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Wodą w mur lub wyjście przez okno z betonu. O kilku graffiti Banksy'ego

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Mrozewicz A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2011
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vol. 9
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issue 17-18
208-220
EN
  The paper discusses a series of five graffiti pieces made in 2005 on the Israeli-Palestinian separation barrier by the English street artist Banksy. Location is here key to the understanding of the messages. The departure point for my analyses is, on the one hand, the meaning connoted with the ‘wall,’ the aim of which is to separate two peoples in a conflict, and, on the other, the representations of landscapes, often with water, painted by Banksy in most of the works. To answer what symbolic role landscape plays in the conflict-ridden area, I look at some other art works, made by contemporary Israeli artists for whom place, landscape and the related question of identity and belonging seem to play a central role. Painted by Banksy on the Palestinian side, the utopian, Eden-like sights, which ‘make holes’ in the concrete barrier, undermine, in an ironic fashion, the hierarchical discourse of power relations constructed by the ‘opposite’ side, and give ‘water’ to the evicted.
PL
Water on the wall or exit through the concrete window. On some graffiti of Banksy   The paper discusses a series of five graffiti pieces made in 2005 on the Israeli-Palestinian separation barrier by the English street artist Banksy. Location is here key to the understanding of the messages. The departure point for my analyses is, on the one hand, the meaning connoted with the ‘wall,’ the aim of which is to separate two peoples in a conflict, and, on the other, the representations of landscapes, often with water, painted by Banksy in most of the works. To answer what symbolic role landscape plays in the conflict-ridden area, I look at some other art works, made by contemporary Israeli artists for whom place, landscape and the related question of identity and belonging seem to play a central role. Painted by Banksy on the Palestinian side, the utopian, Eden-like sights, which ‘make holes’ in the concrete barrier, undermine, in an ironic fashion, the hierarchical discourse of power relations constructed by the ‘opposite’ side, and give ‘water’ to the evicted.
2
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Towards an understanding of ekphrasis: Morten Søndergaard’s Nedtcelling til en skulptur af Michelangelo (Pieta di Rondamni i Milano)

100%
Mrozewicz A.
Folia Scandinavica Posnaniensia
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2006
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vol. 9
137-155
EN
Morten Søndergaard is one of the best known Danish poets who made their debut in the nineties. The visual arts as well as the tension between language and the reality to which words are supposed to refer play a remarkable role in the poet’s oeuvre. Hie article investigates the problem of poetic language in an encounter with a sculpture. The first part introduces some issues o f ekphrasis, which serve as a point of departure for an analysis of S0ndergaard’s poem. TTie aim of the analysis is an examination of a paradox central to the meaning of the poem: while undermining the possibility of verbal representation, the poem introduces various strategies attempting to imitate sculpture. The poet’s struggle with language becomes simultaneously the reader's, who faces the question of how to “find our way through what separates words from what is both without a name and more than a name: a sculpture.”1
3
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Głos Joanny. O paragone sztuk w "Męczeństwie Joanny d'Arc" Carla Theodora Dreyera

100%
Mrozewicz A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2009
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vol. 7
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issue 13-14
181-190
EN
  The last mute film in Carl Th. Dreyer’s oeuvre, The Passion of Joan of Arc (1928), is often referred to as a film “made of close-ups” and purely cinematic. Dreyer used to stress himself that close-up was the specific cinematic device that asserted film’s position as autonomous art.  He especially insisted on film’s independence from theatre. Thus, it might sound quite surprising that in an interview from 1965, Dreyer draws attention to the underestimated, according to him, role of theatre in Joan of Arc. In my essay I focus on the theatricality in Dreyer’s film, arguing that “the theatrical” and “the cinematic” are two strategies used to present two different worlds of ideas and beliefs: that of the judges, clergymen and inquisitors, which at the same time is the world of males, and that of Joan, an illiterate woman who strives alone for her idea against a group of powerful men. What we observe in the film is a growing presence of ‘the cinematic’, the strategy allied with Joan, who in the final scene triumphs over the judges, just like cinema triumphs over theatricality.
PL
The voice of Joan. On paragone in Carl Th. Dreyer’s “The Passion of Joan of Arc” The last mute film in Carl Th. Dreyer’s oeuvre, The Passion of Joan of Arc (1928), is often referred to as a film “made of close-ups” and purely cinematic. Dreyer used to stress himself that close-up was the specific cinematic device that asserted film’s position as autonomous art.  He especially insisted on film’s independence from theatre. Thus, it might sound quite surprising that in an interview from 1965, Dreyer draws attention to the underestimated, according to him, role of theatre in Joan of Arc. In my essay I focus on the theatricality in Dreyer’s film, arguing that “the theatrical” and “the cinematic” are two strategies used to present two different worlds of ideas and beliefs: that of the judges, clergymen and inquisitors, which at the same time is the world of males, and that of Joan, an illiterate woman who strives alone for her idea against a group of powerful men. What we observe in the film is a growing presence of ‘the cinematic’, the strategy allied with Joan, who in the final scene triumphs over the judges, just like cinema triumphs over theatricality.
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