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1

Autorzy i gatunki kina epoki nowofalowej

100%

Magdalena K.-P.

Kwartalnik Filmowy

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2016

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issue 93-94 Kino amerykańskie

289-295

PL

Autorzy trzeciego tomu „Historii kina” (2015) pod redakcją Tadeusza Lubelskiego, Iwony Sowińskiej i Rafała Syski kreślą panoramę kina epoki nowofalowej jako obszaru poetyk autorskich, a zarazem uniwersum nieustannie ewoluujących gatunków filmowych. Większość badaczy snujących w „Kinie epoki nowofalowej” refleksje o dziełach mistrzów kina z powodzeniem realizuje interpretacyjny paradygmat, zgodnie z którym „poprzez autorów wypowiada się kultura” Nawet tam, gdzie perspektywa autorska osiąga swoje granice, interpretatorzy „czytają” poszczególne gatunki przez pryzmat związanych z nimi osobowości twórczych. Relację „autorzy – gatunki” w kontekście trzeciego tomu „Historii kina” można byłoby również ująć jako opozycję „kino artystyczne – kino komercyjne”. Istotny wydaje się przy tym mający miejsce w epoce nowofalowej rozkwit kinematografii narodowych oraz pojawienie się perspektywy postkolonialnej, która z sukcesem została włączona do koncepcji tomu.

EN

The authors of the “Kino epoki nowofalowej” [“Cinema of the New Wave Era”], third volume of the “Historia kina” [“History of the Cinema”] (2015) edited by Tadeusz Lubelski, Iwona Sowińska and Rafał Syska draw a panorama of the New Wave era of cinema as an area of artistic poetics, and at the same time a universe of ever evolving cinema genres. Most researchers writing in this volume on the work of masters of the cinema, successfully realise the interpretative paradigm, according to which it is culture that speaks through the authors. Even there, where the author’s perspective reaches its limits, interpreters “read” particular genres through the prism of creative personalities associated with them. The “author – genre” relationship in the context of the third volume of the History of the Cinema can also be seen as an opposition between artistic and commercial cinema. What seems significant in the New Wave era is the flourishing of national cinematographies and the appearance of post-colonial perspective, which was successfully incorporated into the volume.

2

Film Canon – Film History – Film Education: Remarks on the Polish Film Museum’s Anniversary Poll

80%

Klejsa K., Jajko K.

Panoptikum

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2017

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issue 18(25)

191-214

EN

In 2015, the Film Museum in Lodz, Department of History and Theory of Film at the University of Lodz and the Polish Filmmakers Association worked together on a project “12 films for 120 years of cinema”. Filmmakers and people professionally involved in film culture were asked to compile their 12 best films ever and their 12 best Polish films. The organisers received 279 responses which mentioned 1,348 films in total. After analysing the results, the lists of best movies were published as well as variant lists according to the respondents’ profession and age. The first part of the paper raises questions regarding aesthetic axiology (as far as culture-based text hierarchies are concerned) and social communication (which concerns the question of a canon: who establishes it and for what purpose?). In the second part of the article, the authors discuss the results of the poll, highlighting shortcomings of the project when compared to similar polls in the past.

3

Metodologia nowej historii filmu

80%

Hendrykowski M.

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

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2015

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vol. 17

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issue 26

311-316

EN

Methodology of New Film History The article deals with the specifi city of modern historiographic methods used by film historians connected with the worldwide formation labeled New Film History that started in the mid-1980s. The main thesis focuses on notions associated with a variety of historical sources, re-visions that contradict classic film history and the importance of close-readings including the cultural contexts of the film as art, as well as a medium of audiovisual communication.

4

Świat na wspak. "Przygoda człowieka poczciwego" Franciszki i Stefana Themersonów jako film-walizka

80%

Taszycka A.

Kwartalnik Filmowy

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2010

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issue 70

15-25

PL

Autorka podejmuje się przeanalizowania "Przygody człowieka poczciwego" (1937) w oparciu o projekcję wspak. Możliwość odtwarzania filmu od końca do początku sugerował w 1975 r. sam Stefan Themerson w liście do Clyde’a Jeavonsa. Taszycka stwierdza, że projekcja tego filmu wspak jest jak najbardziej możliwa, a ponadto ujawnia nowe możliwości odbioru i interpretacji. Autorka wskazuje na przemyślaną i spójną koncepcję całości (rozumianej jako połączenie projekcji tradycyjnej i tej na wspak) oraz na autotematyczny charakter filmu świadczący o jego surfikcyjnej naturze. "Przygodę..." można też sytuować w szerszym kontekście dzięki kolistości jej struktury (początek będący końcem i vice versa). Związane z tym wyjście poza dotychczasowe przyzwyczajenia odbiorcze pozwala uznać, że Themersonowie wyprzedzają swój czas, ponieważ zapowiadają późniejsze o kilkadziesiąt lat poszukiwania filmu strukturalnego i filmu rozszerzonego. Dodatkowo "Przygoda..." okazuje się w ujęciu Taszyckiej swego rodzaju filmowym palindromem, którego sens objawia się zarówno w tradycyjnej, jak i odwrotnej projekcji. Jest to również – jeśli chodzi o strukturę – swoisty film-walizka. Jego dwie idealnie symetryczne (te same, ale nie takie same) części składają się w całkiem nową jakość, która zaczyna żyć autonomicznym życiem.

EN

Taszycka presents an analysis of "The Adventure of a Good Citizen" (1937) based on a back-to front showing of the film. Themerson himself, in a letter to Clyde Jeavons, suggested that showing the film backwards might be an interesting idea. Taszycka argues that not only is the backwards projection of the film possible, but it opens up the film to new interpretations. The author points to the well thought and coherent concept of the film as a whole (understood as a combination of showing the film in the conventional way and backwards) and the autothematic character of the film, showing its surfictional nature. "The Adventure..." can also be placed in a wider context thanks to its circular structure, where the beginning can also be the end of the film (and vice versa). This shows that Themersons were ahead of their time, as their film is a precursor of structural films and expanded cinema made decades later. Additionally, Taszycka shows that "The Adventure..." is a sort of a filmpalindrome that reveals its meaning both in the conventional and backwards projection. In order to describe the film – according to its structure – Taszycka also uses the metaphor of a suitcase. Two identically symmetrical parts (the same ones, but not identical) of the film-suitcase create a new being, that has an autonomous existence.

5

Charlie w Inkipo. Chaplin według Pierwszej awangardy

80%

Wójtowicz A.

Kwartalnik Filmowy

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2010

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issue 70

6-14

EN

Artists from the sphere of the First Avant-garde perceived Chaplin’s creation of Charlie through the prism of their own worldview and aesthetics. They saw in his films meanings that went beyond comedy, and that were rather an interpretation of deeper philosophical problems. The adventures of the tramp were a metaphor for the dilemmas faced by the contemporary human being – reified and degraded by civilization gripped by the idea of modernizing projects. According to those interpretations Charlie was a humanist, an anarchist, and a trickster, that with the help of subversive strategies revealed the absurd of social and cultural convention.

6

Kojenie obrazem, leczenie snem. Konstruowanie pamięci o Zagładzie w polskich filmach fabularnych po 1989 roku

71%

Forecki P.

Przegląd Politologiczny

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2012

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issue 3

97-114

EN

In the period between the end of World War II and the late 1980s the Polish film industry produced nearly twenty films on the Holocaust which approached the topic within secure lim- its. Those films that were permitted to be shown did not disturb the good feeling of the na- tional community, did not refer to the Polish version of anti-Semitism, and first and foremost avoided the sensitive issue of Polish society’s attitude to the annihilation of the Jews. Each film complied with the then current historical policy, which either treated this issue instru- mentally or simply ignored it. After 1989, both historiography and cinematography began to fill in the blank spots and address topics that were formerly forbidden, taboo or distorted in the official state discourse. Due to the abolishment of political restrictions and the liberation of public discourse, Polish cinematography embarked upon a belated examination of conscience and revision of the memories of the Holocaust cultivated till then. At least it seemed so. Has it actually happened, though? Have Polish filmmakers actually taken the trouble to deconstruct the myths, fill in the gaps and correct the deformed Polish memories of the Holocaust? Even if the answers to these superficial questions are affirmative, at least in terms of their intentions, what has become of it? This paper is an attempt to identify how the memory of the Holocaust has been constructed in Polish feature movies since 1989.

7

Klasyczny film nor, kino modernistyczne, modernie – czyli tam i z powrotem

70%

Żyto K.

Media – Kultura – Komunikacja Społeczna

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2014

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issue 10/2

38-54

EN

The main aim of the article is to present classical film noir as a modernistic phenomenon in its roots. So-called “modernity” has many faces and is defined and understood in different ways. In film studies, modernistic cinema most often is identified with cinéma d’auteur. What is more, modernistic narration is situated in contrast to classical narration. The first part of the text concentrates on depicting how classical film noir foreshadows modernism in cinema and breaks the rules of classical narration. In the second part, film noir, as a phenomena of the classical Hollywood production, is considered in the context of modernity, particularly so-called “low” modernity, or, as other researchers describe it, “vernacular” modernity. Classical film noir as a result takes its energy and sources from social, cultural, economic changes of early modernity and remains critical in its depiction.

8

V-v-Vertov R-r-Re-Made

61%

Pedersen P. O., Stephensen J. L.

Acta Universitatis Sapientiae, Film and Media Studies

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2014

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vol. 9

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issue 1

77-106

EN

The seminal work of pioneering avant-garde filmmaker Dziga Vertov, The Man with the Movie Camera (Chevolek s kino-apparatom, 1929) has given rise to a number of discussions about the documentary film genre and new digital media. By way of comparison with American artist Perry Bard’s online movie project entitled Man With a Movie Camera: The Global Remake (2007), this article investigates the historical perspective of this visionary depiction of reality and its impact on the heralded participatory culture of contemporary digital media, which can be traced back to Russian Constructivism. Through critical analysis of the relation between Vertov’s manifest declarations about the film medium and his resulting cinematic vision, Bard’s project and the work of her chief theoretical inspiration Lev Manovich are examined in the perspective of ‘remake culture,’ participatory authorship and the development a documentary film language. In addition to this, possible trajectories from Vertov and his contemporary Constructivists to recent theories of ‘new materialism’ and the notion of Man/Machine-co-operation is discussed in length.

9

Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns

51%

Żyto K.

Literatura i Kultura Popularna

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2018

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vol. 24

39 - 54

EN

The idea of film noir, especially neo-noir, viewed as a stable and clear genre has as many supporters as detractors. The controversy is nothing new, and a compromise is still elusive. The reason for such an impasse is not merely the intransigent stance of opponents, the strength of their arguments, but is also a result of the hybridization of genres in main stream cinema (and elsewhere). I discuss the problem presented by film noir in the context of the question of generic identity on the example of the Coen brothers’ Oscar-winning Fargo. The movie is an interesting case study as it does not make use of any of the genres typical for film noir in its unadulterated form (i.e. genres associated with film noir in its classical era). In Fargo, Joel and Ethan Coen skillfully combine elements of the detective story (though not necessarily associated with hard-boiled fiction) with crime shows, gangster movie with thrillers about psychopaths, comedy with tragedy and family drama with melodrama of mischance. The result remains the same — the world of Fargo stays noir, dark and pessimistic and permeated with the absurd.

10

Od trawelogu do King Konga. Misja badawcza jako motyw kina lat dwudziestych i trzydziestych w świetle imaginarium społecznego epoki

51%

Zontek R.

Prace Kulturoznawcze

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2019

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vol. 23

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issue 2-3

75-104

EN

Science expeditions are a staple of cinematic fiction. The theme has been utilized in dozens of permutations in different media and film genres ranging from adventure flicks to family comedies and horrors. Indiana Jones, undoubtedly the best-known “field researcher” in the world, is one of popular culture’s most recognizable figures. In this article, however, I am interested in an era predating his cinematic debut by at least a half century. Its main focus is the 1920s/1930s threshold in which science expeditions began constituting themselves as a motif of cinema and the reasons why such a seemingly august, scholarly enterprise transformed into a popcultural phenomenon. My analysis will focus on two often overlooked but massively popular genres of the era: expeditionary films and exotic exploitation films, both of which, I argue, can be traced back to the ethnographic travelogue. I begin my inquiries — and end them — with Merian C. Cooper’s and Ernest B. Schoedsack’s King Kong (1993), which provides me with a framework for describing the ever-fickle relationship between documentary, fiction, truth and fabrication, which defined the cinematic representations of science expeditions from the very beginning.

11

Tańczące muzy. Kino i korespondencja sztuk

51%

Hendrykowski M.

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

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2009

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vol. 7

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issue 13-14

5-14

EN

How traditional arts are used and adapted by film? In what ways do they correspond and cooperate as structural elements supporting a fully coherent piece of film? These fundamental questions open many areas of film research. The paper examines three competing definitions of cinema as polimorfic art and gives overview of various versions and modes of coexistence of arts in film. Author argues that ambivalence is evidenced between policy of adapting established arts and policy of modelling new art by filmmakers. The role of film practice in orchestrating individual strategies is used to highlight this ambivalence. Aspirations good for one separate art can be wrong for film as specific medium and kind of art. „The play’s the thing”. As far as symbiosis of many different arts is important for cinema, culture of adaptation remains key question in film practice and filmmaking.

PL

Dancing muses. Cinema and the correspondance of arts How traditional arts are used and adapted by film? In what ways do they correspond and cooperate as structural elements supporting a fully coherent piece of film? These fundamental questions open many areas of film research. The paper examines three competing definitions of cinema as polimorfic art and gives overview of various versions and modes of coexistence of arts in film. Author argues that ambivalence is evidenced between policy of adapting established arts and policy of modelling new art by filmmakers. The role of film practice in orchestrating individual strategies is used to highlight this ambivalence. Aspirations good for one separate art can be wrong for film as specific medium and kind of art. „The play’s the thing”. As far as symbiosis of many different arts is important for cinema, culture of adaptation remains key question in film practice and filmmaking.

12

Studium władzy i recepcji z perspektywy źródeł archiwalnych

51%

Biskupski Ł.

Kwartalnik Filmowy

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2023

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issue 122 Krajobrazy, panoramy, terytoria

203-210

PL

Recenzja dotyczy książki Krzysztofa Jajki, Konrada Klejsy, Jarosława Grzechowiaka i Ewy Gębickiej Rozpowszechnianie filmów w Polsce Ludowej w latach 1944-1956 (2022), będącej krytycznym wydaniem tekstów źródłowych poświęconych rodzimej dystrybucji filmowej w pierwszej dekadzie po II wojnie światowej. Recenzent zwraca uwagę na wysoką wartość naukową publikacji, która stanowi cenne źródło informacji oraz analiz dotyczących kinematografii w Polsce Ludowej. Podkreśla, że książka ta ma istotny wkład w rosnący zasób literatury na ten temat i przyczynia się do wzbogacenia wiedzy, stanowiąc również podstawę dla przyszłych dociekań, a także dając szansę na silniejsze powiązanie analiz z obszaru historii kina z badaniami historii politycznej, społecznej i gospodarczej.

EN

The review discusses the book Rozpowszechnianie filmów w Polsce Ludowej w latach 1944-1956 [Film Distribution in the Polish People’s Republic in 1944-1956] (2022), which provides critical editions of source texts related to film distribution in the early years of the Polish People’s Republic after World War II. The reviewer notes the high scientific value of the publication, which constitutes a valuable source of information and analysis on cinema in the Polish socialist state. He emphasizes that the book makes a significant contribution to the growing body of literature on the subject and results in expanding our knowledge, while also serving as a basis for future research and providing an opportunity for stronger connections between film history research and research on political, social, and economic history.

13

Transnarodowe i narodowe szlaki kina nordyckiego

51%

Rutkowska T.

Kwartalnik Filmowy

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2021

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issue 115 Film formy, film treści

256-262

PL

Tadeusz Szczepański, znawca kina skandynawskiego, autor obszernej monografii Ingmara Bergmana i książki o Janie Troellu, wydał obecnie historyczną pracę Kino nordyckie. Pierwsze stulecie (2020), która obejmuje czasy od kina niemego przez okres klasyczny i kino nowej fali po koniec XX w. Ujęcie to uwzględnia złożony fenomen kulturowy, jakim jest kino powstające w pięciu krajach: Szwecji, Danii, Norwegii, Finlandii oraz Islandii. Autor wyodrębnia cechy wspólne, ale także specyfikę narodową cechującą poszczególne kinematografie nordyckie. Postacią kluczową jest w tym wywodzie Ingmar Bergman, jego twórczość, a także wpływ, jaki wywarł na kino tego regionu.

EN

Tadeusz Szczepański, Polish expert on Scandinavian cinema, author of an extensive monograph on Ingmar Bergman and a book about Jan Troell, has now published the historical work Kino nordyckie. Pierwsze stulecie [Nordic Cinema: The First Century] (2020), which covers the time span from silent cinema, through the classical period and new wave cinema, till the end of the 20th century. His approach takes into account the complex cultural phenomenon of this cinema emerging in five countries: Sweden, Denmark, Norway, Finland and Iceland. The author distinguishes the common features of Nordic cinematographies, but also their individual national specifics. The key figure in this historical presentation is Ingmar Bergman: his work, as well as the impact he has had on the cinema of this region.

14

Metodologiczne problemy historii powojennego dokumentu filmowego w Polsce

41%

Hendrykowski M.

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

249-255

EN

The Methodological Problems of Studies on the History of Polish Postwar Documentary The author discusses the narratives and stereotypical (ideological) point of view as a matrix for constructing an overly simple image of the Polish documentary in the postwar period (1944–1955) as shadowed in the untruth of political discourse. In Marek Hendrykowski’s opinion this particular period in Polish documentary film was much more complicated and multi perspectived (in a “dialogical” sense) as a research object posing new questions and opening new perspectives for film historians.

15

Drugi przełom dźwiękowy? Magnetofon Nagra i przemiany filmowego dźwięku w epoce postklasycznej

41%

Stelmach M.

Kwartalnik Filmowy

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2021

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issue 113 Film i technologia

114-130

PL

Celem autora jest przybliżenie wpływu, jaki wywarł na kinematografię Stefan Kudelski i stworzona przez niego marka magnetofonów Nagra. Zwłaszcza skonstruowana pod koniec lat 50. Nagra III stała się niezwykle popularna wśród filmowców (wraz z innymi przełomowymi wynalazkami tego okresu), przyczyniając się do powstania nowego typu kina dokumentalnego, a także wpływając na standardy produkcji fabularnej. Magnetofony marki Nagra na blisko trzy dekady stały się branżowym standardem, współtworząc takie ruchy jak francuska Nowa Fala czy Nowe Hollywood i tym samym biorąc znaczący udział w kształtowaniu się estetyki kina postklasycznego, wprowadzającego nowy rodzaj filmowego realizmu, a także znacznie większą swobodę w operowaniu dźwiękiem. Ten istotny epizod z historii techniki filmowej stanowi pretekst do ukazania tego, w jaki sposób postęp techniczny może stanowić przyczynek do przemian organizacji produkcji, praktyk branżowych, a także rozwiązań stricte artystycznych.

EN

The aim of this article is to present the influence exerted on cinema by Stefan Kudelski and his invention: the family of Nagra recorders. Introduced in 1958, Nagra III became especially popular among filmmakers, enabling, along with other technical breakthroughs of that time, the development of a new kind of documentary filmmaking, and later influencing feature production as well. For almost three decades, various models of Nagra recorders presented the golden standard in its field and helped shaping movements such as French New Wave and New Hollywood. It thus played an important part in the emergence of ‘postclassical’ cinema, which encompassed a new kind of cinematic realism and much more freedom in creating sound design. This important episode in the history of film technology might be instructive in understanding how technical progress might influence the culture and logistics of production but also inform strictly artistic and aesthetic choices made by filmmakers.

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Autorzy i gatunki kina epoki nowofalowej

Film Canon – Film History – Film Education: Remarks on the Polish Film Museum’s Anniversary Poll

Metodologia nowej historii filmu

Świat na wspak. "Przygoda człowieka poczciwego" Franciszki i Stefana Themersonów jako film-walizka

Charlie w Inkipo. Chaplin według Pierwszej awangardy

Kojenie obrazem, leczenie snem. Konstruowanie pamięci o Zagładzie w polskich filmach fabularnych po 1989 roku

Klasyczny film nor, kino modernistyczne, modernie – czyli tam i z powrotem

V-v-Vertov R-r-Re-Made

Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns

Od trawelogu do King Konga. Misja badawcza jako motyw kina lat dwudziestych i trzydziestych w świetle imaginarium społecznego epoki

Tańczące muzy. Kino i korespondencja sztuk

Studium władzy i recepcji z perspektywy źródeł archiwalnych

Transnarodowe i narodowe szlaki kina nordyckiego

Metodologiczne problemy historii powojennego dokumentu filmowego w Polsce

Drugi przełom dźwiękowy? Magnetofon Nagra i przemiany filmowego dźwięku w epoce postklasycznej