Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 11

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

A tragedy tailored to the spirit of the times – Romeo and Juliet as interpreted by Franco Zeffirelli and Baz Luhrmann

100%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2019
|
vol. 26
|
issue 35
219-229
PL
This article discusses two film adaptations of Romeo and Juliet, i.e. one directed by Franco Zeffirelli and the other by Baz Luhrmann. It covers the following aspects: the structure of both the drama and its two film adaptations, the characters’ creation, the choice of setting and screen time, and the function of tragedy. Shakespeare’s language is characterised by unparalleled wit and powers of observation, and the final form of his plays is a clear indication of his ambivalent attitude towards tradition and the rigid structure of the drama. By breaking with convention, favouring an episodic structure, and blending tragedy with comedy, Shakespeare always takes risks, in a similar vain to the two directors who decided to make film adaptations based on his plays. Each technical device the adaptors selected could have turned out to be a wonderful novelty or a total disaster. The strength of both Zeffirelli’s and Luhrman’s adaptations is their emphasis on love and youth, which thanks to their directorial skill is perfectly in tune with the spirit of their respective times.
2
Publication available in full text mode
Content available

Zakochany Szekspir i Upstart Crow, czyli o dwóch bałamutnych biografiach Williama Szekspira

100%
Śliwińska A.
Przestrzenie Teorii
|
2019
|
issue 32
323-339
EN
Śliwińska Anna, Zakochany Szekspir i Upstart Crow, czyli o dwóch bałamutnych biografiach Williama Szekspira [Shakespeare in Love and Upstart Crow – Two Fictional Biographies of William Shakespeare]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 323–339. ISSN 1644-6763. DOI 10.14746/pt.2019.32.17. The article focuses on two productions (the TV series Upstart Crow and the feature film Shakespeare in Love), which present the life of the famous playwright in an unusual way. It also looks at matters related to the practice of writing biographies of famous people, as well as biographism, which is treated by the makers of the aforementioned productions in a deceptive and hypothetical way. Finally, the question is asked regarding the function of deception and mystification, which were consciously used in the process of creating Shakespeare’s biographies in the two examples analysed.
3
Publication available in full text mode
Content available

The City According to Mike Leigh

100%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2013
|
vol. 12
|
issue 21
107-113
EN
The City According to Mike Leigh The key to the interpretation of the image of London presented in Mike Leigh’s films can be found in his own words: “I actually do think London is a hidden city the way New York isn’t.” and “You can get the hang of New York, but London is a collection of villages. It takes a long time to get under its skin.” London in Mike Leigh’s films perfectly matches the director’s creative thought, exposing social differences and the lack of communication in the family. However, the director releases his characters from the dark corners and hideous streets, and lets more light and nature into their lives. Thanks to this, as he has said, the city becomes a collection of small villages, which for him is the greatest value of the place where he lives and makes his 
4
Publication available in full text mode
Content available

Pianista – obraz getta w filmowym języku Romana Polańskiego

100%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2011
|
vol. 9
|
issue 17-18
53-68
EN
The Pianist – the image of a ghetto in the film language of Roman Polanski   The work of Roman Polański has always been a unique example of both craftsmanship and interesting subjects. Each of his films (even of those crushed by the superficial interpretations of the reviewers) functioned perfectly well in popular culture and as an artistic accomplishment. It reconciled the tastes of both sophisticated viewers and those who looked for simple entertainment. Roman Polański’s method of creation entails the use of a number of curtains (genres, popular culture subjects, popular patterns) which cover the deeply hidden truth about the world and relations among people. In The Pianist the subject of the Holocaust was used as the key to show the mechanisms that rule the world. Also in this case the most obvious diagnosis proves to be the least important. The Pianist is not an autobiography dealing with the memories from a getto. Definitely more significant is the attempt to juxtapose the image of a ghetto and its inhabitants with the film language of Roman Polański. It makes it possible to read the problem of the Holocaust against the motifs always present in his work, including the context of the cinema of the kind. In The Pianist Polański joins the precision of a craftsman with the memory of a witness. As a result, using the solutions known from Hollywood films, he tells the story of a ghetto, which is seen as the metapher of the whole world.
5
Publication available in full text mode
Content available

Cinema Metropol – kino, którego nie ma

100%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2017
|
vol. 20
|
issue 29
329-335
EN
This article is devoted to the history of the Metropol movie theater, which started its activity in the interwar period. The story of Metropol intertwines with the history of the town and the fate of its inhabitants.
PL
Cinema Metropol – a place which is not there This article is devoted to the history of the Metropol movie theater, which started its activity in the interwar period. The story of Metropol intertwines with the history of the town and the fate of its inhabitants.
6
Publication available in full text mode
Content available

Poetics of the Happy Ending in Mike Leigh's Films

100%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2015
|
vol. 16
|
issue 25
95-103
EN
Poetics of the Happy Ending in Mike Leigh’s Films   While the most recent cinema is about surprising us with strange formal solutions, whose finale is intended to completely confuse and outsmart us, Mike Leigh makes fi lms which surprise us with their “typicality”, at the same time (paradoxically) leading to fi nales that we may not expect. Among researchers on melodrama, there are voices clearly assessing happy endings negatively. It is pointed out that a happy ending oft en looks as if it were “tacked on” and artifi cial, ignoring the overall plot rather than being integral to the rest of the fi lm. In the case of Mike Leigh’s films, the situation looks (ostensibly) similarly. Leigh oft en leads the viewer through the dramatic lives of his characters, and watches the process of families’ lives being ruined, one aft er another, only to finally make them rise like a phoenix from the ashes. It may be stated that Leigh’s fi lms in a somewhat artifi cial way take advantage of the happy ending. Th is artifi ciality, however, is not about a banal or ridiculous ending, but about one we have not been prepared for by the director.
7
Publication available in full text mode
Content available

England in a Miniature in Mike Leigh's "The Short and Curlies"

100%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2012
|
vol. 10
|
issue 19
23-31
PL
Mike Leigh’s films are known for having kept the same tone and having played out the same melody for years. It is noteworthy that all the themes which Mike Leigh developed in his subsequent films, appeared in The Short and Curlies. Short scenes from the life of the English in The Short and Curlies can be seen in each scene of the film. From details such as a street with a perfectly straight terrace of houses with small gardens to social questions that are constant in the British culture. This ordinary, everyday observation gave rise to the plot of The Short and Curlies, revolving around a love affair of Joy (Sylvestra Le Touzel), a young woman working at a chemist’s and Clive (David Thewlis), a man who communicates with her only by means of his humourless jokes. Another story in the film is a complicated relationship of an eccentric hairdresser Betty (Alison Steadman), who is more interested in the life of the pharmacist than in the life of her own daughter Charlene (Wendy Nottingham). As Ewa Mazierska says: “Mike Leigh was once called the painter of miniatures – his films and TV productions for which he is equally praised and admired, concentrate on life of «small people with small gardens»”. Mike Leigh knows that his strengths are well written dialogues and this extraordinary skill to become a fictional character possessed by the actors he chooses.
EN
England in a Miniature in Mike Leigh's “The Short and Curlies” Mike Leigh’s films are known for having kept the same tone and having played out the same melody for years. It is noteworthy that all the themes which Mike Leigh developed in his subsequent films, appeared in The Short and Curlies. Short scenes from the life of the English in The Short and Curlies can be seen in each scene of the film. From details such as a street with a perfectly straight terrace of houses with small gardens to social questions that are constant in the British culture. This ordinary, everyday observation gave rise to the plot of The Short and Curlies, revolving around a love affair of Joy (Sylvestra Le Touzel), a young woman working at a chemist’s and Clive (David Thewlis), a man who communicates with her only by means of his humourless jokes. Another story in the film is a complicated relationship of an eccentric hairdresser Betty (Alison Steadman), who is more interested in the life of the pharmacist than in the life of her own daughter Charlene (Wendy Nottingham). As Ewa Mazierska says: “Mike Leigh was once called the painter of miniatures – his films and TV productions for which he is equally praised and admired, concentrate on life of «small people with small gardens»”. Mike Leigh knows that his strengths are well written dialogues and this extraordinary skill to become a fictional character possessed by the actors he chooses.
8
Publication available in full text mode
Content available

Different Faces of Parody in Billy Liar

100%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2014
|
vol. 14
|
issue 23
81-91
PL
Parody in John Schlesinger’s Billy Liar functions on a number of levels. First of all, it relates to the construction of the main character – his behaviour, way of speaking, facial expression. Billy constantly plays a game with the world in which, according to him, one can live only when pretends someone else. Since its main aim is to imitate and mock others in order to achieve a comical effect, it is easy to state that Billy Fisher is a master of this art. But the character of Schlesinger’s film is expressed not only in the construction of the character (Billy’s aversion to the set patterns of middle-class life and his simultaneous fascination and disdain for mass culture). The director did not hesitate to parody the Angry Young Men cinema too. Thanks to this, he managed to expose the weaknesses of this world-renowned movement in the British cinema. Ironically, in parodistic, artificial behavior of Billy we can see a lot of truth about him, his environment and even the convention used by the director to talk about Billy’s life. 
9
Publication available in full text mode
Content available

Satisfaction or Hard Labour? Portrait of a Ballet School in 52 Percent by Rafał Skalski

100%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2014
|
vol. 15
|
issue 24
165-170
PL
How is ballet presented in documentaries? Is Central European cinema different from cinema in the West in this respect? 52 Percent, Rafał Skalski’s documentary about Alla, a girl dreaming of becoming a ballerina, provides an intriguing answer to this question. Th is article compares 52 Percent by Rafał Skalski with two documentaries made in the West (First Position and Only When I Dance), which also show the endeavours of young people who want to fulfil their dreams of becoming ballet dancers. Alla tries to enrol in the famous Russian Agrippina Vaganova Academy of Russian Ballet in Sankt Petersburg. Th e exams are really tough, and she must do additional exercises to lengthen her legs (she lacks 0.4% to achieve the perfect leg-upper body ratio). The girl cannot make her legs longer, although she tries hard. Her days fi lled with exercise are filmed in long, static shots. There is no joy or enthusiasm. Sweat and tiredness are a part of strenuous exercise. Alla does not spin on a roof, nor does she jump rhythmically while cooking, like the characters of First Position and Only When I Dance. There is nothing from a fairy tale or Hollywood in her experiences. Additionally, Skalski’s fi lm breaks the myth of the dancer’s body being strong and inexhaustible. This is how we traditionally look at ballet, where there is no place for showing weakness. 
10
Publication available in full text mode
Content available

Ślad węglowy organizacji - praktyczny przewodnik dla przedsiębiorcy

100%
Śliwińska A.
Marketing i Rynek
|
2022
|
issue 11
13-22
EN
The term 'carbon footprint' appears in the surrounding reality more and more often. We encounter it as consumers when making consumer choices and as members of the various communities who are responsible for the environment and the planet. This term also appears in organizations and enterprises, e.g. as an element of marketing and PR strategies or requirements in announced tenders. It is an green marketing tool of increasing importance. During contacts with industry representatives, it was found that many Polish entrepreneurs are confused what are the benefits of calculating the carbon footprint, and how it can be calculated. There is a need for a summary of information that will help to organize the topic from the point of view of an entrepreneur who is not specialized in life cycle assessment or climate change. The article, using a systematic approach, introduces the concept of the carbon footprint, the possibilities of its application, the methodology of its calculation and examples of activities enabling its reduction. Thus, it aims to make it easier for entrepreneurs to consider the feasibility and advisability of calculating and monitoring the carbon footprint for their organization. Additionally, the paper may contribute to the popularization of the carbon footprint application among Polish entrepreneurs, as well as to greater care for the environment and climate.
PL
Termin „ślad węglowy” pojawia się w otaczającej nas rzeczywistości coraz częściej. Napotykamy go jako konsumenci podczas dokonywania wyborów konsumenckich oraz jako członkowie różnych społeczności, odpowiedzialni za środowisko i planetę. Termin ten jest również coraz częściej wykorzystywany przez organizacje i przedsiębiorstwa, np. jako element strategii marketingowych, PR-owych lub wymagań w ogłaszanych przetargach. Jest to narzędzie marketingu ekologicznego o rosnącym z roku na rok znaczeniu. Podczas kontaktów z przedstawicielami przemysłu stwierdzono, że wielu przedsiębiorców nie ma jasności co do tego, jakie są korzyści związane z obliczaniem śladu węglowego oraz w jaki sposób może on być obliczany. Istnieje potrzeba zbiorczego zestawienia informacji, które pomogą uporządkować tę tematykę z punktu widzenia przedsiębiorcy, który nie specjalizuje się w ocenie cyklu życia ani ocenie zmian klimatycznych. Artykuł, wykorzystując systematyczne podejście do tematu, przybliża pojęcie śladu węglowego, możliwości jego zastosowania, metodykę jego obliczania i prezentuje przykłady działań umożliwiających jego obniżanie. Ma zatem na celu ułatwienie przedsiębiorcom rozważenia możliwości i celowości obliczania i monitorowania śladu węglowego ich organizacji. Dzięki temu artykuł może się również przyczynić do popularyzacji wykorzystania śladu węglowego wśród polskich przedsiębiorców, a także do większej troski o środowisko i klimat.
11
Publication available in full text mode
Content available

Wariacje jazzowe w kinie "młodych gniewnych"

100%
Śliwińska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2009
|
vol. 7
|
issue 13-14
205-210
EN
Jazz music and the vision of the world depicted by the “angry young men” are connected by a mysterious bond, its basis being not a simple citation of musical pieces, but functioning based on the identicalness of conveyed feelings and thoughts. Rarely can one find an example of correspondence of arts characterised by such extraordinary cohesion of thought and outlook on life. The objective of the present text is not to show the way jazz music functions in the “angry young men’s” films, but to take a closer look at this tangent point, this place where two worlds meet – worlds which are completely different, and yet, in consequence, alike. It transpires, after all, that there is only one way to self-cognition (whether in jazz or “angry young men’s” cinema) – the one leading through daring steps, rebellion and improvisation.
PL
Jazz variations in “angry young men” cinema Jazz music and the vision of the world depicted by the “angry young men” are connected by a mysterious bond, its basis being not a simple citation of musical pieces, but functioning based on the identicalness of conveyed feelings and thoughts. Rarely can one find an example of correspondence of arts characterised by such extraordinary cohesion of thought and outlook on life. The objective of the present text is not to show the way jazz music functions in the “angry young men’s” films, but to take a closer look at this tangent point, this place where two worlds meet – worlds which are completely different, and yet, in consequence, alike. It transpires, after all, that there is only one way to self-cognition (whether in jazz or “angry young men’s” cinema) – the one leading through daring steps, rebellion and improvisation.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.