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Kinematografia w Polsce

100%
Żurawicz A.
Wiadomości Statystyczne. The Polish Statistician
|
2010
|
issue nr 7
23-36
XX
Artykuł koncentruje się na produkcji filmowej w Polsce, jak i realizacji polskich i zagranicznych filmów w kinach. Analiza obejmuje okres od początku polskiej kinematografii w 1896 roku, przez lata przed i po II wojnie światowej. Przedstawiono podstawowe dane dotyczące produkcji filmu, sieci kin, seansów, jak i widzów. Badanie koncentruje się na danych dotyczących rozwoju technicznego produkcji filmowej, jak również dostawy i odbioru filmów.
EN
The article focuses on the cinema film production in Poland as well as realizing Polish and foreign films in cinemas. The analysis covers period from start of the Polish cinematography in 1896, based on foreign capital and supported by Polish technical ideas, via years before and after the Second World War to the last two decades which were characterised by private capital and technical innovations. Basic data concern film production, cinemas and performances as well as spectators. The study focuses on important elements concerning technical development of film production as well as delivery and perception of films. (original abstract)
2
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Contemporary Media Culture in the Coordinates of Game Principles

100%
Pravdová H., Hudíková Z.
Media Literacy and Academic Research
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2022
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vol. 5
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issue 2
71-81
EN
The intention of the study is to highlight the interrelationships between the operation of gaming principles and contemporary media culture. The authors analyze game principles as defined and conceptualized by R. Caillois in his work. They formulate a premise according to which individual game principles can also be identified in contemporary media production, especially in cinema and digital games. They are present in the choice of preferred media topics and in the discourse of creative approaches of media creators. Gaming principles are based on fundamental human qualities that dominate during play. That is, they are an anthropological issue and have had a culture-making function. Although mimicry is the most dominant gaming principle within media production, other gaming principles, namely agon, alea, and illinx, are also found in particular genres and formats. The authors argue that contemporary media culture is shaped by the coordinates of game principles as well as by the mental settings of the people existing in the contemporary Euro-Atlantic civilizational circle. This environment creates a person craving for entertaining media genres. These provide them with enormous emotional excitement and transitions into another dimension of life, into a playful media reality.
3
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Representation of sports and physical education in Czechoslovak documentary film (1945-1959)

80%
Míčová P.
Sport i Turystyka. Środkowoeuropejskie Czasopismo Naukowe
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2019
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vol. 2
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issue 3
59-70
EN
In the early stages of the film (pre-cinematography), during the technological development of the kinescope (1865), or the moving photos, and later the flash photography (1873), the first attempts to record motion (biomechanics) appeared. The flash photography of the later period (proto-film) was replaced by the synthesis of motion (1878) when the social-cultural background also appeared on the moving photos, mainly focusing on selected themes reflect-ing the sports body and physicality in relation to the contemporary social atmosphere. The presented text selectively describes the development of body and body imaging in a limited period influenced by political-ideological mechanisms. However, it also functions as a factor that can influence society and bring about change. The documentary film cannot be unambig-uously described as propaganda. The sport was not depicted solely from the perspective of the ideology of that time. But above all, mass exercises demonstrated the national community and state ideology.
PL
We wczesnych czasach filmu (prekinematografia), w trakcie technologicznego rozwoju ki-neskopu (1865), ruchomych zdjęć, a później fotografii błyskowej (1873) pojawiły się pierw-sze próby zarejestrowania ruchu (biomechaniki). Fotografię z użyciem lampy błyskowej póź-niejszego okresu (protofilm) zastąpiono syntezą ruchu (1878), gdy tło społeczno-kulturowe pojawiło się również na ruchomych klatkach zdjęciowych, skupiając się głównie na wybra-nych tematach obrazujących cielesność sportu i fizyczności w relacji do ówczesnej atmosfery społecznej. Przedstawiony tekst selektywnie opisuje rozwój ciała i obrazowania ciała w ogra-niczonym okresie, na który wpływ mają mechanizmy polityczno-ideologiczne. Aczkolwiek funkcjonuje również jako czynnik, który może wpływać na społeczeństwo i powodować zmiany, filmu dokumentalnego nie można jednoznacznie kojarzyć z propagandą. Sport nie został przedstawiony wyłącznie z perspektywy ówczesnej ideologii, masowe ćwiczenia przede wszystkim pokazywały narodową wspólnotę i ideologię państwową.
4
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Produkcja: Łódzka Szkoła Filmowa

80%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2011
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vol. 8
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issue 15-16
151-155
EN
  Thousands of short films (turned mainly on black & white 35 mm film raw) are preserved in Film Archives of the famous Film School in Łódź. This large and unique collection consists of the earliest documentary and fiction student film projects made by famousto-be Polish filmmakers such as: Andrzej Munk, Andrzej Wajda, Roman Polański, Jerzy Skolimowski, Krzysztof Zanussi, Zbigniew Rybczyński, Krzysztof Kieślowski, Wojciech Marczewski, Sławomir Idziak and many others. The article assesses the importance of first professional student films made in Film School in Łódź and their impact on our understanding of further way of the filmmaker and formation of his individual style.
PL
Production: Film School in Łódź   Thousands of short films (turned mainly on black & white 35 mm film raw) are preserved in Film Archives of the famous Film School in Łódź. This large and unique collection consists of the earliest documentary and fiction student film projects made by famousto-be Polish filmmakers such as: Andrzej Munk, Andrzej Wajda, Roman Polański, Jerzy Skolimowski, Krzysztof Zanussi, Zbigniew Rybczyński, Krzysztof Kieślowski, Wojciech Marczewski, Sławomir Idziak and many others. The article assesses the importance of first professional student films made in Film School in Łódź and their impact on our understanding of further way of the filmmaker and formation of his individual style.
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