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1

'Coniunctio Oppositorum'. On the Goal of Journey into the Depth of The Third Part to the Night

100%
Morstin-Poplawska A.
Kwartalnik Filmowy
|
2007
|
issue 57-58
73-90
EN
This essay is a chapter in the authoress doctoral thesis 'Wizerunki polskiej religijnosci w filmie fabularnym' (Images of Polish Religiosity in Feature Film) She undertakes an attempt to interpret Andrzej Zulawski's film as a text of culture that actualizes the myth of apocalypse: the myth is dealt with as a continually renewed model story clarifying the sense of events taking place in the story. The image of a disaster come true is interpreted as one of the crisis of the canon of culture; its destruction - according to the apocalyptic message - is however supposed to lead towards a revival of the world of values. The protagonist, who shows traces of ancient and Christian descent, embarks on the mission. The depiction of the hero's journey through the night-enveloped world of war destruction is subordinated to the logic of (Victor Turner's) liminal experience. According to authoress' line of reasoning, the successive phases of this experience take place on the plane of a spiral labyrinth, the form organizing the space of the represented world. In addition to this interpretation of the labyrinthine-apocalyptic vision, the film fits the tradition of baroque with its concepts of a world and God in motion.
2

THE VIRTUALITY OF CINEMA RUNS THROUGH ITS BAD, NOT A GOOD TASTES - ANDRZEJ ZULAWSKI'S 'THE DEVIL' (Witalnosc kina przebiega przez jego zle, a nie dobre gusty. 'Diabel' Andrzeja Zulawskiego)

100%
Olszewska-Jonczyk M.
Kwartalnik Filmowy
|
2009
|
issue 66
80-92
EN
The authoress through the analysis of Andrzej Zulawski's 'The Devil' identifies elements of style present in Zulawski's work, which oscillates around the category of kitsch. She points to the sources of discomfort for viewers dealing with apparent tastelessness. The deliberate departure from 'good taste' in the film that caused a conflict between the director and the government of the time can be seen as a radical experiment and exercise in breaking away form the artistic and scientific conventions. The use of means that are identified with kitsch as a way of reaching marginalised regions of culture is also a way in which and through which the categories of national and existential myths and kitsch can be deconstructed, showing their superficial nature.
3

SHRINKING THE WAR TO A LITTLE RED SPOT. AUTOBIOGRAPHIC DISPUTE IN 'THE THIRD PART OF NIGHT' BY ANDRZEJ ZULAWSKI (Dyskurs autobiograficzny w 'Trzeciej czesci nocy' Andrzeja Zulawskiego)

51%
Maszewska-Lupiniak M.
Kwartalnik Filmowy
|
2011
|
issue 73
163-174
EN
The author is mainly interested in the chosen aspect of autobiographic dispute, namely a film autobiographism understood as a defined communication attitude of the film author and the audience reaction generated by it. In this paper Maszewska-Lupiniak discusses autobiographism included in the fictional film narration of 'The Third Part of Night' by Andrzej Zulawski. His film, presenting a part of a family history, matches the autobiographic dispute. As a text about Holocaust it creates a universal message - the duality in the film structure makes us think about the relations between a creator and his work, between the ethical conditions of that relation. All that is reflected in the style and poetics of the film, which, in turn, makes the receiver of the story adopt a distant attitude.
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