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1
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BABIE LATO, WIĘC PORA UMIERAĆ? MECHANIZMY OSWAJANIA STAROŚCI WE WSPÓŁCZESNYM KINIE POLSKIM I CZESKIM

100%
BATOR M.
Slavia Occidentalis
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2018
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issue 75/2
93-115
EN
The article is an attempt at presenting the similarities and differences in contemporary imaging of old age on the silver screen by using several examples of Polish and Czech (mostly) feature films from the 21st century. Special attention has been paid to the mechanisms of familiarising the taboo of passing away and old age in the cinematography of both countries.
2
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Protest kobiet. Wizerunek katolicyzmu w wytwórczości współczesnych polskich reżyserek

92%
Kornacki K.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2021
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vol. 30
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issue 39
157-182
EN
In the second decade of the 20th century (especially in the years 2016-2020), a significant number of films by Polish female directors were released in which Catholicism and the Catholic Church were attacked. They were: W imię… [In the Name of…], Body/ciało [Body], Twarz (Mug) and Córka boga [The Other Lamb] – all directed by Małgorzata Szumowska; Dzikie róże [Wild Roses] by Anna Jadowska, Pokot [Spoor] by Agnieszka Holland and Kasia Adamik, Wieża. Jasny dzień [Tower. A Bright Day] by Jagoda Szelc, Powrót, [Back Home] by Magdalena Łazarkiewicz, Maryjki [Marygoround] by Daria Woszek, as well as a documentary Komunia  [Communion] by Anna Zamecka. The polemic related to the above-mentioned movies commented on the religiosity of Catholics and the quality of the institutional church (priests, hierarchies, methods of ministering and teaching), religious control and repression of corporeality and sexuality (including female sexuality), and Catholicism as the foundation of the patriarchal system. These films also feature elements of the "positive program", a proposal for a new cultural paradigm (new spirituality), organized around Nature, with the suggestion of matriarchy. From the point of view of social communication, the content and poetics of above-mentioned the films were similar, according to the author, to the content of the protests of the Ogólnopolski Strajk Kobiet (Polish Women's Strike), which demonstrated in 2016 and 2020 against the tightening of abortion laws.
3
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Półka filmowa sezonu 2017

92%
Tambor A.
Postscriptum Polonistyczne
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2018
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issue 1 (21) Pomiędzy Polską, Portugalią i Brazylią. Literatura – kultura – język – edukacja
31-323
EN
The article presents the summary of the 2017 season of Polish filmmaking. All movies mentioned in the article are chosen and described according to that which would be interesting for a foreigner or a person who studies Polish as a foreign language. The following films are described in the article: Twój Vincent [Loving Vincent], Listy do M. 3 [Letters to Santa 3], Najlepszy [The Best], Zgoda [The Reconciliation], Pokot [Spoor], Komunia [Communion].
4

Półka filmowa 2015

92%
Tambor A.
Postscriptum Polonistyczne
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2016
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issue 1(17)
274-285
EN
The article presents the summary of the 2015 season of Polish filmmaking. All movies mentioned in the article are chosen and described according to that which would be interesting for a foreigner or a person who studies Polish as a foreign language. The following films are described here: Król życia, Chemia, Obce niebo, Demon, Klub włóczykijów, Panie Dulskie, Disco polo, Listy do M. 2, Moje córki krowy, Mur.
5
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Półka filmowa 2016 (i trochę 2017)

92%
Tambor A.
Postscriptum Polonistyczne
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2017
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issue 1 (19) W kręgu badań językoznawczych
275-288
EN
The article summarises the 2016 film season and mentions a few films that have been released in 2017. The author presents the advantages and disadvantages of certain films regarded as material to Polish culture. The article describes the following movies: Jarocin, po co wolność?, Jestem mordercą, Maria Curie, Ostatnia rodzina, Planeta singli, Powidoki, Smoleńsk, Szczęście świata, Sztuka kochania.
6
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Półka filmowa 2018

92%
Tambor A.
Postscriptum Polonistyczne
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2019
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issue 1(23)
279-288
EN
The article presents a summary of the 2018 season of Polish filmmaking. All movies mentioned in the article are chosen and described according to that which would be interesting for a foreigner or a person who studies Polish as a foreign language. The following films are described in the article: Zimna wojna [Cold War], Kler [The Clergy], Jeszcze dzień życia [Another Day of Life], Jak pies z kotem [A Cat with a Dog], Kamerdyner [The Butler], 303. Bitwa o Anglię [Hurricane: Squadron 303], Dywizjon 303. Historia prawdziwa [Squadron 303. A True Story].
7
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Półka filmowa 2014

92%
Tambor A.
Postscriptum Polonistyczne
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2015
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issue 1(15)
237-247
EN
The article presents the summary of the season 2014/2015 in Polish filmmaking. All movies described in the article are presented from the perspective of what would be interesting for a foreigner or a person who studies Polish as a foreign language. The following films are described here: Ida, Bogowie, Fotograf, Hardkor disko, Jurek, Kebab i horoskop, Miasto 44, Służby specjalne, Zbliżenia.
8
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Filmowa półka sezonu 2010/2011

81%
Tambor A.
Postscriptum Polonistyczne
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2011
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issue 2(8)
271-282
EN
The article presents another summary of film events in a year 2010. Films that can be found here are: Benek, directed by Robert Gliński, and concerning Silesian subject, Chrzest (The Christening) second film by young Polish director Marcin Wrona, Czarny czwartek (Black Thursday) which tells the story of the strikes in 1970, and Joanna by Feliks Falk that offers a new perspective on the Second World War. Besides these, some other descriptions of the films that were released in 2010 or in the beginning of 2011 can be found here: Matka Teresa od kotów (Mother Teresa of Cats), Młyn i krzyż (Mill and the Cross), Och, Karol 2, Różyczka (Little Rose), Sala samobójców (Suicide Room), Skrzydlate świnie (Winged Pigs) and Weekend. The author comments the most famous films of the season viewing them through the eyes of a for-eigner who may be interested in watching them.
9

W stronę Nowej Szczerości. Konceptualizowanie przemian wrażliwości w najnowszym kinie polskim

70%
Kiełpiński Ł.
Kwartalnik Filmowy
|
2022
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issue 119 (Nowa) teoria filmu
115-134
PL
Artykuł jest próbą przeszczepienia wywodzącej się z literaturoznawstwa anglosaskiego kategorii Nowej Szczerości na grunt refleksji o przemianach kina polskiego ostatnich kilku lat. Rozpoznania zostały przedstawione w świetle trendów współczesnej humanistyki i sztuki, by było możliwe udzielenie odpowiedzi na pytanie, jak wobec nich sytuuje się kino polskie. Na przykładzie filmów Cicha noc (reż. Piotr Domalewski, 2017), Zabij to i wyjedź z tego miasta (reż. Mariusz Wilczyński, 2019) oraz Wszystkie nasze strachy (reż. Łukasz Ronduda, Łukasz Gutt, 2021) autor stara się pokazać rosnące zainteresowanie takimi dyspozycjami afektywnymi bohaterów filmowych jak czułość, podatność na zranienie i troska. Proponowane rozumienie Nowej Szczerości w kontekście kina polskiego odnosi się do filmów, których twórcy podzielają obecne w polskiej debacie publicznej przekonanie o polaryzacji społecznej i kryzysie wspólnoty, a zarazem sugerują inny – reparacyjny, niosący nadzieję – model relacyjności.
EN
The article is an attempt to transplant the category of New Sincerity, which originates from Anglo-Saxon literary studies, to the reflection on the changes in recent Polish cinema. The author's diagnoses are discussed in the context of new trends in the humanities and arts in order to answer the question how Polish cinema is positioned in relation to them. Using the examples of such films as Cicha noc (Silent Night, dir. Piotr Domalewski, 2017), Zabij to i wyjedź z tego miasta (Kill It and Leave This Town, dir. Mariusz Wilczyński, 2019) and Wszystkie nasze strachy (All Our Fears, dir. Łukasz Ronduda, Łukasz Gutt, 2021), the author tries to show the filmmakers' growing interest in such affective dispositions of the protagonists of the movies as sensitivity, vulnerability, and care. The proposed understanding of New Sincerity in the context of Polish cinema refers to films by directors who share the conviction, present in the Polish public debate, about the social polarisation and crisis of community, and at the same time offer a different – reparative and hopeful – model of relationality.
10
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The Second World War in Polish Cinema. Recent Filmic Approaches and the Reception in Poland and Germany

61%
Hiemer E.-M.
Poznańskie Studia Slawistyczne
|
2017
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issue 12
123-138
PL
The article deals with the representations of history in contemporary Polish cinema. On the occasion of the 70th anniversary of the Warsaw Uprising, Jan Komasa released two fundamentally different films within one year. By an analysis focusing the context, the artistic product and the reception, the author intends to decode the different messages and reception offers. The intended reception is then contrasted to the real reception referring to the reactions in Polish and (in the case of Miasto 44) in German media.
11
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Półka filmowa 2013–2014

58%
Tambor A.
Postscriptum Polonistyczne
|
2014
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issue 1(13)
251-264
EN
The article presents the summary of the season 2013/2014 in Polish film¬ making. All movies described in the article are presented from the perspective of what would be interesting for a foreigner or a person who studies Polish as a foreign language. The following films are decribed here: Być jak Kazimierz Deyna, Chce się żyć, Dziewczyna z szafy, Felix, Net i Nika oraz teoretycznie możliwa katastrofa, Ida, Mój biegun, Układ zamknięty, W imię…, W ukryciu, Wałęsa. Człowiek z nadziei, Żywie Biełaruś.
12
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Meetings with the Polish Cinema: An Outline of a Sociological Study into Traveling Cinema Based on the ‘Light-Sensitive Poland’ Project

47%
Wejbert-Wąsiewicz E.
|
2021
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vol. 17
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issue 3
184-204
PL
Prezentowane studium ma na celu opisanie plenerowego projektu filmowego „Polska Światłoczuła” w dwóch perspektywach – funkcjonalnej i interakcyjnej. W trakcie jakościowych badań terenowych autorka próbowała dociec, jakie motywacje kierują różnymi stronami projektu. Socjologiczne studium opiera się o źródła zastane: naukowe i statystyczne oraz o materiał zebrany w okresie 2012–2014 w trakcie sześciu tras kina objazdowego w Polsce w ramach projektu „Polska Światłoczuła”. Cel szczegółowy stanowi próba ujęcia własnych obserwacji socjologicznych, czynionych w trakcie badań terenowych, w szerszym kontekście, jakim jest fenomen kina objazdowego. Zebrane materiały dały możliwość naszkicowania społeczno-kulturowej atmosfery spotkań widzów z dziełami i ich twórcami, w szczególności oczekiwań, motywacji twórców i odbiorców. W artykule odwołano się do własnych obserwacji zwykłych oraz uczestniczących (jawnych i ukrytych). Wykorzystanych zostało 50 obserwacji zwykłych z projekcji oraz ze spotkań z publicznością (rozmowy z publicznością po seansie oraz około stu krótkich, nagrywanych rozmów z widzami na temat wrażeń filmowych oraz motywacji do uczestnictwa w seansie), a także doświadczenia (insidera) z kilkudziesięciu dni w trasach z kinem objazdowym. Badania nie są reprezentatywne odnośnie do całościowej publiki seansów w trakcie sześciu tras. Autorka nie omawia rezultatów badań dotyczących recepcji współczesnych polskich filmów (dyskusje grupowe po projekcji), lecz skupia się na ujęciu instytucjonalnym i interakcyjnym kina ruchomego.
EN
The presented study aims to describe the outdoor movie project called ‘Light-Sensitive Poland’ [Pol. ‘Polska Światłoczuła’] in two perspectives – functional and interactive. During the qualitative field research, the author tried to find out what motivations drive the different sides of the project. The sociological study is based on scientific and statistical sources as well as on the material collected in the period 2012–2014 during the six touring cinema routes in Poland within the ‘Light-Sensitive Poland’ project. The specific objective is to attempt to include the author’s own sociological observations made during the fieldwork in the broader context of the traveling cinema phenomenon. The collected materials provided an opportunity to sketch the socio-cultural atmosphere of meetings between the audience and the works and their creators, in particular the expectations and motivation of both the creators and recipients. The article refers to the author’s own ordinary and participatory observations (both open and hidden). The article used 50 ordinary observations from the screening and from the meetings with the audience (conversations with the audience after the screening and about 100 short recorded conversations with the audience about the movie impressions and motivation to participate in the screening), as well as the insider experience from several dozen days in touring cinemas. The research is not representative of the overall audience of the screenings during the six tours. The author does not discuss the results of the research on the reception of contemporary Polish movies (discussion after screenings), but, rather, focuses on the institutional and interactive approach to mobile cinema.
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