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Direct cinema a dokument muzyczny – wpływ kina bezpośredniego na powstanie i kształt dokumentalistyki muzycznej

100%
Mateusz K.
Kwartalnik Filmowy
|
2015
|
issue 91 Film między muzyką pop a popkulturą
46-58
PL
Celem artykułu jest analiza okoliczności narodzin dokumentalistyki muzycznej oraz wskazanie źródeł języka filmowego, którym po dziś posługują się jej twórcy. Przedmiotem dociekań są zarówno tradycyjne dokumenty muzyczne, tzw. rockumentaries, jak i filmowe rejestracje koncertów oraz festiwali. Badając genezę powstania muzycznego kina faktów, autor szczególną uwagę poświęca aspektom technologicznym, a także ich oddziaływaniu na kształt oraz estetykę dzieł zaliczanych do tego nurtu. Rozważania koncentrują się wokół klasycznych tytułów powstałych w duchu direct cinema, ponieważ to właśnie w kinie bezpośrednim Kicka odnajduje źródła większości cech dystynktywnych współczesnej dokumentalistyki muzycznej.
EN
The aim of the article is the analysis of the rise of music documentaries and defining the source of the film language employed by its creators. The subject of research are both traditional film documentaries, the so called rockumentaries, and film recordings of concerts and festivals. Through examining the genesis of the musical fact based cinema, the author devotes special attention to technological aspects, as well as their impact on the shape and aesthetics of the works of art belonging to this genre. The considerations revolve around classic titles created in the spirit of direct cinema, because it is direct cinema that Kicka defines as the source of the most distinctive features of contemporary music documentary.
2

Starring: Photos. On Polish iconographic films made from photos

94%
Jazdon M.
Kwartalnik Filmowy
|
2013
|
issue Special Issue - Polish Film Scholars on Polish Cinema
140-158
EN
Short iconographic films made from photos constitute a separate trend of the Polish school of documentary. It has been expanding with new titles over several dozen years. "Fleischer's Album" (1962) by Janusz Majewski and "A Working Day of Gestapo Man Schmidt" (1963) have taught Polish documentary filmmakers how to explore the possibilities of this form of film art. The two documentaries played a pivotal role in paving the way for a whole series of films based on pictures taken by the German troops and officials from World War 2, which presented the private look of the Nazis on the war and its victims. The subject matter of films made from pictures was gradually broadening. These films told the story of the Holocaust and of lack of the victims' look on the Holocaust, embalmed in photography. Films on the Polish resistance movement were also made, with particular emphasis on the Warsaw Uprising. The turn of the 19 th and 20 th century became the subject of documentaries at the turn of the 1970s and 1980s. Pictures used in almost all of Kazimierz Karabasz's films are regarded as a medium enriching the documentary with a new reality dimension that cannot be captured by the camera. His films, "Summer in Żabno" (1977) and "Portrait in a Drop of Water" (1997), show that films made from photos are perfectly suitable for depicting the present day.
3
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Produkcja: Łódzka Szkoła Filmowa

48%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2011
|
vol. 8
|
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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