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Reżyserskie szlify. Władysław Ślesicki w Szkole Filmowej (1950-1955)

100%
Pławuszewski P.
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
282-290
EN
Movie Director Exercise. Władysław Ślesicki and a Film School (1950–1955) The article discusses Władysław Ślesicki’s studies at the Lodz Film School (1950–1955). The years he spent at Film Directing Department were fruitful not only because of a few worth-while writings, but also due to some of his first directing experiences. Ślesicki was an assistant on the set of Kazimierz Karabasz’s school films, but he also directed his own (debut) short movies (the short feature Kawaler Kubiak; the short documentary Jedzie tabor). The claim is also made that these early works foreshadow his unique cinematic style, which Władysław Ślesicki developed especially within the documentary genre and which gave him a lasting place in the history of Polish cinema.
2
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Inscenizacje intermedialności w filmie "Tlen" Iwana Wyrypajewa

100%
Skowronek B., Paździo J.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2013
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issue 5
128-135
EN
Intermediality of the cinema has been discussed many times, and what is especially indicated is a specific “imprint” that was left on film by the theatre. Similarities between a movie and a performance are described well by the mise-en-scene category (placing on the stage). By replacing the analogue picture with the digital one, the mise-en-page category becomes more familiar to today’s mechanisms of creating film. Intermediality of modern film should be seen as a peculiar realization of common points of arts and media. In Ivan Vyrypaev’s Oxygen, functioning of these intermedialities is based on mutual circulations of different means of expression, both theatrical and cinematographical. Vyrypaev based his film’s construction on a convention of recording a CD, consistently using poetics of a postmodern videoclip.
3
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Film o sprawie Dreyfusa

80%
Jazdon M.
Polonistyka. Innowacje
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2021
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issue 13
91-108
EN
The author analyzes Roman Polański's J’accuse (2019), a film about the Dreyfus affair, carefully examining selected movie scenes and sequences, showing how the director presents and exposes the topic of anti-Semitism, its roots in the military elite and part of the French society at the end of the 19th century. The case of the false accusation and conviction of an innocent officer of Jewish origin was shown in the film as a ominous foreshadowing of the coming century marked by the hecatomb of the Holocaust and earlier by the slaughter of millions of human lives on the fronts of The Great War. Polański's film alludes to both of these historical events. In the article, the author indicates references to other films in Polański's movie, not only those dealing with the Dreyfus affair and the famous article by Emil Zola, entitled J'accuse.
PL
Autor analizuje w swym artykule film Romana Polańskiego Oficer i szpieg, film o sprawie Dreyfusa, przyglądając się uważnie wybranym scenom i sekwencjom, pokazując, w jaki sposób reżyser przedstawia i eksponuje temat antysemityzmu, jego zakorzenienie w elitach wojskowych i części społeczeństwa Francji końca XIX wieku. Sprawa fałszywego oskarżenia i skazania niewinnego oficera żydowskiego pochodzenia została pokazana w filmie jako złowróżbna zapowiedź nadchodzącego stulecia naznaczonego hekatombą Holokaustu, a wcześniej rzezią milionów ludzkich istnień na frontach I wojny światowej. W filmie Polańskiego pojawiają się aluzje do obu tych wydarzeń z historii. Autor wskazuje w artykule na obecne w dziele Polańskiego odniesienia do innych dzieł filmowych, nie tylko tych podejmujących temat sprawy Dreyfusa i słynnego artykułu Emila Zoli J’accuse.
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