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1

W poszukiwaniu indywidualnego ciala: fotografia, detektywi i poczatki kina

100%
Gunning T.
Kwartalnik Filmowy
|
2011
|
issue 75-76
5–28
EN
The author discusses the transformations of modernity, focusing initially on matters associated with movement and mobility and the production and distribution of goods. He notes that in the late nineteenth and early twentieth century, cinema – the first entertainment industry on such a massive scale – is be-coming one of the factors intensifying these changes. However one must not forget that the place and status of the moving image in the new logic of circulation were preceded by the dissemination of still photographs. The author analyzes the ontological properties of photography and shows that it is thanks to them that it could contribute to such a profound transformation of identity and body image in modern experience. He notes that both still and moving images are characterized by a fundamental contradiction – at the same time they strengthen the sense of fragmentation and speed and also the need of control, stability and predictability. These phenomena manifest themselves in a particularly vivid way within criminologists’ practice and detective and crime literature. In his exploration of those areas the author demonstrates that photography is one of the major tools of power used for classifying, tracking, analyzing, discipline and supervision of the individual body.
2
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Interview: Film History as Media Archaeology

88%
Elsaesser T., Kwiatkowki F., Szymczak-Maciejczyk B.
Facta Ficta. Journal of Theory, Narrative & Media
|
2018
|
vol. 2
|
issue 2
177-200
EN
The interview centres around Thomas Elsaesser’s book Film History as Media Archaeology and is divided into three thematic blocks. Focusing on the origins of the book and its composition in the first part, the discussion uncovers Elsaesser’s engagement in numerous research initiatives, teaching at the University of Amsterdam, and his contribution to the emerging area of early cinema studies. Further exploration of the latter gives an insight into his views on the development of the discipline and outlines his distinct position in the field of media history. The second part concentrates on Elsaesser’s approach to the study of cinema and its interaction with other media. With the discussion of study cases presented in the book, speakers explore the ways in which non-teleological models can enhance our knowledge of forgotten or obsolete technologies and their origins. Clarifying his position, Elsaesser shows how these approaches also transform our perception of contemporary media and their history, and how digital technology shapes our understanding and the use of past inventions. The conversation within this group of subjects also touches upon hazards and limitations of applying archaeological perspective to studying media history and moves to the speculations on the future of the archaeological approach in the humanities. In the third part, the interview shifts towards broader issues, in particular: the technological transformations in cinema over the last decade, the significance of digital devices in reconfiguring our relationship with the past, and the potential contribution of media archaeology to the development of non-linear historiographical models in scholarship.
3
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The Displaced Dispositif

88%
Edmonds G., Lewin S.
Avant
|
2017
|
vol. 8
EN
“Dispositif” is a term used in film studies since the 1970s to describe the entire system of mechanical and human factors which together bring about the cinema experience. It therefore refers to (amongst other things) the space of the auditorium, the screen, the projection technology and the physiology of the spectator. Many of its qualifying components are masked from the view of participants in the system. The dispositif’s purpose is to set up the conditions for a specific type of cognitive experience, one which mirrors and extends (and in some readings, controls) the experience of its participants.The Displaced Dispositif is a performance designed for the space of a cinema theatre, but featuring the projection of fragments of early silent cinema on a coeval (1910s) film projector from the auditorium. The film fragments are live-scored by the sound artist, Shaun Lewin, using a combination of closely mic’d sources on the projector itself, luminance data from the projected image and EEG brainwave data recorded from participants during previous projections of the film. Displacing elements in the dispositif in this way, by shifting modalities, situating in parallel, feeding back and layering, draws attention to its hidden existence and creates the potential for a more knowing and informed participation in the cinema experience. It also serves to demonstrate the degree to which dispositifs of modern cinema spectatorship, which have morphed and proliferated since the widespread digitization of film heritage, have radically altered both the technological and experiential qualities of the medium. By integrating EEG data, the performance adds the dimension of electrophysiological experience to the long tradition within experimental cinema of artists calling attention to Cinema’s hidden structures. As well as challenging the dominance of the worldview propagated by the film industry, the performance also signals a means of re-engaging with the creative potential of the system itself, once unshackled from its bonds to the reality effect and freed from the limits imposed by its commercializing instincts.
4
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The Displaced Dispositif

88%
Edmonds G., Lewin S.
Avant
|
2017
|
issue 8
EN
“Dispositif” is a term used in film studies since the 1970s to describe the entire system of mechanical and human factors which together bring about the cinema experience. It therefore refers to (amongst other things) the space of the auditorium, the screen, the projection technology and the physiology of the spectator. Many of its qualifying components are masked from the view of participants in the system. The dispositif’s purpose is to set up the conditions for a specific type of cognitive experience, one which mirrors and extends (and in some readings, controls) the experience of its participants.The Displaced Dispositif is a performance designed for the space of a cinema theatre, but featuring the projection of fragments of early silent cinema on a coeval (1910s) film projector from the auditorium. The film fragments are live-scored by the sound artist, Shaun Lewin, using a combination of closely mic’d sources on the projector itself, luminance data from the projected image and EEG brainwave data recorded from participants during previous projections of the film. Displacing elements in the dispositif in this way, by shifting modalities, situating in parallel, feeding back and layering, draws attention to its hidden existence and creates the potential for a more knowing and informed participation in the cinema experience. It also serves to demonstrate the degree to which dispositifs of modern cinema spectatorship, which have morphed and proliferated since the widespread digitization of film heritage, have radically altered both the technological and experiential qualities of the medium. By integrating EEG data, the performance adds the dimension of electrophysiological experience to the long tradition within experimental cinema of artists calling attention to Cinema’s hidden structures. As well as challenging the dominance of the worldview propagated by the film industry, the performance also signals a means of re-engaging with the creative potential of the system itself, once unshackled from its bonds to the reality effect and freed from the limits imposed by its commercializing instincts.
5

Oscar Micheaux i początki kina afroamerykańskiego

63%
Loska K.
Kwartalnik Filmowy
|
2022
|
issue 117 Kino nieznane/ukryte
143-160
PL
Autor omawia początki kina afroamerykańskiego na przykładzie twórczości Oscara Micheaux (1884-1951) – jednego z najwybitniejszych przedstawicieli tzw. filmu rasowego –i sytuuje jego twórczość w szerszym kontekście społecznym, kulturowym i politycznym, na tle działalności innych przedstawicieli branży, którzy w drugiej i trzeciej dekadzie XX w. podejmowali próby realizacji filmów przeznaczonych dla czarnej publiczności. Autor zwraca uwagę na szereg aspektów kształtujących kulturę filmową w społeczności afroamerykańskiej, takich jak system dystrybucji i promocji, praktyki wystawiennicze, wpływ cenzury na ostateczny kształt dzieła. Uwzględnia również zagadnienia stylistyczne oraz tematykę podejmowaną w „filmach rasowych”, a związaną z kwestią awansu społecznego, narracją emancypacyjną, polemiką ze stereotypami rasowymi, strategią „uchodzenia za białego” (passing) oraz obecnością tematów kontrowersyjnych (jak lincz i małżeństwa „międzyrasowe”).
EN
The author discusses the beginnings of African-American cinema on the basis of the films by Oscar Micheaux (1884-1951), who was one of the most prominent representatives of the so-called race film, and situates his work in broader social, cultural and political contexts. The author juxtaposes Micheaux with other directors who attempted to make films intended for black audiences in the second and third decades of the twentieth century. Attention is drawn to a number of aspects shaping the film culture of the AfricanAmerican community, such as the distribution and promotion system, exhibition practices, or the influence of censorship on the final shape of the work. The author also takes into account stylistic issues and topics taken up in “race films”, e.g. social advancement, emancipation narrative, polemics with racial stereotypes, the “passing” strategy, and the presence of controversial themes (such as lynching or interracial marriages).
6

Wiwisekcja wczesnego kina. Eksperymenty na zwierzętach i początki przemysłu filmowego

63%
Stańczyk M.
Kwartalnik Filmowy
|
2021
|
issue 113 Film i technologia
50-67
PL
Autorka opisuje relacje początków istnienia medium filmowego z badaniami fizjologów. W obu przypadkach postawa wobec zwierząt i ich życia wskazuje, że obszary te łączy wspólny dyskurs przemocowy – chociaż nie zawsze oczywisty, to jednak immanentnie związany z wykorzystywaniem przez człowieka swojego wyższego statusu kulturowego. Zwierzęta są traktowane jako materiał, który jest przez człowieka eksploatowany w sposób nieograniczony, a widowisko sankcjonuje tę eksploatację. Celem artykułu jest przyjrzenie się początkom historii kina w poszukiwaniu przykładów obecności zwierząt w filmie oraz wyznaczenie paraleli z przeprowadzanymi na nich eksperymentami. Autorka analizuje przykłady wczesnego kina – od Wyjścia robotników z fabryki (1895) Louis Lumière’a, przez Walczące koty (1894) Williama K. L. Dicksona, po Porażenie słonia prądem (1903) Edwina S. Portera – umieszczając je we współczesnym kontekście badań posthumanistycznych, szczególnie zaś animal studies.
EN
The author focuses on the relations between the new film medium and empirical physiology research. Both areas share a similar attitude towards animals and their lives, which reveals a violent discourse. Although this discourse was not always obvious, it was immanently linked with the cultural dominance of the human species. The function of animals in cinema and science is strictly pragmatic – they are a material exploited by humans. This is sanctioned by the frame of cinematic spectacle. The main aims of this article are to find animal presence in early cinema and compare these examples with animal experimentation. The author examines early-cinema examples (such as Exiting the Factory /1895/ by Louis Lumière, Boxing Cats /1894/ by William K. L. Dickson, or Electrocuting an Elephant /1903/ by Edwin S. Porter) with contemporary tools: posthumanism and animal studies.
7

Okres wczesnego kina na Dolnym Śląsku

51%
Dębski A.
Kwartalnik Filmowy
|
2020
|
issue 110 Poza człowiekiem
187-204
PL
Artykuł dotyczy wczesnego kina na Dolnym Śląsku, w szczególności pierwszych pokazów filmowych w 1896 r., działalności kin objazdowych, powstawania kin stałych i przełomu metrażowego, tj. przejścia od programów numerowych (złożonych z wielu filmów jednoaktowych) do programów opartych na filmie wieloaktowym z programem towarzyszącym. W centrum uwagi znajdują się małe miejscowości Dolnego Śląska, ponieważ metropolia, jaką był Wrocław, stanowiła temat innych opracowań. Z artykułu wynika m.in., że kinematografia na Dolnym Śląsku szybko upowszechniała się w małych miejscowościach – już w 1896 r. filmy były pokazywane w kilku miastach, a sześciotysięczny Namysłów, w którym kino otwarto w 1912 r., w tym samym roku przeszedł na projekcje filmów wieloaktowych.
EN
The article deals with early cinema in Lower Silesia, in particular the first film screenings in 1896, the operation of travelling cinemas, the establishment of fixed cinemas, and the transition from ‘number programs’ (consisting of multiple one-act films) to programs based on multi-act film with an accompanying program. The focus is on small towns in Lower Silesia, as the metropolis of Wroclaw has been discussed elsewhere. The article shows, among other things, that in Lower Silesia cinematography quickly spread in small towns – already in 1896 films were shown in several towns, and Namyslow, with a population of six thousand, where a cinema opened in 1912, switched to multi-act film screenings in the same year.
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