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  1. 4 Panoptikum

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  1. 4 Zając B.

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La vérité? Quelle vérité? Eksperymenty z rzeczywistością w kinie niefikcjonalnym lat 60.

100%
Zając B.
Panoptikum
|
2013
|
issue 12(19)
62-75
EN
The author attempts to reconstruct some of the major voices in the critical discourse surrounding cinéma vérité in the 1960s and in contemporary film studies. He follows it with a textual analysis of two major documentaries of this nonfiction genre (Chronique d’un été and Le Joli mai). This textual analysis is extended by some historical context in order to define anew the borders of genre taxonomy. Eventually it allows the author to inscribe in the history of this genre numerous documentaries which previously were not associated with cinéma vérité.
2
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Wenders w imperium znaków

100%
Zając B.
Panoptikum
|
2009
|
issue 8(15)
193-200
EN
Making use of the convention of diary film (Ein gefilmtes Tagebuch) Wim Wenders seeks for the sacred images of the past, images of the city captured by another director, Yasujiro Ozu. Wenders’ perspective is quiet ambivalent; at the same time he tries to remain open minded in order to find other artist’s images and transfers his European perspective – sorrow – on Tokio’s landscapes. Paradoxically, instead of travelling he stays at home, in Germany, projecting “the well-known” rather than seeking for the new.
3
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Wszystko pod kontrolą? (Post)panoptyczne dystopie Haruna Farockiego

100%
Zając B.
Panoptikum
|
2010
|
issue 9(16)
193-205
EN
The author discusses the dystopian vision of contemporary world that gradually limits the freedom of individual using as illustration cinematic works of German documentary filmmaker and media theorist Harun Farocki. In the context of phenomena such as simulations, usage of innovative techniques of invigilation outside the gates of contemporary panopticons, functions of technical images and apparatus creating them, the author searches through Farocki’s works in order to find and answer to the question of where to find a space that would enable the strategies of resistance.
4
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Rodzinne transgresje Kazuo Hary

100%
Zając B.
Panoptikum
|
2008
|
issue 7(14)
59-66
EN
Extreme Private Eros: Love Song 1974 is a second documentary in the filmography of Kazuo Hara, artist regarded as a pioneer of a “private film” [kojin eiga]. At first alone and later with his lover and producer, Sachiko Kobayashi, he travels to Okinawa to film his ex-girlfriend, a radical feminist, Miyuki Takeda. He is not a distant observer, but a protagonist of his own movie, the experiment. Among the scenes illustrating the woman’s daily life, her romance with a young girl and also with the American soldier - which fruits with a child “born on a screen” – are those scenes in which the director gives camera away to Miyuki’s lover, cries and reveals himself in front of the viewer.
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