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Na białym szlaku. Zapomniany film o wojnie

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Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2019
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vol. 26
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issue 35
103-115
EN
Hendrykowski Marek, Na białym szlaku. Zapomniany film o wojnie [“On the White Trails”: a forgotten film about the war]. „Images” vol. XXVI, no 35. Poznań 2019. Adam Mickiewicz University Press. Pp. 103–115. ISSN 1731-450X. DOI 10.14746/i.2019.35.05. The article is an analytical and interpretative study of behind-the-scenes aspects and the poetics of a little-known feature film titled On the White Trails, directed by Jarosław Brzozowski and Andrzej Wróbel.
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Klasyka polskiego filmu o sztuce. Dwie tendencj

96%
Głowa J.
Estetyka i Krytyka
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2008
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issue 13-14
47-61
EN
Film about art has usually belonged to a marginalized genre. Th is article discusses two types of f ilm within the genre: documentaries and creative works. Th e f irst category includes biographies and documentations of the artistic process. An example of this would be Interpretacje, directed by Jarosław Brzozowski. Th e second category utilizes symbols, fantasy, and dramatization. The artist often appears also as an actor. Several components, such as a subjective narration, unique cinematography, use of light, poetic text, and use of montage help establish the charm of the masterpiece. Less used biographical motifs of ten attempt to create a new quality to the genre. Th e best example of such an approach is the ‘f ilm-painting’ of the portrait of Tadeusz Brzozowski in the work Brzuch as directed by Andrzej Papuziński.
3
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Życie jak scenariusz. Na marginesie książki (Nie)zapomniani dokumentaliści

77%
Hučková J.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2021
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vol. 29
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issue 38
255-264
EN
The book (Un)forgotten documentalists, edited by Katarzyna Mąka-Malatyńska and Jolanta Lemann-Zajiček (2020) is a significant achievement in research on Polish documentary film. The review of the collective work, consisting of ten texts preceded by an introduction, becomes the starting point for discussions with selected authors and reflection on the problem of the absence of significant documentary filmmakers in the history of the film. Entire currents are also forgotten, such as a film about art, represented by four out of nine documentary filmmakers discussed in the book. The meanders of life and creativity can be instructive for contemporary documentary filmmakers.
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