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Aleksander Scibor-Rylski w tandemach: z Kawalerowiczem, Kutzem i Hofmanem

100%
Śmiałowski P.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2019
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vol. 26
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issue 35
5-33
EN
Aleksander Ścibor-Rylski was one of the greatest Polish scriptwriters, who in addition to numerous films based on his texts, left behind a trove of abandoned scripts. This article introduces Ścibor-Rylski as a highly versatile author, as exemplified by three scripts he wrote: Wczasy pod lipą [Lime Tree Holiday], Zaułek św. Sebastiana [Saint Sebastian Alley] and Stara baśń [An Ancient Tale]. Each of these scripts was written in a different convention and each was ordered by a different director, hence the title of this article – Aleksander Ścibor-Rylski in tandem with Kawalerowicz, Kutz and Hoffman. Apart from an analysis of the three scripts, the article describes the way they evolved, Ścibor-Rylski’s favourite stylistic clues and the reasons they remained unfinished.
2
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Adaptační studia dnes a zítra

96%
Leitch T., Fonioková Z.
Česká literatura (Czech Literature)
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2013
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vol. 61
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issue 2
255-264
EN
This article briefly summarizes previous approaches associated with ideas on adaptation, it describes the contemporary situation in this field and it considers possible forthcoming trends. The author takes his reference point to be debates over his study Twelve Fallacies in Contemporary Adaptation Theory; Criticism XLV, No. 2, 2003, and the publication of Adaptation and Journal of Adaptation in Film and Performance. These are associated with a dominant new doctrine of adaptation studies, which adopts a critical stance towards representation options. The author proposes to enhance this negatively defined doctrine both with input from disciplines which are allied and those which are more remote, from intermedia studies to biology and politology, as well as with knowledge from screenwriters’ creative practice regarding how to produce adaptations.
CS
Článek ve zkratce shrnuje dosavadní postupy spojené s myšlením o adaptaci, popisuje současnou situaci této oblasti a zamýšlí se nad jejím dalším možným směřováním. Jako referenční bod autor využívá debaty nad svou studie „Dvanáct omylů v současné teorii adaptace“ („Twelve Fallacies in Contemporary Adaptation Theory“; Criticism XLV, č. 2, 2003) a vznik periodik Journal of Adaptation in Film and Performance a Adaptation. Ty jsou spojeny s novou převládající doktrínou studia adaptace, která se k možnostem reprezentace staví kriticky. Autor tuto negativně vymezenou doktrínu navrhuje obohatit jak o podněty spřízněných i vzdálenějších disciplín, od intermediálních studií po biologii a politologii, tak o znalosti produkce adaptací z tvůrčí praxe filmových scenáristů.
3

Female Researchers in Neo-Victorian Fiction

96%
Lai-Ming T. H.
American, British and Canadian Studies Journal
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2016
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vol. 26
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issue 1
72-86
EN
Neo-Victorian novelists sometimes use postgraduate students – trainee academics – who research nineteenth-century writers as protagonists. This article discusses four neo-Victorian novels, Lloyd Jones’s Mister Pip (2006), Justine Picardie’s Daphne (2008), A.N. Wilson’s A Jealous Ghost (2005) and Scarlett Thomas’s The End of Mr Y (2006), in which female postgraduate students take the centre stage. In Victorian literature, which mirrors the gender bias in the academic world and in society at large at that time, most scholars are male. The contemporary writers’ choice of female trainee academics is worth investigating as it speaks to the visibly changed gender make-up of contemporary academia. However, this utopian situation is complicated by the fact that the writers have chosen to frustrate the characters’ entry into the world of scholarship by having them leave the university environment altogether before the end of the novel. The fact that these females all choose to depart the university forms a contrast with notions of the university found in Victorian novels, in which leaving or not attending university might have detrimental effects on the characters.
4
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BRITISH HERITAGE FILMS IN THE 1980S AND 1990S

77%
Weseliński A.
Zeszyty Naukowe Uczelni Vistula
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2019
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issue 65(2) Filologia
5-15
EN
The paper explores British heritage films produced over the last two decades of the 20th century in the context of profound cultural and social changes. The international success of heritage films sparked off lively debates about what the term „heritage” stands for. The first part of the paper provides a brief account of the fundamental issues and concepts of the British heritage cinema. The latter part traces the growth and development of the „quality” heritage film which in the l990s evolved into a marketable commodity that can be sold to international audiences.
PL
Filmy nurtu dziedzictwa kulturowego zrealizowane w ostatnich dekadach XX wieku spotkały się z żywym zainteresowaniem krytyki filmowej i literackiej. Pierwsza część artykułu przedstawia główne wątki refleksji filmoznawczej i literaturoznawczej na temat tego zjawiska w kontekście głębokich przemian społecznych i kulturowych na Wyspach Brytyjskich. W części drugiej omówione zostały kolejne fazy rozwojowe i proces międzynarodowej ekspansji tego nurtu. W późniejszej fazie, szczególnie w latach 90.tych, „brytyjskie” z nazwy filmy dziedzictwa kulturowego stały się ważnym segmentem międzynarodowego przemysłu filmowego.
5
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Vedlejší postavy, vedlejší motivy : k filmovým adaptacím dvou románů Jana Otčenáška

77%
Mareš P.
Česká literatura (Czech Literature)
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2013
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vol. 61
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issue 2
218-239
EN
This submission deals with adaptation as an intertextual and communicational phenomenon. The introductory section of the study presents an outline of relations between adaptations, pre‑texts and communication subjects. Adaptation comes across as a transposition and representation of the pre‑text, or sometimes as its substitute or an independent creation. The analytical section of this study focuses on one of the specific types of adaptation, i.e. transpositions of a pre‑text that make use of its secondary characters, motifs and plotlines (described in working terms as peripheral adaptations). The analysis focuses on films made of two novels by Jan Otčenášek. Relations are shown between the novel Občan Brych (Citizen Brych — 1955) and its two adaptations, a film of the same name based on the novel as a whole (1958), and a film entitled Jarní povětří (Spring Breeze — 1961), which only selects some motifs from the novel and sets them in a new structure. An examination follows of the film Svatba bez prstýnku (Wedding without Rings — 1972), which is based on one of the many plotlines in the novel Kulhavý Orfeus (Limping Orpheus — 1964). The form of these adaptations turns out to have been substantially influenced by their cultural and political contexts; the films include ideological messages reflecting the times in which they appeared.
CS
Příspěvek pojednává o adaptaci jako intertextovém a komunikačním fenoménu. Úvodní část studie podává náčrt vztahů mezi adaptací, pretextem a subjekty komunikace. Adaptace vystupuje jako transpozice a reprezentace pretextu, někdy ale také jako jeho substituce či jako samostatná kreace. Analytická část studie se zaměřuje na jeden ze specifických typů adaptace, a to na takové transpozice pretextu, které využívají jeho vedlejší postavy, motivy a dějové linie (pracovně jsou označeny jako periferické adaptace). Předmětem analýzy jsou filmy natočené na základě dvou románů Jana Otčenáška. Jsou sledovány relace mezi románem Občan Brych (1955) a jeho dvěma adaptacemi, stejnojmenným filmem, který se opírá o román jako celek (1958), a filmem Jarní povětří (1961), jenž vybírá jen některé motivy románu a zasazuje je do nové struktury. Poté je probírán film Svatba bez prstýnku (1972), jehož východiskem je jedna z mnoha dějových linií románu Kulhavý Orfeus (1964). Ukazuje se, že podoba adaptací byla podstatně ovlivněna kulturními a politickými kontexty; filmy zahrnují ideologické poselství odpovídající době jejich vzniku.
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