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Case of an artist as a scriptwriter in the works of Latvian documentary filmmaker Juris Podnieks

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Balčus Z.
Panoptikum
|
2013
|
issue 12(19)
174-186
EN
Original study devoted to the collaboration between little known Latvian documentary filmmaker Juris Podnieks, and scriptwriter Arnolds Plaudis. Zane Balčus goes beyond traditional analysis focused on film style and interpretation, taking into account wide spectrum of visual documents (illustrated scripts), reflecting in an original way the process of developing an artwork by two creative personalities. The author reconstructs the image of their collaborative work following press materials, interviews and other written and drawn data.
PL
Oryginalne studium poświęcone współpracy mało znanego na zachodzie litewskiego dokumentalisty Jurisa Podnieksa i scenarzysty Arnolda Plaudisa. W swoim artykule Zane Balčus wykracza poza tradycyjną analizę skoncentrowaną na opisie stylu i interpretacji, badając zróżnicowany materiał obejmujący szerokie spektrum materiałów wizualnych (ilustrowane scenariusze) odzwierciedlających w oryginalny sposób proces powstawania dzieła realizowanego przez dwie niezwykłe osobowości. Autorka rekonstruuje obraz ich wspólnej pracy sięgając po materiały prasowe, wywiady, teksty i szkice.
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Aleksander Scibor-Rylski w tandemach: z Kawalerowiczem, Kutzem i Hofmanem

65%
Śmiałowski P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2019
|
vol. 26
|
issue 35
5-33
EN
Aleksander Ścibor-Rylski was one of the greatest Polish scriptwriters, who in addition to numerous films based on his texts, left behind a trove of abandoned scripts. This article introduces Ścibor-Rylski as a highly versatile author, as exemplified by three scripts he wrote: Wczasy pod lipą [Lime Tree Holiday], Zaułek św. Sebastiana [Saint Sebastian Alley] and Stara baśń [An Ancient Tale]. Each of these scripts was written in a different convention and each was ordered by a different director, hence the title of this article – Aleksander Ścibor-Rylski in tandem with Kawalerowicz, Kutz and Hoffman. Apart from an analysis of the three scripts, the article describes the way they evolved, Ścibor-Rylski’s favourite stylistic clues and the reasons they remained unfinished.
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