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

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  war 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

Mroczne żądło zdegenerowanej natury. Szkic o czarnoromantycznych inspiracjach Róży Wojciecha Smarzowskiego

100%
SZPULAK A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2016
|
vol. 19
|
issue 28
265-272
EN
The dark sting of degenerate nature. Sketch of the dark-romantic inspirationsin Wojciech Smarzowski’s Rose The text presents Polish dark romanticism as an important source of inspiration for the images of violence, includ- ing sexual violence, in Wojciech Smarzowskis Rose. The author reveals the mechanisms of this inspiration: visual, dramatic, intellectual, and refers to specific literary texts, from the Romantic era and later, by Antoni Malczewski, Seweryn Goszczyński, Juliusz Słowacki and Włodzimierz Odojewski.
2
Publication available in full text mode
Content available

Ważyk – Ford – Starski. Historia pewnego scenariusza

87%
Małgorzata Hendrykowska M. H.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2019
|
vol. 26
|
issue 35
35-61
EN
The article presents the complicated story of a script, originally titled “ID Card”, was written in mid-1948 by Adam Ważyk. Had the script been approved for production, it would have been one of the first Polish post-war feature films. However, this did not happen. Apart from Adam Ważyk, Aleksander Ford, Jan Fethke and Ludwik Starski also worked on subsequent versions of the script. Due to complex political circumstances, none of the versions presented was approved by decision-makers. The author presents subsequent versions of the script which change along with social and political changes in Poland. The last version entitled “False Papers”, written by Ludwik Starski in 1968, contains clear elements of an action film. However, this was not a good time for this type of production. Over a period of 20 years, the script of “False Papers” underwent a peculiar metamorphosis: from a political pamphlet, to a didactic story, and finally, an action film with an unexplained mystery and war in the background. None of these versions became a film.
3
Publication available in full text mode
Content available

Echa "Idź i patrz" Elema Klimowa w dwóch polskich filmach antywojennych – "Mieście 44" Jana Komasy oraz "Wołyniu" Wojciecha Smarzowskiego

84%
Szpulak A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2018
|
vol. 23
|
issue 32
EN
The subject of interest in this text are the relations between the famous Elem Klimow’s Come and See and two Polish movies made in the second decade of the 21st century – Jan Komasa’s Warsaw 44 and Wojciech Smarzowski’s Wołyń. These relations are considered at the genetic level, the level of historical references, the genological level and the plane of audiovisual material created in films. The analysis leads to the conclusion that genological issues play the most important role in building these relationships, among them the shape of the main character’s figure.The text can be treated as a contribution to reflection on the genre distinctiveness of the anti-war film.
PL
The subject of interest in this text are the relations between the famous Elem Klimow’s Come and See and two Polish movies made in the second decade of the 21st century – Jan Komasa’s Warsaw 44 and Wojciech Smarzowski’s Wołyń. These relations are considered at the genetic level, the level of historical references, the genological level and the plane of audiovisual material created in films. The analysis leads to the conclusion that genological issues play the most important role in building these relationships, among them the shape of the main character’s figure.The text can be treated as a contribution to reflection on the genre distinctiveness of the anti-war film.
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.