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  1. 2 Załącznik Kulturoznawczy

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  1. 2 Taras K.

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  1. 1 2020

  2. 1 2016

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Hitchcock wobec Holocaustu ("Memory of the Camps")

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Taras K.
Załącznik Kulturoznawczy
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2020
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issue 7. Hitchcock - rozchylanie kurtyny / Badanie muzyki popularnej
583-592
EN
This sketch is a kind of commentary (gloss) to a little-known episode in Alfred Hitchcock’s work, which was the director’s collaboration on Memory of the Camps (the film producer Sidney Bernstein invited Hitchcock in the spring of 1945 to assist the filmmakers in giving the final shape to the documentary film made by American, British and Soviet frontline operators just after the liberation of several concentration camps). The author of the article poses questions about the contribution of the ‘master of suspense’ to this shocking, unfinished documentary, expressing the opinion that as a creator he was only interested in violence created in the space of fiction, in a world functioning according to the rules he invented.
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O roli kamery w filmach Wojciecha Smarzowskiego

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Taras K.
Załącznik Kulturoznawczy
|
2016
|
issue 3. Kicz nasz współczesny
254-267
EN
In this paper, I reflect on the role and function of the camera ‘acting’ (that is, the camera placed in the hands of the heroes of films by Wojciech Smarzowski) that appears on the screen as often as an ax – item strongly associated with this director’s cinema. I also refute the ‘digital’ legend of his debut, i.e. Wesele (Wedding), which has not been realized with the use of a digital camera, but a film one. A camera ‘casted’ in the films by Smarzowski can be considered as an extra, but a full-fledged hero, a witness seeing (and therefore recording) more than the character whose hands it is located in. This perfectly corresponds with the last shot – perhaps the most characteristic one for the author of the films discussed – the shot in which the One who reigns over the world, but does not interfere into it (since we have free will) gazes at the universe created by Wojciech Smarzowski.
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