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UWIERZYĆ W CIAŁO, UWIERZYĆ W ŚMIERĆ Kilka analiz filmowych na marginesie filozofii kina Gillesa Deleuze’a

100%
Jakubowska M.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2017
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vol. 24
86-105
EN
G. Deleuze, while describing the contemporary audiovisual culture, points out to a paradox. The man has lost the sense of his own, authentic life, and is stuck in the world as if he found himself in a pure optical and sound situation instead. The philosopher ponders how to recover man’s faith in the world and reconnect him with what he sees and hears, how to make him sensitive to issues that are the most vital for his existence, such as love and death. The philosopher-cineaste proposes something apparently absurd, namely encourages us to watch a good movie. Deleuze is not interested in a film performance offered by entertainment cinema, he is looking for films which will make us think and teach us, how to believe in the reality of the world again. Such belief should find its source in corporeality discovered by the cinema: both the common and the celebrated ones. The center of the world in this philosphy is the belief in the body as a germ of life and death. In my analyses, referring to the thoughts of the French philosopher, I suggest taking into account three documentary films: Obrzędy intymne (1984) by Zbigniew Libera, Balsamista (2001) by Ewa Świecińska and Istnienie (2007) by Marcin Koszałka. These three stories about life and death do not leave the viewer indifferent.
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Czerwiec 1956 wiosną 1981. Poznań 1956 (1981) Tadeusza Litowczenki i Mirosława Kwiecińskiego

65%
Jazdon M.
Poznańskie Studia Polonistyczne. Seria Literacka
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2016
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issue 29
129-146
EN
The article presents the making of the first documentary film depicting the traumatic events of the anticommunist uprising in Poznań in June 1956 as well as the difficult fate of the documentary after it had been completed. Its authors, Tadeusz Litowczenko and Mirosław Kwieciński, composed their Poznań 1956  (1981) of two interwoven narrative lines. Archive photographs with off screen commentary make the first narrative line while cinema-verite-like interviews with the participants of historical events make the other. The film analysis is aimed to underline the formal means employed in the film to present the opposing sites of the conflict. It also focuses on the historical context from the times when film was being made in the so called ‘festival of Solidarity movement’ in the early 1980s.
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