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“Ledwosz, where is the key?”, or people and animals in Iwona Siekierzyńska’s short student film “Missy”

100%
Przybylski K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2018
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vol. 24
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issue 33
185-196
EN
Iwona Siekierzyńska school film Missy takes up the theme of a girl’s unfulfilled love for a priest. Her dog named Ledwosz not only accompanies her in the experience of encountering the man in cassock, while his anointing of a sick neighbor, but also triggers the situation that caused her infatuation. This brief and accidental contact with the priest turns out to be a breakthrough experience for the teenage girl looking for love and attention. It means her entering the adult world in which it is easy to miss a crucial moment, or hurt somebody’s feelings quite unconsciously. The young girl’s experience of the brief encounter will remain in her forever. The relation between the female character and her dog from the short film was the inspiration to consider the similarities between Missy and Three Colors: Red, by Krzysztof Kieślowski, who was the artistic supervisor of Siekierzyńska’s film. In both films it is a dog that initiates the process resulting in metaphysical experience for the main characters.
2
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„Zamknij drzwi”, czyli wykorzystanie przestrzeni filmowej do uobecnienia sacrum na przykładzie filmu Sieranevada Cristi Puiu

100%
Przybylski K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2020
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vol. 27
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issue 36
57-69
EN
The article analyzes how the main representative of the Romanian New Wave – Cristi Puiu – uses the visual space of an apartment for staging and presenting the visible and hidden spheres of reality. His film Sieranevada, focusing on a family meeting on the occasion of religious ceremonies commemorating recently deceased senior family member, shows the possibilities of using the language of realism to appeal to the spirituality present in everyday life and to unveil Transcendence.
3
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Obraz „rumuńskiej duszy” obecny w literaturze i filmie na przykładzie ballady „Miorița” oraz Nowej Fali w kinie rumuńskim

100%
Przybylski K.
Język - Szkoła - Religia
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2022
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vol. 17
210-225
PL
Artykuł podejmuje kwestię obrazu rumuńskiej duszy albo rumuńskiego ducha, obecnego w literaturze i filmie tego kraju, na przykładzie tradycyjnej ballady ludowej Miorița oraz twórczości filmowej wybranych przedstawicieli najważniejszego nurtu współczesnego kina rumuńskiego, tzw. Nowej Fali. Kontekstem dla prowadzonych rozważań jest teoria przestrzeni mioritycznej zaproponowana przez Luciana Blagę. Tekst omawia aktualny stan dyskursu na temat kulturowo uwarunkowanego specyficznego sposobu myślenia i działania, a także bada możliwy wpływ oraz znaczenie stylistycznej matrycy, przejawiającej się jakoby w postawach i zachowaniach Rumunów, a obecnej także w ich twórczości artystycznej.
EN
The article deals with the image of the Romanian soul or the Romanian spirit, present in the literature and film of this country, on the example of the traditional folk ballad of Miorița and the film work of selected representatives of the most important current of Romanian cinema, the so-called New Wave. The context for the considerations is the theory of the mioritic space, proposed by Lucian Blaga. The text discusses the current state of discourse on the culturally conditioned specific way of thinking and acting, and examines the possible influence and significance of the stylistic matrix, apparently manifested in the attitudes and behavior of Romanians, and also present in their artistic work.
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