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Między stłumieniem a autentycznością. Metafora Don Carlosa w filmie Leontine Sagan Dziewczęta w mundurkach

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Mazur D.
Przestrzenie Teorii
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2019
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issue 32
143-166
EN
Mazur Daria, Między stłumieniem a autentycznością. Metafora Don Carlosa w filmie Leontine Sagan Dziewczęta w mundurkach [Between Suppression and Authenticity. The Metaphor of Don Carlos in Leontine Sagan’s Movie Mädchen in Uniform]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 143–166. ISSN 1644-6763. DOI 10.14746/pt.2019.32.7. The article is a comprehensive analysis of the intertextual references to Frederick Schiller’s tragedy Don Carlos in Leontine Sagan’s movie Girls in Uniform (Mädchen in Uniform, 1931). The author considers the complex circumstances of the cooperation between the director and the artistic director, Carl Froelich, during the production. Moreover, she also presents the literary basis for the movie, namely the tragedy by Christy Winsloe (Gestern und Heute – Yesterday and Today).On this basis, the author analyses the multilevel presence of two phenomena in the movie: suppression and authenticity, which are related to the metaphor of Don Carlos and the plot of love between two women. The contexts for the analysis are inspired by research in the anthropology of romanticism, psychoanalysis, the psychology of sexual identity, and research on the works of Frederick Schiller.
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Między kosmopolityzmem a nazizmem – konteksty przestrzeni symbolicznych czterech filmów nakręconych przez niemieckiego operatora Franza Weihmayra

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Mazur D.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2020
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vol. 27
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issue 36
21-40
EN
The paper is a comparative analysis of the circumstances influencing symbolic spaces in four movies by Franz Weihmayr in the years 1931–1942: Dzikie Pola [Wild Fields], Halutzim, La Habanera and The Great Love. The analysis allows for delineating the development of the German cinematographer Franz Weihmayr’s career, which, in the context of historical-political and ideological-artistic circumstances, can serve as an example of a broader phenomenon: a particular fluctuation of choices made by German cinematographers over the Weimar, Nazi, and post-war periods. This analysis is of pioneering importance because of the paucity of publication heretofore dedicated to Weihmayr’s works, who at the time worked together with, among others, Leni Riefenstahl, Frank Wysbar, and Hans Detlef Sierck, as well as Polish directors, such as Józef Lejtes and Aleksander Ford. The framework for semiotic analyses of the symbolic spaces of the movies mentioned above are two groups of contexts connected with ideas stemming from contradictory bases: the idea of cosmopolitism and the idea of Nazism.
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Kino jidysz na ziemiach polskich do wybuchu drugiej wojny światowej - konteksty społeczno-polityczne i kulturowe

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Mazur D.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2015
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vol. 17
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issue 26
129-138
EN
Yiddish Cinema in the Prewar Polish Lands: The Socio-political and Cultural Contexts The article is an attempt to consider the impact of social-political contexts on Yiddish cinema in Poland before the outbreak of the Second World War. It also analyses the influence of cultural and ideological tendencies represented by the diaspora in Poland: traditional – related to Judaism and Yiddish language; Zionist – trying to resurrect Israel and appealing to Hebrew as the language of the Jews; Bund – a left wing party that supported a secular Yiddish culture and opposed Zionism, as well as the assimilation of Polish culture and language.
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