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"Noc Świętego Wawrzyńca". Cienie (zapomnianych) przodków.

100%

Miller-Klejsa A.

Kwartalnik Filmowy

2013

issue 81

133-144

Autorka analizuje "Noc świętego Wawrzyńca" ("Notte di San Lorenzo", reż. P. i V. Taviani, 1982), umieszczając film w kontekście innych włoskich produkcji łączących problematykę wojennych doświadczeń Włochów oraz perspektywę dziecka. Autorka wskazuje na obecne w filmie wątki religijne i mitologiczne, a także podejmuje próbę interpretacji dziecięcej perspektywy przyjętej w filmie – zabieg ten wpływa bowiem nie tylko na oniryczno-baśniową tonację filmu, ale niesie zarazem istotne konsekwencje dla jego wymowy. Przefiltrowanie wydarzeń z czasów II wojny światowej przez pryzmat świadomości dziecka prowadzi w istocie do wizji odkonkretnionej. Czyżby Taviani sugerowali w ten sposób, że w Italii lat 80. II wojna światowa była dla Włochów historią równie odległą, co starożytne mity i tylko w takiej formule mogła być zrozumiana? A może wręcz przeciwnie – charakter legendy nadany wojennym wydarzeniom ma wskazywać na trwałość tego konfliktu w zbiorowej pamięci i jej istotność dla włoskiego dziedzictwa kulturowego?

The author examines 'The Night of St. Lawrence' ('Notte di San Lorenzo', dir. P. and V. Taviani, also known as 'The Night of the Shooting Stars'), placing the film in the context of other Italian production dealing both with the experience of war by Italians and the perspective of the child. The author points to the religious and mythological themes present in the film, and attempts to interpret the child’s perspective adopted in the film, as the perspective has an impact not only on the oneiric, fairy tale like tone of the film, but also carries significant implications for its message. Filtering the events of the Second World War through the perspective of the child’s consciousness leads to a vision somewhat detached from the reality. Were Taviani brothers suggesting in such a manner that in 1980s Italy World War II was for the Italians as distant as the ancient myths, and could only be understood through such a formula? Or maybe on the contrary – the legendary character given to war events is to show the durability of this conflict in the collective memory and its significance for the Italian cultural heritage?

Cud w Mediolanie Vittoria De Siki na tle recepcji włoskiego neorealizmu w polskim piśmiennictwie filmowym do 1956 roku

100%

Miller-Klejsa A.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

2022

vol. 31

issue 40

187-199

After the end of the Second World War, cinema culture in the People’s Republic of Poland underwent a crucial transformation. One of the aspects of this change was the new movie import model: most international sources were replaced by films from the Communist bloc, principally the Soviet Union. Italian movies constituted an important exception. In addition, translations of works by C. Zavattini and U. Barbaro were published (the latter was even appointed a professor at the Film School in Lodz). However, some movies deemed neorealist were either not permitted by the censorship bodies (it banned several of Rossellini’s works) or appeared on Polish screens with a significant delay (which was the case of Umberto D.). The article focuses on the reception of the film Miracle in Milan (dir. Vittorio De Sica) in the Polish movie magazines and books published before 1956. The case of this film seems particularly interesting, as opinions on it have changed over the years (as has the assessment of the neorealist movement as a whole), and the film itself has provoked controversy. In the Stalinist period in Poland, critical opinions dominated, and Italian neorealism (and De Sica’s film) was accused of pessimism and losing sight of “great revolutionary perspectives”. The film’s fairy-tale formula and the “transcendental” themes present in the plot were also difficult to accept. This negative attitude changed during the Thaw, when neorealism became something of a positive example of progressive film aesthetics, an example to follow; the authorities then allowed neorealist films (including Miracle in Milan) to be framed in religious terms.

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1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Kwartalnik Filmowy

2 Miller-Klejsa A.

1 2022

1 2013

Search results

"Noc Świętego Wawrzyńca". Cienie (zapomnianych) przodków.

Cud w Mediolanie Vittoria De Siki na tle recepcji włoskiego neorealizmu w polskim piśmiennictwie filmowym do 1956 roku