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  1. 2 Panoptikum

  2. 1 Kwartalnik Filmowy

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  1. 3 Miller A.

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  1. 1 2010

  2. 1 2009

  3. 1 2008

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ASSASSINATION OF ALDO MORO ACCORDING TO MARCO BELLOCCHIO. CONTESTATIONS, DESIRES AND ILLUSIONS (GOOD MORNING, NIGHT) (Zabójstwo Aldo Moro wedlug Marco Bellocchia, czyli o kontestacyjnych pragnieniach i zludzeniach (Witaj, nocy))

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Miller A.
Kwartalnik Filmowy
|
2010
|
issue 69
153-163
EN
The authoress analyses Marco Bellocchio's 'Good Morning, Night' (Buongiorno, notte, 2003). The film deals with one of the most shocking, politically motivated atrocity during the post war Italian Republic, namely the kidnapping and subsequent murder of Aldo Moro, the then leader of the Christian - Democratic party and the former prime minister, by the Red Brigades. Bellocchio, thanks to his debut film 'Fist in His Pocket' (I pugni nel tasca, 1965), was considered a precursor of the 'cinema of contestation'. His 'Good Morning, Night', which is a film reconstruction of the tragic events of the 1978, is a reflection upon the 'failure of the utopia', and the director's coming to terms with left wing views, that were once his own. The worldview aspect of the film - the cry against all forms of political fanaticism - coexists alongside a more personal aspect, which is also pin pointed by the dedication of the film to the director's father in the opening credits of the movie. This dual nature of this work is, according to the authoress, highlighted by the poetics of the film, that oscillates between realism and onirism.
2
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Filmowy ślad środkowoeuropejskiej tożsamości. Uwagi o filmie Niepochowany Márthy Mészáros

100%
Miller A.
Panoptikum
|
2008
|
issue 7(14)
331-334
EN
In her essay the author examines A Temetetlen halott by Márta Mészàros – a Hungarian director and screenwriter usually associated with feminist cinema. Due to the use of the quasidocumentary narrative strategy, A Temetetlen halott seems to fit the contemporary paradigm of telling (about) history. Produced in 2004, the film is a reconstruction of the last two years in the life of Imre Nagy, the legendary prime minister of the revolutionary Hungarian government in 1956, thus creating a perfect opportunity for the investigation of the so called Central European identity. A Temetetlen halott – a Polish-Slovak-Hungarian co-production – points to the close historical bonds between Poland and Hungary; the protest in Budapest was after all a sign of support for the changes taking place in Poland at that time (therefore one has to keep in mind that the revolt in Poznan in 1956 creates the historical context for these events). Built upon biographical experiences of real witnesses of the 1956 October revolution, the film shows the urgent need for an effort to keep the past alive, as it forms the basis of the collective identity.
3
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Cztery odyseje Ermanno Olmiego

100%
Miller A.
Panoptikum
|
2009
|
issue 8(15)
201-209
EN
This essay is dedicated to Ermanno Olmi’s oeuvre. Miller analyzes four of his feature films (The Job, The Engagement, Long Live the Lady! and The Legend of the Holy Drinker), pointing out that the main motif that connects them is travel. It could be considered literally (all main characters of Olmi’s films are emigrants) or in a metaphorical way – as a psychological journey. Miller concludes her essay with the analysis of The Legend of the Holy Drinker. According to her, this movie sums up Olmi’s views on life regarded as travel from birth to the “earthly death” – here the homo viator figure is replaced by homo peregrinus. Therefore, it could be claimed that Olmi’s cinema focuses on “coming back home” scheme, which enables the protagonists to sustain their self-identities.
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