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1

THE MAGICAL BEGINNINGS OF CINEMA (Magiczne poczatki kina)

100%
Gizycki M.
Kwartalnik Filmowy
|
2011
|
issue 74
208-213
EN
This article has been inspired by two events: the exhibition of Werner Nekes's collection of pre-cinematic devises organized in conjunction with The New Horizons Festival in Wroclaw, Poland (July-August, 2011), and the publication of the special issue of Animation: An Interdiscipinary Journal (July 2011) devoted to Pre- and Early Cinema. According to the editors of the issue, André Gaudreault and Philippe Gautier, the notorious question 'who invented cinema' - Edison or the Lumiere brothers - is irrelevant, since cinema is a socio-cultural phenomenon that cannot be thought as 'invented'. It emerged alongside the institutionalization of film around 1910. Thus early film, so called 'cinema of attractions', has more to do with pre-cinematic shows and devises like magic lanterns, etc., than fully developed entertainment of the later era. The author of this article, after presenting a short history of magic lanterns and their impact on selected poets, writers and filmmakers (e.g. Bergman and Starewicz), argues that linking the birth of cinema to the institutionalization of the medium obscures another important question: What constitutes film as a work of art? Polish filmmaker, philosopher, and writer Stefan Themerson also agreed in his essay of 1937 The Urge to Create Visions that the invention of the cinematograph had nothing to do with the inception of cinema but for him the latter was actually a much wider and older concept connected to the eternal human quest for all kinds of moving spectacles.
2

KOSCIUSZKO, LOOK AT US FROM... THE SCREEN (Patrz Kosciuszko na nas z... ekranu. Obraz Naczelnika w filmie)

63%
Wlodek R.
Kwartalnik Filmowy
|
2010
|
issue 69
32-61
EN
The article deals with film portrayals of Tadeusz Kosciuszko. In 1913, in Lviv, a film 'Kosciuszko at Raclawice' was made. This work, although not made by professionals, fulfilled important patriotic aims, by showing, in the days before the First World War, fight against Russia. The film was found in 2009, and is currently being renovated. Another propaganda film 'Under the Yoke of the Tyrants' (1916) encouraged Poles to struggle alongside the Prussian and Austro-Hungarian armies against Russians. This film was made in Kraków by a German director Franz Porten. 'Kosciuszko's First Love' (1929) failed to present the hero's private life. Another version of 'Kosciuszko at Raclawice' was made in 1938 by Józef Lejtes. In this version the most important scene in the film is the title battle sequence. Because of the Polish socio-political situation of the time, the role of peasants was minimized in the portrayal of the history of the battle, however the warning against Russia remained pertinent. After the Second World War Kosciuszko, given the history of his struggles in the USA and then against Russia, became too controversial figure to be easily portrayed in film. This was brilliantly shown by Antoni Bohdziewicz in the satirical 'Wellies of Happiness' (1958).
3

CINEMATIC AUTOBIOGRAPHISM - HISTORICAL AND THEORETICAL RECONNAISSANCE (Autobiografizm filmowy. Rekonesans historyczno-teoretyczny)

63%
Podsiadlo M.
Kwartalnik Filmowy
|
2011
|
issue 73
5-20
EN
The subject of the article is cinematic autobiographism: indication of main trends from which it originates and theoretical concepts attempting to set its boundaries. The first part discusses the process of cinematic autobiographism's occurrence in the history of the cinema and critical evidence regarding the presence of a cinematic creator and his or her autobiography as an important aspect of a cinematic work. At the beginning, cinematic autobiographical works existed within the trends of artistic cinema (avant-garde, underground, and new wave cinema) which was the first to give up the anonymity of the cinema and thus strengthened the position of a cinematic author. The taking over of documentary cinema - from cinéma-vérité through self-reflexive cinema to the more and more private cinema inspired by the style of home movie - was the next stage reached by the cinematic autobiographism. The second part of the article focuses on arranging abundant autobiographic film material (both documentary and feature), theoretical concepts, and terminological determinations according to three types of autobiographical 'self': empirical 'self', 'self' as porte-parole, and sylleptic 'self'.
4

IN ELIZABETH'S SHADOW. MARIA STUART IN FILM (W cieniu Elzbiety. Filmowe wizerunki Marii Stuart)

63%
Kazana B.
Kwartalnik Filmowy
|
2010
|
issue 69
62-78
EN
Maria Stuart, the queen of Scotland, was beheaded by order of Elizabeth I. She is one of the most tragic figures in the history of Europe. Throughout her life she remained in the shadow of her cousin, with whom she was connected not only through ties of blood, but also complex political relations. The fact that she was the great grand-daughter of Henry VIII, made her the rightful heiress to the throne of England and a threat to Elizabeth I. In his article, the author shows how Maria Stuart was presented in film through the years and in a number of countries. He begins with a one minute sequence of the beheading of the queen (1895), then he considers Carl Froelich's 'The Queen's Heart' (1940) made as part of the fascist propaganda, and finally he moves onto the most important representatives dealing with this topic: Charles Jarrott's 'Mary, Queen of Scots' (1971) and a two part BBC drama by Gillies MacKinnon - 'Gunpowder, Treason and Plot (2004). He places his analysis both within the historical context in which the films were made, and within the context of film studies. He also considers how the role of Maria Stuart was interpreted by actresses such as Katherine Hepburn, Vanessa Redgrave or Clémence Poésy
5

FIRST POLISH FEATURE FILM: 'LES MARTYRS DE LA POLOGNE - PRUSSIAN CULTURE' (1908) (Pierwszy polski film fabularny. 'Les Martyrs de la Pologne - Pruska kultura' (1908))

63%
Hendrykowska M., Hendrykowski M.
Kwartalnik Filmowy
|
2009
|
issue 67-68
212-230
EN
The authors write about a film rediscovered by them in September 2000, in the French archive Bois d'Arcy. The film is entitled 'Les Martyrs de la Pologne', but in Polish film studies is known as 'Prussian Culture' (Pruska kultura). This discovery questioned the previously held opinion that the earliest Polish film is the 'Antos First Visit in Warsaw' (Antos pierwszy raz w Warszawie, 1908). Walter Panofsky was writing in 1907 about the 'Prussian Culture'. According to him it portrayed brutal resettlement of Polish peasants by Hakata and the peasant rebellion that was later viciously crushed by the Prussian army. The film ended with an apotheosis - a white eagle that appeared to Poles at prayer. According to the authors this film was one of the first attempts of informing the world, using the medium of film, about non existent Poland and the dramatic history of Poles. The eight minute film consists of 12 episodes. The authors of the article also describe the historical context of the film, and try to answer the question: who and why made this film? And who were the target audience? They describe the context and circumstances in which the film was first shown in Warsaw in 1914, and place the film within the context of world cinema of the time, dealing with socio-political issues.
6

COGITO ERGO VIDEO. INTRODUCTION TO GODARD'S 'HISTOIRE(S) DU CINEMA' (Cogito ergo video. Wprowadzenie do 'Histoire(s) du cinema' Godarda)

63%
Hirszfeld A.
Kwartalnik Filmowy
|
2009
|
issue 67-68
79-96
EN
The authoress presents a new hypothesis regarding the role of self-reflection in Godard's somewhat forgotten, especially in Poland, 'Histoire(s) du cinéma'. Self-reflection here appears to be a form of repetition, and the key to the understanding the history of cinema (and to understanding the history tout court). The relationship between film and the very process of its creation and development through the years creates a new historiosophy of sorts. 'Histoire(s)...' is an attempt at uncovering history as a certain possibility. In the case of Godard, the new gaze at history revolves around the world and role of possibilities and modalities in understanding history as a whole. One might argue that Godard's 'Histoire(s) du cinéma' present the history of the cinema as the history of degeneration and fall. The attempt at facing up to the past is above all to enable the existence of that which is to come.
7

ELIA KAZAN'S 'ON THE WATERFRONT' IN THE HISTORY OF CINEMA ('Na nabrzezach' Elii Kazana w meandrach historii kina)

63%
Pienkowski M.
Kwartalnik Filmowy
|
2009
|
issue 67-68
243-260
EN
The legendary film 'On the Waterfront' was made two years after Kazan gave his testimony and betrayed his co-workers and friends to the McCarthy commission in the US senate. Many film historians think that the director used this opportunity to justify his action on the cinema screen. 'On the Waterfront' became a victim of the historical context, that suggested certain readings and interpretations. The author considers the stereotypes that prevented the film from becoming a turning point in the American cinematography. The article also contains an analysis of Kazan's style, his new and original methods of working with the actors, and the construction of characters.
8

EXPRESSIONISM ONE MORE TIME, OR A FRESH LOOK AT THE HISTORY OF GERMAN CINEMA (Ekspresjonizm raz jeszcze, czyli na nowo o historii filmu niemieckiego)

51%
Klys T.
Kwartalnik Filmowy
|
2009
|
issue 67-68
127-141
EN
Traditionally expressionism was identified as yje main feature of the style of the silent era of German film. However, this was questioned by Thomas Elsaesser and Barry Salt. Elsaesser demonstrated the role books by Siegfried Kracauer (From Caligari to Hitler) and Lotte H. Eisner (The Demonic Screen) played in the mixing up of the stylistic and thematic arenas in reviews of the Weimer era cinema. Whereas Barry Salt argued that expressionism as a motion picture style, where expressionism is understood to have grown out of its earlier application in theatre and fine arts, is present in very few films, whilst other solutions, commonly identified as examples of 'expressionism', were present not only in German film, but in world cinema. The author tries to define the works that truly represent German expressionism. He widens the list proposed by Salt by titles named by Kristin Thompson and David Bordwell, and other titles identified by himself. He also questions the view that expressionism in film was to serve subjectification of the world presented as an expression of inner states of the authors or the protagonists portrayed in the film. Following Elsaesser the author argues, that expressionism in film was above all a question of fashionable design, accepted in fine arts, and it was used in film in order to give the medium the status of an art.
9

HISTORY, LEGEND OR FANTASY. FILM PORTRAYALS OF THE FIRST EMPEROR OF CHINA (Historia, legenda, fantazja. Filmowe portrety Pierwszego cesarza)

51%
Helman A.
Kwartalnik Filmowy
|
2010
|
issue 69
79-94
EN
When the terracotta army was found in 1974 within the burial complex of Qin Shi Huang, the First Emperor of China, previously familiar mostly to sinologists, entered popular imagination. The authoress presents the life of Qin Shi Huang, the man responsible for the creation of this incredible necropolis. She also describes myths and legends associated with the emperor (the construction of the Great Wall of China, assassination attempts, his descent etc). It is the assassination attempts that proved to be most inspiring to film directors and people responsible for the creation of TV series about Qin Shi Huang. Romance was also an essential element of the story. The authoress describes the most important films, which feature the First Emperor. She points out that with the exception of Zhang Yimou's Hero, where Qin Shi Huang is shown as a great ruler, in other films he is usually portrayed as a cruel and ruthless tyrant, devoid of human emotions, a megalomaniac desiring to be God. The storylines of these films are a mix of facts, legends and pure fantasy created by the scriptwriters.
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