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Human on fire as a gesture of self-offering in Polish documentary films

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Tes U.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2019
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vol. 25
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issue 34
172-179
PL
Tes Urszula, Human on fire as a gesture of self-offering in Polish documentary films “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 172–179. ISSN 1731-450X. DOI 10.14746/i.2019.34.12. One of strongest acts of personal protest in the communist era was self-immolation, which was the subject of two Polish documentaries. Maciej Drygas in Hear My Cry invoked the figure of Ryszard Siwiec, who immolated himself on September 8, 1968 as a sign of protest against the Soviet army invasion of Czechoslovakia. In his documentary, Drygas shows a fragment of the film with the burning man, juxtaposing it with the testimony of witnesses to the tragedy and the account of the family. This documentary restores the memory of the whole society, who due solely to the film, learned about the radical gesture of a common man. Holy Fire by Jarosław Mańka and Maciej Grabysa in turn invokes the heroic but forgotten Walenty Badylak, who immolated himself in March of 1980 in Cracow as an expression of his objection to distortion of the truth about Katyń. Both acts of self-immolation had for many years been perceived as totally futile acts, while the directors show that the self-immolation of these now has a deep and symbolic meaning. In my analysis, I shall invoke historic and cultural contexts, conduct a multifaceted interpretation of self-immolation act and discuss the complex imagery included in the films.
2
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Kino obecności – analiza relacji między dokumentem a performance’em na wybranych przykładach

100%
Tes U.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2017
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vol. 21
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issue 30
EN
In my article, I examine the relationship between the documentary and performance. I focus special attention on Maciej Sobieszczański and Łukasz Ronduda’s film The Performer, which blurs the boundaries between film genres. Oskar Dawicki is a performer, and the protagonist of both a creative documentary and a feature film – this balancing on the borders of film genres and art is the focus of my reflections. The film’s authors took inspiration from the creative documentaries of Wojciech Wiszniewski and the plots of Grzegorz Królikiewicz, in which characters play themselves – in both cases, creative elements reveal the truth about each character. The most important aspect to me is the presence of the performer, which determines the form of the film and its reception. In my article I follow several themes which are key for understanding The Performer, among them the motif of disappearance and the relationship between the master and the disciple. I also deal with the problem of documenting performances – using the example of The Performer and the recording of Marina Abramović’s activities (Seven Easy Pieces by Marina Abramović, 2007). I also refer to the documentary film on Marina Abramović, The Artist Is Present, in which the performances recorded from 2010 go beyond the documentary formula.
PL
In my article, I examine the relationship between the documentary and performance. I focus special attention on Maciej Sobieszczański and Łukasz Ronduda’s film The Performer, which blurs the boundaries between film genres. Oskar Dawicki is a performer, and the protagonist of both a creative documentary and a feature film – this balancing on the borders of film genres and art is the focus of my reflections. The film’s authors took inspiration from the creative documentaries of Wojciech Wiszniewski and the plots of Grzegorz Królikiewicz, in which characters play themselves – in both cases, creative elements reveal the truth about each character. The most important aspect to me is the presence of the performer, which determines the form of the film and its reception. In my article I follow several themes which are key for understanding The Performer, among them the motif of disappearance and the relationship between the master and the disciple. I also deal with the problem of documenting performances – using the example of The Performer and the recording of Marina Abramović’s activities (Seven Easy Pieces by Marina Abramović, 2007). I also refer to the documentary film on Marina Abramović, The Artist Is Present, in which the performances recorded from 2010 go beyond the documentary formula.
3

Dokumentalne portrety kobiet w filmach Ireny Kamieńskiej

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Tes U.
Dziennikarstwo i Media
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2018
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vol. 10
37-43
PL
The author presents one of the main topics in Irena Kamieńska’s documentary oeuvre — the problems of women. In the article she discusses two kinds of female portraits created by the director — strong and full of enthusiasm (Good Morning, Children, Next Point on the Agenda), and helpless, without any hope (Workers; Day After Day). Of crucial importance is the sociological-historical context, referred to by the author, which makes it possible to take a broader view on the conditions in which the protagonists of Kamieńska’s documentaries lived. In addition, the author discusses the director’s attitude to her protagonists.
4
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Intymny obraz śmierci we współczesnym polskim dokumencie

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Tes U.
Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes
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2014
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vol. 12
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issue 1
PL
Artykuł nie zawiera abstraktu w języku polskim
5
Content available remote

"Declaration of Immortality" – Inspirations Derived from Creative Documentaries by Wojciech Wiszniewski

100%
Tes U.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2014
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vol. 15
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issue 24
145-154
PL
In his documentary Declaration of Immortality, Marcin Koszałka intentionally refers to the style of Wojciech Wiszniewski. Visual creativity is strongly exposed here, both in the style of fi lming and the presentation of the hero. Th e main character in the fi lm, Piotr Korc zak, reminds of the monument-like heroes from Wiszniewski’s fi lms, like protagonist from Wanda Gościmińska. A Weaver Koszałka fi lmed the scenes in the Potocki Palace in Krzeszowice in the manner of Wiszniewski’s long tracking shots. Visual creativity in Koszałka’s and Wiszniewski’s fi lms encompasses the staging, precise frame composition, and their intentional artifi ciality, which does not nullify the documentary their nature. Form in the works of the directors of Primer (Wiszniewski) and Declaration of Immortality (Koszałka) interacts more or less with the spirit of Stanisław Witkiewicz’s art. Koszałka, like Wiszniewski, ‘dismantles’ reality, exposing the illusion of cinema to present a guru of mountain climbing (Korczak) as a ‘hostage of immortality’. Th e lonely hero from Wiszniewski-like staged scenes in Declaration of Immortality is presented as an ‘outgoing star’ whose fame has passed, giving way to alienation or a sense of failure. Th e tension from Declaration of Immortality emerges from the contrast between the way of fi lming (heroic style), and the meaning of particular scenes. Th e cinema of Wojciech Wiszniewski includes symbols, metaphors, and allegories. Th is artistic conception goes well with Marcin Koszałka’s concept of cinema, which – since the making of Existence (2007) – has become more and more symbolic, incorporating Baroque-like formal ideas based on strong contrasts to evoke ‘cognitive discomfort’ in the viewer. 
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