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

Results found: 14

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  short film
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Satisfaction or Hard Labour? Portrait of a Ballet School in 52 Percent by Rafał Skalski

100%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2014
|
vol. 15
|
issue 24
165-170
PL
How is ballet presented in documentaries? Is Central European cinema different from cinema in the West in this respect? 52 Percent, Rafał Skalski’s documentary about Alla, a girl dreaming of becoming a ballerina, provides an intriguing answer to this question. Th is article compares 52 Percent by Rafał Skalski with two documentaries made in the West (First Position and Only When I Dance), which also show the endeavours of young people who want to fulfil their dreams of becoming ballet dancers. Alla tries to enrol in the famous Russian Agrippina Vaganova Academy of Russian Ballet in Sankt Petersburg. Th e exams are really tough, and she must do additional exercises to lengthen her legs (she lacks 0.4% to achieve the perfect leg-upper body ratio). The girl cannot make her legs longer, although she tries hard. Her days fi lled with exercise are filmed in long, static shots. There is no joy or enthusiasm. Sweat and tiredness are a part of strenuous exercise. Alla does not spin on a roof, nor does she jump rhythmically while cooking, like the characters of First Position and Only When I Dance. There is nothing from a fairy tale or Hollywood in her experiences. Additionally, Skalski’s fi lm breaks the myth of the dancer’s body being strong and inexhaustible. This is how we traditionally look at ballet, where there is no place for showing weakness. 
2
Publication available in full text mode
Content available

England in a Miniature in Mike Leigh's "The Short and Curlies"

89%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2012
|
vol. 10
|
issue 19
23-31
PL
Mike Leigh’s films are known for having kept the same tone and having played out the same melody for years. It is noteworthy that all the themes which Mike Leigh developed in his subsequent films, appeared in The Short and Curlies. Short scenes from the life of the English in The Short and Curlies can be seen in each scene of the film. From details such as a street with a perfectly straight terrace of houses with small gardens to social questions that are constant in the British culture. This ordinary, everyday observation gave rise to the plot of The Short and Curlies, revolving around a love affair of Joy (Sylvestra Le Touzel), a young woman working at a chemist’s and Clive (David Thewlis), a man who communicates with her only by means of his humourless jokes. Another story in the film is a complicated relationship of an eccentric hairdresser Betty (Alison Steadman), who is more interested in the life of the pharmacist than in the life of her own daughter Charlene (Wendy Nottingham). As Ewa Mazierska says: “Mike Leigh was once called the painter of miniatures – his films and TV productions for which he is equally praised and admired, concentrate on life of «small people with small gardens»”. Mike Leigh knows that his strengths are well written dialogues and this extraordinary skill to become a fictional character possessed by the actors he chooses.
EN
England in a Miniature in Mike Leigh's “The Short and Curlies” Mike Leigh’s films are known for having kept the same tone and having played out the same melody for years. It is noteworthy that all the themes which Mike Leigh developed in his subsequent films, appeared in The Short and Curlies. Short scenes from the life of the English in The Short and Curlies can be seen in each scene of the film. From details such as a street with a perfectly straight terrace of houses with small gardens to social questions that are constant in the British culture. This ordinary, everyday observation gave rise to the plot of The Short and Curlies, revolving around a love affair of Joy (Sylvestra Le Touzel), a young woman working at a chemist’s and Clive (David Thewlis), a man who communicates with her only by means of his humourless jokes. Another story in the film is a complicated relationship of an eccentric hairdresser Betty (Alison Steadman), who is more interested in the life of the pharmacist than in the life of her own daughter Charlene (Wendy Nottingham). As Ewa Mazierska says: “Mike Leigh was once called the painter of miniatures – his films and TV productions for which he is equally praised and admired, concentrate on life of «small people with small gardens»”. Mike Leigh knows that his strengths are well written dialogues and this extraordinary skill to become a fictional character possessed by the actors he chooses.
3
Publication available in full text mode
Content available

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

88%
Mąka-Malatytńska K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2014
|
vol. 14
|
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. 
4
Publication available in full text mode
Content available

Ćwierć wieku przed czasem. O etiudzie Henryka Kluby "Ocalenie"

88%
Szpulak A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2015
|
vol. 16
|
issue 25
181-187
EN
A Quarter of a Century Before Time. About Henryk Kluba’s Student Film Salvation   The text is devoted to an unknown short film made in 1957 in the Łódź Film School, Images XVI - rewizja.indd 276 2015-09-07 11:54:38 abstracts 277 Henryk Kluba’s Salvation. The film, showing the scary face of Stalinist terror in Poland, clearly transcends political taboo. Another work whose exploration of this theme goes as far will not be made until some twenty-fi ve years later, Ryszard Bugajski’s well-known Interrogation (1982). It turns out that it was not the first.
5
Publication available in full text mode
Content available

Nostalgiczny uśmiech. Autobiograficzny film Mateja Bobrika Self(less) Portrait

88%
Mąka-Malatyńska K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2012
|
vol. 11
|
issue 20
153-161
EN
The auto-documentary has a very short tradition in Polish cinema. The first films of this type were produced in Poland in the 1990s, when students of the National Film School in Łódź started making short films about themselves. In my essay, I focus on one such film, Self(less) Portrait, made by Matej Bobrik in 2012. The film tells the story of two young people: she is from Japan; he is from Slovakia and is the film’s director. They both studied film directing at the NFS in Łódź, and now live together in Warsaw. In the film, Bobrik shows the difficult relationship that exists between the two characters and members of their families, who live far away. It is a story about closeness, endearment, loneliness and death. In Self(less) Portrait, seriousness, sadness and nostalgia meet with humour and the grotesque. The article concentrates on the construction of the film, and the use of symbolism and humor in it. This is an exceptional film in contemporary Polish cinema because Bobrik does not engage in self-therapy – he does not accuse or talk about traumatic experiences, as Marcin Koszałka or Paweł Jóźwiak-Rodan do in their auto-documentaries.
PL
A Nostalgic Smile. Autobiography in the Documentary Film Etude Self(less) Portrait by Matej Bobrik The auto-documentary has a very short tradition in Polish cinema. The first films of this type were produced in Poland in the 1990s, when students of the National Film School in Łódź started making short films about themselves. In my essay, I focus on one such film, Self(less) Portrait, made by Matej Bobrik in 2012. The film tells the story of two young people: she is from Japan; he is from Slovakia and is the film’s director. They both studied film directing at the NFS in Łódź, and now live together in Warsaw. In the film, Bobrik shows the difficult relationship that exists between the two characters and members of their families, who live far away. It is a story about closeness, endearment, loneliness and death. In Self(less) Portrait, seriousness, sadness and nostalgia meet with humour and the grotesque. The article concentrates on the construction of the film, and the use of symbolism and humor in it. This is an exceptional film in contemporary Polish cinema because Bobrik does not engage in self-therapy – he does not accuse or talk about traumatic experiences, as Marcin Koszałka or Paweł Jóźwiak-Rodan do in their auto-documentaries.
6
Publication available in full text mode
Content available

Shimmer and whisper

75%
Stok W.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2021
|
vol. 30
|
issue 39
313-322
EN
The author of the article, one of the acclaimed Polish cinematographers, describes his practical eforts involved in making two short documentary films on Holocaust directed by him. The first one,Sonderzug (1978), was based on Stok’s idea to recreate his first emotional reaction to the landscape around Treblinka in the film that lasts 9 minutes, as long as the way of the Jews from the ramp to their end in the death camp. The other film, Prayer (1981), is the portrayal of a Japanese Buddhist monk praying at the site of the former Auschwitz-Birkenau concentration camp. The formal inspiration of the film came from Japanese visual art.
7
Publication available in full text mode
Content available

Geschichte erleben im DaF-Unterricht – aber wie? Zu den Zielen und Möglichkeiten der Förderung von Erinnerungserlebnissen durch den Einsatz von Filmen (am Beispiel des Kurzspielfilms „Spielzeugland“)

75%
Chudak S.
Glottodidactica
|
2015
|
vol. 42
|
issue 2
133-151
DE
Intercultural learning requires learners not only to acquire knowledge about everyday life in other countries but also to explore the history of those countries. History is not just a collection of facts about the past. Instead, history is a way of viewing and interpreting those facts. Thus, exploring history must involve people reflecting about the relevance of certain items or events for cotemporary individuals and communities. The aim of this paper is to discuss possible ways to involve learners personally and actively in the process of reflecting on places of memory (Pierre Nora) as well as ways to use film as a pedagogical starting point.
8
Publication available in full text mode
Content available

"Wieczór" Edwarda Żebrowskiego - autorska kopia

63%
Szpulak A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2012
|
vol. 10
|
issue 19
81-87
EN
The aim of this article is interpretation of the short film directed in 1964 by Edward Żebrowski, student of Film School in Łódź. Author is considering the many aspects of the relationships between study film and two years earlier debut of Roman Polanski, the famous Knife in the Water. He shows that by using the concept of feature of more experienced colleague, Żebrowski at the same time creates the foundations for his own film language and manifests its own perception of the world, as well as interpersonal problems, developed in further work.
PL
Edward Żebrowski’s “Evening” – the Creative Copy The aim of this article is interpretation of the short film directed in 1964 by Edward Żebrowski, student of Film School in Łódź. Author is considering the many aspects of the relationships between study film and two years earlier debut of Roman Polanski, the famous Knife in the Water. He shows that by using the concept of feature of more experienced colleague, Żebrowski at the same time creates the foundations for his own film language and manifests its own perception of the world, as well as interpersonal problems, developed in further work.
9
Publication available in full text mode
Content available

Automatyzm ludzkiej egzystencji w filmie "Dom" Jana Lenicy i Waleriana Borowczyka

63%
Prusinowski P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2012
|
vol. 10
|
issue 19
105-109
EN
The aim of this article is interpretation of the short film directed in 1958 by Jan Lenica and Walerian Borowczyk and regarded as one of the most interesting works of Polish experimental animation. Author looked upon synopsis of House as the introduction to analysis of the world portrayed in film, all its elements, symbols and their meaning. The most important question concerns condition of depersonalized human jailed in the trap of automatically repeated activities and supressing his own sexuality in his subconscious. Author also paid attention to automatism as Lenica's and Borowczyk's artistic method derived from surrealism. In this context the special usage of photography and stop motion technique of animation in House is emphasized as very important in creative process. On the basis of interpretation of the characters and objects appeared in film author drew a conclusion of the eponymous house as a metaphor of our modern world where people as the collectivity divest themselves of individual features.
PL
Automatism of Human Existence in Jan Lenica's and Walerian Borowczyk's “House” The aim of this article is interpretation of the short film directed in 1958 by Jan Lenica and Walerian Borowczyk and regarded as one of the most interesting works of Polish experimental animation. Author looked upon synopsis of House as the introduction to analysis of the world portrayed in film, all its elements, symbols and their meaning. The most important question concerns condition of depersonalized human jailed in the trap of automatically repeated activities and supressing his own sexuality in his subconscious. Author also paid attention to automatism as Lenica's and Borowczyk's artistic method derived from surrealism. In this context the special usage of photography and stop motion technique of animation in House is emphasized as very important in creative process. On the basis of interpretation of the characters and objects appeared in film author drew a conclusion of the eponymous house as a metaphor of our modern world where people as the collectivity divest themselves of individual features.
10
Publication available in full text mode
Content available

O adaptacji filmowej opowiadania Zofii Nałkowskiej "Przy torze kolejowym"

63%
Jazdon M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2009
|
vol. 7
|
issue 13-14
141-149
EN
Andrzej Brzozowski directed a live action short subject based on Zofia Nałkowska’s short story Aside of the Railway in 1963. The film was banned by the communist authorities and presented for the first time as late as in 1992. This is a story of runaway Jewish woman who jumped out of a train aiming at a concentration camp somewhere inPoland occupied by he Nazis. With a heavily wounded knee she lies aside of the railway looking at Polish countrymen who gathered near her and see no chance to help her as they fear of the Nazis. When she ask them not to carry her to Germans’ one of the onlookers shots her on the spot. Brzozowski made numerous modifications to present the tragic situation from the short story in film. One of them is the change of the point of view. In film it is the POV of the wounded woman, when in the short story it is presented by a witness who told the writer about the events only after the war. Brzozowski also changed the time of events from spring in the story to snowy winter in the film and focused on two main characters – the Jewish woman and the man who seemed most determined to help her and shot her in the end.
PL
About the Film Adaptation of Zofia Nałkowska’ short story “Aside of the Railway” Andrzej Brzozowski directed a live action short subject based on Zofia Nałkowska’s short story Aside of the Railway in 1963. The film was banned by the communist authorities and presented for the first time as late as in 1992. This is a story of runaway Jewish woman who jumped out of a train aiming at a concentration camp somewhere inPoland occupied by he Nazis. With a heavily wounded knee she lies aside of the railway looking at Polish countrymen who gathered near her and see no chance to help her as they fear of the Nazis. When she ask them not to carry her to Germans’ one of the onlookers shots her on the spot. Brzozowski made numerous modifications to present the tragic situation from the short story in film. One of them is the change of the point of view. In film it is the POV of the wounded woman, when in the short story it is presented by a witness who told the writer about the events only after the war. Brzozowski also changed the time of events from spring in the story to snowy winter in the film and focused on two main characters – the Jewish woman and the man who seemed most determined to help her and shot her in the end.
11
Publication available in full text mode
Content available

Dokumentalne etiudy szkolne lat 50. i 60.

55%
Mąka-Malatyńska K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2017
|
vol. 21
|
issue 30
EN
The subject of the article are the poetics of films made in the Lodz Film School in the first years of its existence. Analysis of selected films allows us to trace the metamorphoses of documentary forms which were sometimes parallel to changes being observed in mainstream documentaries, sometimes preceding them, sometimes imitating them. Documentary school films from this period illustrate one of the most important phenomena in the history of Polish documentary cinema: the transition from a persuasive document to an observation film whose poetics are the basis for defining the documentary in Poland.
12
Publication available in full text mode
Content available

Uśmiech kota. O twórczości Chrisa Markera

51%
Kita B.
Zoophilologica. Polish Journal of Animal Studies
|
2016
|
issue 2
119-129
PL
Wybrane prace Chrisa Markera będą interpretowane w odniesieniu do obecności zwierząt w jego projektach. Idiosynkratyczne bestiarium, które może być widoczne w wielu pracach Markera - od jego filmów dokumentalnych i filmowych haiku z lat sześćdziesiątych po koty zamieszkujące Second Life i przestrzeń publiczną - skłania do refleksji nad jego relacjami ze zwierzętami w ogóle, a z kotami w szczególności. Prace Markera analizowane są z trzech różnych perspektyw: relacji technologii do zwierząt, relacji między ludźmi a zwierzętami oraz własnego stosunku autora do bestiarium. Interpretacja wszechstronnych prac Markera prowadzi do wniosku, że obecność kota, który pojawia się w różnych formach w zależności od technologii i rodzaju medium zastosowanego w filmie do pewnego stopnia warunkuje artystyczne kontinuum twórcy. Stając się alter ego autora, kot pozwala mu zgłębiać kwestie politycznie i społecznie wrażliwe oraz pojawiać się bez ograniczeń zarówno w Second Life, jak i na platformach Poptronic.
EN
Selected works of Chris Marker will be interpreted with respect to the presence of animals in his projects. An idiosyncratic bestiary, which may be visible in a number of Marker’s works – from his 1960s documentaries and filmic haiku, to cats inhabiting Second Life and public spaces – triggers reflection on his relationship with animals in general, and cats in particular. Marker’s works are analyzed from three different perspectives: the relation of technology to animals, the relationship between humans and animals, and the author’s own attitude towards the bestiary. The interpretation of Marker’s versatile works leads to the conclusion that his artistic continuum is to some extent guaranteed by the presence of a cat, which appears in different forms depending on the technology and type of medium used in a film. By becoming the author’s alter ego, the cat allows him to explore politically and socially sensitive issues and to appear without restraint in Second Life as well as on Poptronic platforms.
13
Publication available in full text mode
Content available

Etiudy Romana Polańskiego

51%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2011
|
vol. 9
|
issue 17-18
159-198
EN
  Director/writer/actor Roman Polanski is one of the central figures in the history of Film School in Łódź. This study provides a detailed and comprehensive introduction to examine cinematic and artistic values of his early short films made between 1955 and 1961 in Poland and in France before his professional feature length debut “Knife in the Water” (1962). In his essential work Marek Hendrykowski looks at these nine shorts with in-depth analysis and adopts both historical and theoretical approach, making use of poetics terms, close reading method and socio-cultural interpretation. In its treatment of Polanski’s études this unique study discusses why these films are important in so many aspects and attracitve from many points of view and they have come to symbolise and represent modern cinema in Poland of the 1950s and early 1960s.
PL
Roman Polanski’s Short Films   Director/writer/actor Roman Polanski is one of the central figures in the history of Film School in Łódź. This study provides a detailed and comprehensive introduction to examine cinematic and artistic values of his early short films made between 1955 and 1961 in Poland and in France before his professional feature length debut “Knife in the Water” (1962). In his essential work Marek Hendrykowski looks at these nine shorts with in-depth analysis and adopts both historical and theoretical approach, making use of poetics terms, close reading method and socio-cultural interpretation. In its treatment of Polanski’s études this unique study discusses why these films are important in so many aspects and attracitve from many points of view and they have come to symbolise and represent modern cinema in Poland of the 1950s and early 1960s.
14
Publication available in full text mode
Content available

Dwaj ludzie z szafą w perspektywie genologicznej

45%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2014
|
vol. 15
|
issue 24
171-180
EN
Parabola is the essence of the short film Two Men and a Wardrobe (and likewise Mammals and The Fat and the Lean). Parabola is dominant of the genre, not merely an occasional and distinguishing attribute. In its interior, we find traces of other genres. These include noir comedy, slapstick burlesque, existential drama, the thriller, and drama of the absurd, grotesque and macabre. The poetic dimension of Polanski’s short film, in which reality confronts and permeates the skilfully constructed and captivating fantasy presented by the artist, allowing all the elements of the genre to be combined into a common whole.
PL
Parabola is the essence of the short film Two Men and a Wardrobe (and likewise Mammals and The Fat and the Lean). Parabola is dominant of the genre, not merely an occasional and distinguishing attribute. In its interior, we find traces of other genres. These include noir comedy, slapstick burlesque, existential drama, the thriller, and drama of the absurd, grotesque and macabre. The poetic dimension of Polanski’s short film, in which reality confronts and permeates the skilfully constructed and captivating fantasy presented by the artist, allowing all the elements of the genre to be combined into a common whole.
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.