The text is an attempt to define the specificity of portraits of the first Russian Tsar, Ivan the Terrible, in the field of historiography and culture, including popular culture. This characteristic is referred then to the analysis of two films – S. Eisenstein's Ivan the Terrible (1944-1946) and P. Lungin’s Tsar (2009). These films depict two different interpretations of the historical figure presented above all in Russian discourse. On the one hand (Eisenstein), Ivan is seen as a prominent politician engaged in a state-building strategy; on the other (Lungin), he is above all a crazy criminal.
PL
Reformer and Outstanding Politician or Rake on a Metaphysical Scale. Two Portraits of Tsar Ivan the Terrible in Russian Cinema The text is an attempt to define the specificity of portraits of the first Russian Tsar, Ivan the Terrible, in the field of historiography and culture, including popular culture. This characteristic is referred then to the analysis of two films – S. Eisenstein's Ivan the Terrible (1944-1946) and P. Lungin’s Tsar (2009). These films depict two different interpretations of the historical figure presented above all in Russian discourse. On the one hand (Eisenstein), Ivan is seen as a prominent politician engaged in a state-building strategy; on the other (Lungin), he is above all a crazy criminal.
Andrzej Wajda’s films are interesting and serious historical narratives, which enter in dialog both with academic historiography and with other forms of familiarization with the past. Some of Wajda’s historical films are part of the paradigm of the affirmative vision of history. It is a vision that focuses on creating the positive picture of the bygone world, on showing those elements of the past that a given community recognizes as glorious and heroic, worth imitating, commemorating, and honoring, which can be the object of pride or even worship. The affirma-tive vision of history belittles, leaves in the background or omits all those themes from the past that fall outside positive evaluation for various reasons and could distort a consistent favorable picture of the past of a community. In the present article I would like to examine from the comparative perspective of two films, “A Generation [ Pokolenie]” (1954) and “Katyń” (2007). The comparison between Andrzej Wajda’s two films made in the space of fifty years shows that despite the fact that the two pictures were produced in entirely different historico‑cultural contexts, using different film styles, the two screen stories present the affirmation of diametri-cally disparate versions of history, it is the dramatic strategies for and techniques of affirmation of history that remain the same in either case.
Film a dějiny (Film i historia) to nie tylko wydawany w Czechach cykl publikacji pokonferencyjnych, ale także świadectwo nowego sposobu radzenia sobie tamtejszego środowiska akademickiego z dylematami historycznofilmowymi. Ukazujące się od 2004 r. monograficzne opracowania z jednej strony wypełniają filmoznawcze białe plamy, poruszając tematy wcześniej w dyskusji nieobecne, a z drugiej proponują dialog zogniskowany wokół kluczowych zagadnień dotyczących kinematografii narodowej. Do tej pory zrealizowane zostały następujące projekty: Adolf Hitler i inni – filmowe obrazy zła, Polityczna kamera – film i stalinizm, Normalizacja, Pierestrojka, Postkomunizm – przemiany w czeskim filmie historycznym po roku 1989 oraz Propaganda.
EN
Film a dějiny (Film and History) is not only a series of post-conference publications, but also a sign of a new way of dealing with historical film dilemmas by the Czech academic community. The research monographs published since 2004 have filled the gaps in film studies by addressing previously omitted topics and offering a dialogue focused on critical issues of national cinematography. The following projects have been completed: Adolf Hitler and Others – Film Images of Evil, The Political Camera – Film and Stalinism, Normalization, Perestroika, Post-Communism – Transformations in Czech Historical Film after 1989, and Propaganda.
Analysis and interpretation of the film fresque made by Croatian director Lordan Zafranović (1978), a masterpiece of European art cinema of 70s. Marek Hendrykowski’s study describes relationship between poetics of experience and aesthetics of shock. It also expresses the importance of mythical perspective (Babel Tower) and its meaning as the factor of common consciousness in keeping memory of the past in art and life of contemporary societies.
The article is a reconstruction of the Ukrainian-Russian reception of Jerzy Hoffman’s With Fire and Sword movie. In the description of the reception of ecranisation behind the eastern border of Poland, the voices of experts – critics and historians of cinema, as well as non-professional audiences were used. The participation of this film in the formation of the attitude of Ukrainians to the common pages of 17th-century history was also subjected to reflection. Hoffman’s With Fire and Sword not only influenced the transformation of the way of reading the novel which is its literary basis, moving its reception from assessing historical credibility to displaying the entertainment values of the work, but also initiated the re-evaluation of the image of one of the controversial events of Polish-Ukrainian history in the spirit of searching for what unites both nations.
PL
Artykuł stanowi rekonstrukcję ukraińsko-rosyjskiej recepcji filmu Ogniem i mieczem Jerzego Hoffmana. W opisie odbioru ekranizacji za wschodnią granicą Polski wykorzystano zarówno głosy ekspertów – krytyków i historyków kina, jak i nieprofesjonalnych odbiorców. Refleksji został również poddany udział tego filmu w formowaniu stosunku Ukraińców do wspólnych kart siedemnastowiecznej historii. Hoffmanowskie Ogniem i mieczem nie tylko bowiem wpłynęło na przemianę sposobu czytania powieści będącej jego podstawą, przesuwając jej recepcję od ocen wiarygodności historycznej ku eksponowaniu walorów rozrywkowych utworu, ale też zainicjowało przewartościowanie obrazu jednego ze spornych wydarzeń polsko-ukraińskiej historii w duchu poszukiwań tego, co łączy oba narody.
The subject of interest in this text are the relations between the famous Elem Klimow’s Come and See and two Polish movies made in the second decade of the 21st century – Jan Komasa’s Warsaw 44 and Wojciech Smarzowski’s Wołyń. These relations are considered at the genetic level, the level of historical references, the genological level and the plane of audiovisual material created in films. The analysis leads to the conclusion that genological issues play the most important role in building these relationships, among them the shape of the main character’s figure.The text can be treated as a contribution to reflection on the genre distinctiveness of the anti-war film.
PL
The subject of interest in this text are the relations between the famous Elem Klimow’s Come and See and two Polish movies made in the second decade of the 21st century – Jan Komasa’s Warsaw 44 and Wojciech Smarzowski’s Wołyń. These relations are considered at the genetic level, the level of historical references, the genological level and the plane of audiovisual material created in films. The analysis leads to the conclusion that genological issues play the most important role in building these relationships, among them the shape of the main character’s figure.The text can be treated as a contribution to reflection on the genre distinctiveness of the anti-war film.
Reading Plutarch of Chaeronea: A Cinematic Portrait of the Youth of Alexander the Great as Envisaged by Robert Rossen and Oliver Stone This article is a study of the dynamics of interaction between historiography and “historiophoty” i.e. between a historical source – Plutarch’s Life of Alexander – and two epic films: R. Rossen’s Alexander Th e Great (1956) and O. Stone’s Alexander (2004). The authors of this study were interested in the cinematographic treatment of the legends, and so-called “historical truths” surrounding the birth, childhood, and early youth (boyhood or teenage years) of Alexander.
Since the Internet is currently a vital medium of exchanging information and opinion about the past for young people, it can be said that the web significantly develops collective memory. The article presents characteristic forms and threads of the Internet communication concerning the film Miasto 44 (Warsaw 44) (2014) directed by Jan Komasa. Miasto 44 is one of the greatest Polish film productions of recent years and the film is mainly addressed at younger audience, which is potentially a new point of reference for them to commemorate the Warsaw Uprising. The article focuses on a general presentation of the Internet users’ activity connected with the film and attempts to describe in detail the demography of those interested in the film while carrying out a more profound analysis of the websites devoted to this production on Facebook. The article draws attention to the consequences of typical forms of communication in social media with regard to the shape of collective memory. It compares official and unofficial profiles of the film indicating an essential role of the competence and intentions of websites administrators for the nature of this communication. Moreover, the article quotes the most important and characteristic threads of the Internet communication about Miasto 44.
RU
Сегодня интернет для молодых людей является средством для обмена информацией и для высказывания на тему прошедших событий. На основании әтого можем утверждать, что мировая сеть должным образом формирует общенародную память. Данная статья указывает на характер и формы интернет-коммуникации, касающихся фильма Город 44 (2014), режиссером которого является Ян Комаса. Город 44 – одна из наиболее значимых польских кинопродукций последних лет. Фильм адресован, прежде всего, молодым зрителям и представляет собой новую точку отсчета в воспоминаниях о варшавском восстании. В статье говорится об активности пользователей интернетом, касающейся фильма. Автор пробует определить демографию пользователей, заинтересованных фильмом, и более точно анализирует сайты, посвященные әтой кинопродукции, на Facebook. Автор также обращает внимание на то, как влияют типичные формы общения на сайтах на формирование общенародной памяти. Он сравнивает официальные и неофициальные профили о фильме, указывая на важную роль компетенции и намерений администраторов сайтов в формировании характера информации. В статье указаны самые важные и наиболее характерные черты интернет-коммуникации на тему Город 44.
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