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Fakes of reality. Do we really need the paradigm of the documentary? From the ontology to the epistemology of movie images, i.e. there and back again

100%
Jakubowska M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2017
|
vol. 21
|
issue 30
EN
The starting point for this paper is the statement that we are witnessing a “mock-documentary boom” in contemporary cinema. Viewers today can be surprised and confused by the variety of “intercrossings” that are used in documentary and fictional strategies. The fact that there has been a growing number of films that do not respect the traditional division between fictional and non-functional cinema deserves deeper consideration. The introduction of the paper is focused on historical sources and classifications of this complex phenomenon (for example: the brothers Lumière tradition contrasts with that of Méliès). The main body of the paper is concentrated on the question of what cinema can offer in lieu of a documentary paradigm. It also tries to explore ontological and epistemological perspectives which can clarify some of the reasons for the popularity of mock-documentary and docufiction productions. It ends with a suggestion that the cinema is a domain of fakes of reality regardless of whether fictional or non-fictional narration is used to tell their stories. 
2
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Bohater filmowy jako aktor: czas i tożsamość

100%
Jakubowska M.
Studia Filmoznawcze
|
2013
|
vol. 34
201 - 215
EN
Histrionics in film can have various aspects: aesthetic, psychological, existential and also metaphysical. In the films of Wojciech Jerzy Has the actor-character figure reveals that time is a destructive force, an element of the external which breaks into human identity, devastating it. Why is acting a great temporal topic? Because it makes us aware of the incessant split of time; our perception of the present moment and its preserved memory. Both temporal dimensions, although diverse, are compactly connected as a role with an actor. Has from The Noose to The Tribulations of Balthazar Kober consequently shows how the actors cope with the histrionics of the world. He is able to depict in his movies: the temporal inequality scandal which reveals an aggressive side of the time. The event appears always “too soon”. The first reaction is repeating — the character automatically uses already existing acting scheme, gesture or dialog. The second reaction is a reflection, it reveals that “it is too late”, already some chance is irretrievably lost and choices were mistaken. Repeating reactions masks the temporal crack in the identity, but the film characters constantly feel that they are not actually themselves... ther attitude toward themselves and toward ther acting is ironic. Sometimes they manage to confuse the steps, to refuse to act in a dull, foreseeable spectacle. There are moments when the characters through the double game of guises express “something authentic”, now their creations start to say “something real” about them. Has knew that the circus and masquerade can sometimes reveal the deepest truths of the human existence in one flash; when the foolishness and amusement are forged into a philosophical reflection.
3

Czas dzieciństwa i dojrzewania. Dwie epoki heoriczne w "Sanatorium pod Klepsydrą".

100%
Jakubowska M.
Kwartalnik Filmowy
|
2013
|
issue 81
193-203
PL
"Sanatorium pod Klepsydrą" Wojciecha Jerzego Hasa opowiada o powrocie do dzieciństwa i wieku nastoletniego, nie jest jednak historią utkaną z tradycyjnie rozumianych wspomnień. To film o wyprawie w głąb czasu. Dla Brunona Schulza, autora pierwowzoru, dojrzewanie do dzieciństwa jest egzystencjalnym zadaniem dla każdego człowieka. I chociaż postulat ten brzmi jak element psychoanalitycznej terapii, nie otrzymujemy powierzchownego freudyzmu ani w prozie Schulza, ani w filmie Hasa. Freud chciał uwolnić swego pacjenta od ciężaru dzieciństwa i zaoferować wolność w teraźniejszości po uporaniu się z traumą wczesnych doświadczeń. Natomiast w wizji Schulza dominuje pragnienie powrotu do czasu przeszłego, ponieważ tylko tam możemy odnaleźć wolność – dziecięcą, niczym nieskrępowaną twórczość. W "Sanatorium pod Klepsydrą" wokół figur rodzicielskich nie tylko krystalizuje się ludzka osobowość, ale zostaje ujawniona filozofia czasu. Has powtarza za Schulzem, że śmierć i narodziny to dwie strony życia, podobnie jak figury Matki i Ojca. Grób i łono są źródłami czasu, stamtąd wszystko wypływa i tam powraca. Żadna miłość nie jest pierwsza, a żadna śmierć ostateczna.
EN
'The Hourglass Sanatorium' by Wojciech Jerzy Has tells of a return to the time of childhood and the age of adolescence. And yet it is not a story woven of memories understood in a typical way. It is a film about an expedition back into time of childhood. For Bruno Schulz, the author of the original novel, maturing into childhood is an existential challenge for every human being. Though this postulate sounds like a part of psychoanalytic therapy, we do not get superficial Freudianism in Schulz’s prose or in Has’ film. Freud wanted to release the patient from the burden of childhood and offer him the freedom in the present, once the patient dealt with the trauma of early experiences. However, in Schulz’s vision the desire to return to the past dominates, because only there we can find true freedom – in a child’s unfettered creativity. In 'The Hourglass Sanatorium' human personality and philosophy of time crystallize around parental figures. Has repeats after Schulz, that death and birth are simply two sides of life, just as the figures of Mother and Father. The grave and the womb are sources of time from which everything flows, and to which everything must return. No love is the first love, and no death is final.
4
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Turning a blind eye to dying and eroticism: some remarks on contemporary cinema

63%
Jakubowska M., Michałowska M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2017
|
vol. 21
|
issue 30
EN
Since the beginning of the cinematographic industry there has been a visible interest in exploring two themes: death and sex, whereas the motif of dying and sexuality/eroticism seem to be mutually exclusive in mainstream movies to such extent that they rarely appear together on the screen. To shed some light on this cinema tendency of separating eroticism from dying we investigate some of the factors of the phenomenon as well as the ones that could have contributed to the shift we have noticed. The majority of films devoted to the subject of dying and eroticism concentrate on a very limited range of visual and narrative schemes. In our paper we present the main clichés, plot and visual schemes, motifs and narrative techniques in contemporary cinema. Although the unique power of the cinema is “matter of making images seen”, it could be argued that the cinema uses not only the command ‘open your eyes to’, but also the command ‘close your eyes to’. In this way, audiovisual culture closes its eye to the entwinement of the motif of dying with the themes of eroticism. 
5
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OD REDAKCJI

50%
Jakubowska M.
|
2020
|
vol. 63
|
issue 2
7-9
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