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1

Polityczny wymiar przestrzeni prywatnej i publicznej w filmach Pétera Forgácsa

100%
Sitek G.
Kwartalnik Filmowy
|
2013
|
issue 82
125-137
PL
Tekst jest próbą uchwycenia mechanizmów organizujących eksperymentalną metodę pracy węgierskiego reżysera Pétera Forgács’a wykorzystującego archiwalne domowe kroniki filmowe. Autorka uwidacznia przedstawienie przez reżysera w dokumentalnych pracach found footage prywatnego wymiaru materiału filmowego w jego społecznym, politycznym wymiarze. Odwołuje się do koncepcji filmu kompilacyjnego Jaya Leydy, kategorii ready-made Marcela Duchampa i grupy Fluxus, koncepcji stylu performatywnego dokumentu przypisanego twórczości Pétera Forgács’a w klasyfikacji zaproponowanej przez Billa Nicholsa w Introduction to Documentary. Na przykładzie filmu Pétera Forgács’a "Zamęt – kronika rodzinna" ("The Mealstrom – Family chronicle", 1997) zostają przedstawione uruchamiane przez reżysera mechanizmy pamięci prowadzące do zrozumienia przez widza tragicznego wymiaru historii Europy XX w., Holokaustu w prywatnym, indywidualnym doświadczeniu.
EN
The article is an attempt to grasp the mechanisms that organise the experimental method of work of the Hungarian director Péter Forgács that relies on the use of archival home film footage. The author reveals the way the director uses private film material in the found footage work in its social and political dimensions. She refers to Jay Leyda’s concept of compilation film, Marcel Duchamp’s and the Fluxus group’s ready-made category, as well as the concept of performative documentary style attributed to Péter Forgács’s work in the classification proposed by Bill Nichols in the Introduction to Documentary. Using the example of Péter Forgács’s film "The Maelstrom: A Family Chronicle" (1997), the author presents the mechanisms of memory the director employs that lead the audience to understand the tragic dimension of European history of the twentieth century, and in particular the Holocaust as a private and personal experience.
2
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Nostalgia and Archival Footage in Contemporary Hungarian Documentary (Gábor Zsigmond Papp: "The Life of an Agent")

88%
Vincze T.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2014
|
vol. 15
|
issue 24
19-26
PL
Archival and found footage have been playing an important role in Hungarian cinema since the 1960s. Th is type of material has been present not only in documentaries but also in Hungarian feature and experimental films. After a very short summary of the history of the usage of archival footage in Hungarian cinema, I will discuss two contemporary trends in documentaries: the artistic/experimental use and the entertainment-related/nostalgic use of found footage. At the end of the article, I use Gábor Zsigmond Papp’s documentary fi lm The Life of an Agent as an example of the nostalgic use of archival material in the representation of a still-unresolved Hungarian historical problem: socialist secret agents.
3
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Barbara Hammer’s History Lessons as a documentary utopia

88%
Talarczyk-Gubała M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2017
|
vol. 21
|
issue 30
PL
This article is devoted to the third part of Barbara Hammer’s documentary trilogy, History Lessons. The author analyzes and interprets the form and message of this post-queer essay, with the aim of describing its formula in relation to the mockumentary and found-footage film conventions. She goes back to the pioneer of found footage in the history of world cinema, Esfir Shub, and the position of women in production culture. She refers to Hammer’s debut film, Dyketactics (1974), to describe Hammer’s artistic and political tactic, consisting of intercepting images of women, rooted in visual history, and the subversive quotation of these images against the idea and context of the original. Dyketactics in History Lessons is about quoting archival materials from the genres of documentary, popular science and pornography with the aim of writing the history of the lives of lesbians in the US from the period before the Stonewall riots, where there is very little coverage of the story. The falsifying of archival materials through the editing manipulation of imagery and sound paradoxically uncovers not so much the truth about the lives of lesbians, as what seems to be hidden in images created with a completely different aim than telling the herstory of American women of various orientations and races.
4
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Scena deskorolkarzy w Berlinie Wschodnim. Procesy pamięci, (re)kreacja przeszłości a fikcjonalność filmu To nie Kalifornia

75%
Sitek G.
Media – Kultura – Komunikacja Społeczna
|
2014
|
issue 10/2
69-84
EN
Analysis of the form of the film This ain’t California by Marten Persiel, 2012,about a skating park in East Berlin, is the subject of the article. The article analyses the problem of the complex relations between fiction and reality in the film of Marten Persiel. The author tries to show the film in the context of a trend of creation and documentary in film history in relation to voices that show the film as staged. An important context of the analysis is found footage, biographical narration and mock-documentary. The author aims to describe the documentary character of the film as a description of generation of people, whose youth was in the 1970s and 80s in East Germany. The article shows the choices of characters of the film as the need for self-expression and personal liberty in the reality of the communist system.
5
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Zombiczna transmedialność i złośliwy demon obrazów

63%
Nieracka A.
Literatura i Kultura Popularna
|
2018
|
vol. 24
55 - 66
EN
Contemporary horror films can no longer be reduced to classical cinematic models. Is the term “genre” still functional? If so, then there is a need to look at genre through the mediation of a technological form. Introduction of the concept of “meta-horror”, or “database horror”, might be necessary. “Zombie cinema” is interpreted on the one hand as trauma of extermination by Žižek, and on the other — as the only contemporary myth by Deleuze and Guattari. Yet, in reality, it is a retreat from magic and the gothic genealogy of horror cinema; it is a turn towards the physiology of death, often reinforced by an index-like relationship with reality. In 1968, George Romero turned zombies into emblems of culture (Night of the Living Dead), so intensely marking their presence in transmedial narratives. At the same time, Cannibal Holocaust by Ruggero Deodato belongs to the category of found footage cinema within horror films, which later will be mediated by viral marketing (Blair Witch Project). Another genre formula — horror verité — mobilizes epistephilic lust, but the camera and the viewer, as its extension, is attacked and threatened (Paranormal Activity, Rec, Cloverfield). Volatility and the flickering nature of genre formulas submerged in a dynamic transmedial cultural space is connected by an always affective communication mode. While locating types of contemporary horror films between the spheres of media reality and real reality, we might reconstruct the meanings of these narratives.
6
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Przekształcanie pamięci. Found footage jak machina kulturowej reinterpretacji

51%
Giec M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2015
|
vol. 17
|
issue 26
59-66
EN
Transforming Memory: Found Footage as a Mechanism of Cultural Reinterpretation The article is about the role of found footage in shaping the consciousness of the modern spectator in relation to historical cinematographic creations. The meaning and signifi cance of interpretation, as well as the aesthetics of experimental movies, shatter myths about classical narration and the understanding of film in its social normative role. Chosen films by Bill Morrison, Fabio Scacchioli and Peter Tscherkassky are analyzed in order to outline this issue.
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