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1

O dramaturgicznej inscenizacji oraz historycznej mityzacji zwycięstwa piłkarskiego na przykładzie filmu Cud w Bernie (Das Wunder von Bern 2003) Sönke Wortmanna

100%

Denka A.

Przegląd Zachodni

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2018

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issue 4(369)

183-202

EN

Football is more than mere entertainment; it does not boil down to competition but is frequently embedded in current politics. Victories and titles become important for collective memory and build a sense of community and national identity, especially at major turning points in history. The depiction of important sports events, whether in documentaries or feature movies, has a long tradition. Football films (Fußballfilm) are an exceptionally interesting phenomenon here, exemplified by dozens of such films. The theme of football can be combined with highly diverse genres, including social drama, satirical comedy, war movies and so on. The film by German director Sönke Wortmann, The Miracle of Bern (Das Wunder von Bern, 2003), is an interesting example, as it combines a handful of different genres: a family drama from the post-war period, embracing a significant comedy theme and a sports film (which does not virtually exist in a pure form). The Miracle of Bern is a reconstruction of events of 1954 when the German football team won the World Cup in Switzerland, becoming one of the foundation myths of the Federal Republic of Germany; it has also been associated with the so-called economic miracle (Wirtschaftswunder). The return to the myth of the victory in Bern was important for the so-called Berlin Republic at the time of Gerhard Schröder’s government. This study attempts to answer the question of what esthetic measures were used by the director to construct the dramaturgy and message of the film, and to what extent the director followed the political sentiments of the time.

2

Doświadczanie kina a dramaturgia neomodernizmu filmowego

88%

Biedny J.

Przestrzenie Teorii

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2021

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issue 36

199-217

EN

This article is an attempt to investigate contemporary film theory highlighting the inseparable connection between cinema and the human body and seeing, in which sense this theory complements academic recognition about neomodernism. The author expands on the philosophical concept of experience, showing problems posed by its conceptualization, and also points to the connection of this term with the body and sensuality. In the next part, the main distinguishing features characterizing the dramaturgy of cinematic neomodernism are given. The author argues that the dramaturgy of this movement creates a different kind of cinema experience in general. The final part presents an analysis of two films which are examples of the theory of cinema as senses, as well as exemplifying the dramaturgy characteristic for neomodernism, and thus creating a specific type of experience in the viewer.

3

Między Koreą i Europą. O dramaturgii filmów Kim Ki-duka

75%

Domalewski A.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2015

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vol. 16

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issue 25

53-63

EN

Between Korea and Europe. The Dramaturgy of Films by Kim Ki-duk The article attempts to point out how Korean director Kim Ki-duk constructs the dramaturgy of his films. His works belong to the European art cinema tradition, and are marked by specific narrative structures and strategies (e.g. chronological order of events, parallel and mirror plot schemes, silent characters and limitation of film dialogue). Dramaturgically significant are also repeating scenes of violence and cruelty, characteristic for Kim. Finally, briefly presented are critical approaches to his films, which together with the director’s biography allow us to call him “an accented filmmaker” (using terms and concepts proposed by Hamid Naficy).

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1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Przegląd Zachodni

1 Przestrzenie Teorii

1 Biedny J.

1 Denka A.

1 Domalewski A.

1 2021

1 2019

1 2015

O dramaturgicznej inscenizacji oraz historycznej mityzacji zwycięstwa piłkarskiego na przykładzie filmu Cud w Bernie (Das Wunder von Bern 2003) Sönke Wortmanna

Doświadczanie kina a dramaturgia neomodernizmu filmowego

Między Koreą i Europą. O dramaturgii filmów Kim Ki-duka