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Autor telewizyjny? Przypadek Matthew Weinera

100%
Flagmańska A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2017
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vol. 21
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issue 30
EN
American critics often refer to showrunners as television auteurs. Do showrunners deserve this title? Applying the assumptions of François Truffaut’s la politique des auteurs, as well as Andrew Sarris’s auteur theory, this article discusses the case of Matthew Weiner, the showrunner of Mad Men, a television series set in the 1960s America. Examining each stage of the show’s production process allows to prove that Weiner had decisive influence on scripts, direction, casting, cinematography, costume and production design, music and the editing of his project. Perhaps it is time to stop considering series as a collective work – due to the differences between director’s role in film and in television – and instead focus on its auteur features, since it can be argued that we owe the latest golden age of television to the increase in the showrunners’ creative autonomy.
PL
American critics often refer to showrunners as television auteurs. Do showrunners deserve this title? Applying the assumptions of François Truffaut’s la politique des auteurs, as well as Andrew Sarris’s auteur theory, this article discusses the case of Matthew Weiner, the showrunner of Mad Men, a television series set in the 1960s America. Examining each stage of the show’s production process allows to prove that Weiner had decisive influence on scripts, direction, casting, cinematography, costume and production design, music and the editing of his project. Perhaps it is time to stop considering series as a collective work – due to the differences between director’s role in film and in television – and instead focus on its auteur features, since it can be argued that we owe the latest golden age of television to the increase in the showrunners’ creative autonomy. 
2
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The trouble of gender sin in post-Yugoslav film – in the name of the father

83%
Bogojević M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2018
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vol. 23
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issue 32
EN
Post-Yugoslav film art is, similarly to Yugoslav cinema, exemplary of masculine cultural domination, approaching socio-national themes in a highly gendered mode and reflecting a return to patriarchy, more brutal than that during the existence of Yugoslavia. A new generation of cinéasts explores, with a backlash mixture of contempt and compassion, the themes of violence, displaying a new assault on female emancipation, which seemed to be in line with the socio-political context of rising nationalist movements that led to the bloody events of the Yugoslav war in 1991. The female character is re-located to a place traditionally assigned to women not as the subject of narrative or discourse, but as the object of love and/or hatred by a masculine subject. The films chosen to be analysed here are full-length auteur feature films – Virgina, Grbavica, Djeca, Bure baruta, with a specific focus on the work by Danis Tanović – are not representative of post-Yugoslav cinema, but as rare exceptions demonstrate that, contrary to the dominant post-Yugoslav public opinion, both the Yugoslav wars and post-war traumatic realities remain cinematically unexplored.
3
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Na tropach autora. Przypadek (japońskiej) animacji

83%
Kalinowska-Andrzejczak O.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
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2023
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vol. 18
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issue 376
181-194
EN
The article concerns the issue of film authorship concerning animated cinema. The article's author chose the case of Japanese animation to present the problems within the category of auteur cinema. Among the many anime directors, those commonly called auteurs are Hayao Miyazaki, Isao Takahata, Katsuhiro Ōtomo, Mamoru Oshii, and Satoshi Kon. Their animated works are characterized by exquisite style, and novelty of themes and stories, through which the directors manifest their original vision of the world. Associating the above-mentioned Japanese animators with film authorship, a seemingly obvious and natural act, after thorough analysis can raise some doubts. The author of the text thus set the theoretical framework defining auteur animation, with particular emphasis on problematic issues, that Japanese directors of animated films later referenced.
PL
Artykuł skupia się wokół zagadnienia autorstwa filmowego w odniesieniu do animacji.Autorka tekstu do przedstawienia problemów związanych z kategorią autorstwa w obrębie kina animowanego wybrała przypadek japońskiej animacji. Spośród japońskich twórców filmów animowanych, do niewielkiego grona autorów najczęściej zalicza się Hayao Miyazakiego, Isao Takahatę, Katsuhiro Ōtomo, Mamoru Oshii’ego oraz Satoshi Kona. Ich dzieła odznaczają się wysmakowanym stylem, nowatorstwem w podejmowanych tematach i przedstawianych historiach, poprzez które manifestuje się autorska wizja świata. Przynależność wymienionych reżyserów do kręgu autorów filmowych, choć z pozoru oczywista i naturalna, po głębszej analizie może budzić pewne wątpliwości. Autorka tekstu wyznaczyła ramy teoretyczne autorskiego modelu kina animowanego, z wyszczególnieniem obszarów problematycznych, które odniosła w stosunku do twórców animacji z Japonii.
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Historia zespołów filmowych z dzisiejszej perspektywy

67%
Hendrykowski M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2013
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vol. 12
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issue 21
341-351
EN
Directors were central and outstanding figures in the creation of the postwar Polish film industry from the 1940s to the late 1980s. Educating young filmmakers, the Film School in Łódź fostered a documentary-realist style of narrative filmmaking, seen in the work of such talents as Munk, Wajda, Morgenstern, Polański, Zanussi, Skolimowski, Marczewski and Kieślowski. Since 1990, the producer system has replaced the traditional structure of Polish cinema connected with the director’s pursuits and primacy, and well as film units. Marek Hendrykowski’s critical study describes this process, covering selected historical, political and cultural events. The author discusses various aspects of this evolution and the idea of the creative producer, redefining its role for generations to come.
PL
A History of Polish Film Units from a present-day perspective Directors were central and outstanding figures in the creation of the postwar Polish film industry from the 1940s to the late 1980s. Educating young filmmakers, the Film School in Łódź fostered a documentary-realist style of narrative filmmaking, seen in the work of such talents as Munk, Wajda, Morgenstern, Polański, Zanussi, Skolimowski, Marczewski and Kieślowski. Since 1990, the producer system has replaced the traditional structure of Polish cinema connected with the director’s pursuits and primacy, and well as film units. Marek Hendrykowski’s critical study describes this process, covering selected historical, political and cultural events. The author discusses various aspects of this evolution and the idea of the creative producer, redefining its role for generations to come.
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Gram, więc jestem. Instancja autorska a konwencja „let’s play” w serii „File System Aging” Roberta Florence’a

67%
Pamuła I.
Replay. The Polish Journal of Game Studies
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2016
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vol. 3
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issue 1
143-152
EN
The aim of this article is to analyse let’s play not only as entertaining act of communication but also as an eclectic one which can make games exceed themselves. Let’s play as a method of game critique has developed some key characteristics. It’s not surprising, then, that one can observe the emergence of various subversive forms such as Robert Florence’s series “File System Aging” which rises as antithesis to the most popular channels. Florence directs his own player experience by merging software studies, ludology, stream of consciousness, and oneiric aesthetics known from David Lynch’s movies in order to defragment scattered memory of a gamer and a son. This article will look into the method of transgressive playformance and haptic interpretation used by the artist to expand the definition of a let’s play and therefore also that of a game.
PL
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