanied by such forms of representing nature in scholarly discourse and popular culture which sanction the human dominance on Earth. In this context the text concentrates on wildlife documentary as one of the typical representational forms of the Anthropocene. However, the main thematic focus is on critical and parodic representations of documentary discourse, gathered under umbrella term ‘mockumentary’. Such parodic elements can be identified already in a canonical mockumentary The Falls (dir. P. Greenaway, 1980), which subversively quotes the methods of archiving natural anomalies after an ecological catastrophe. However, the latter part of the article is devoted to those films which manifestly depart from anthropocentric perspective. Their critical potential results from the dismantling of traditional conventions of representing nature, in order to introduce other, non-human points of view. In this context the text offers a comparative analysis of two thematically and formally linked mockumentaries (Farce of the Penguins and Surf’s Up, both 2007) which refer to a renowned French wildlife documentary March of the Penguins (2005). The comparison demonstrates the possible scope of the critique of the Anthropocene in popular culture.

6

Zelig jako docufiction

62%

Hendrykowski M.

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

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2017

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vol. 21

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issue 30

EN

This close-reading analysis and interpretation examines the original form of Woody Allen’s masterpiece Zelig (1983). The author combines a film studies approach with an investigation of epistemological and semiotic reflections on moving images. The author emphasises that more than three decades ago Allen gave to a wide audience a critical, sceptical and ironic vision of the “documentary” (esp. regarding the “truth”) status of moving pictures. This study also introduces also important terminological distinction between “mockumentary” (“fake-documentary”) and a contrasting category, that is, “documentary fiction” (also called “docufiction”), giving an instructive and precise definition of both.

PL

This close-reading analysis and interpretation examines the original form of Woody Allen’s masterpiece Zelig (1983). The author combines a film studies approach with an investigation of epistemological and semiotic reflections on moving images. The author emphasises that more than three decades ago Allen gave to a wide audience a critical, sceptical and ironic vision of the “documentary” (esp. regarding the “truth”) status of moving pictures. This study also introduces also important terminological distinction between “mockumentary” (“fake-documentary”) and a contrasting category, that is, “documentary fiction” (also called “docufiction”), giving an instructive and precise definition of both.

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

1 Artium Quaestiones

1 Biuletyn Edukacji Medialnej

1 Panoptikum

1 Prace Kulturoznawcze

1 Borowski M.

1 Brillowski W.

1 Hendrykowski M.

1 Mąka-Malatytńska K.

1 Sosnowska J.

1 Żakieta K.

1 2020

1 2018

1 2017