This article aims to define the characteristics of horror vérité. The author raises issues related to the phenomenon of genealogical contexts – such as cinema vérité or mockumentary that have significantly influenced the formal shape of the species discussed. The controversial film Cannibal Holocaust (1979) dir. Ruggero Deodato, which is considered a pioneering image relative to the horror vérité is discussed in this article. It is one of the first examples in which blurring the boundary between fiction and reality by an extremely reliable styled on the documentaries. The use of 16 mm tape or simulated found footage became an extremely effective method to stimulate the viewer bored with conventional, petrified determinants of the horror genre. This paved the way for other films, and the turning point was amazing blockbuster The Blair Witch Project (1999) dir. D. Myrick, E. Sanchez. The story of the witch of Blair was executed in an almost ascetic manner according to the principle “less is more”. This film has cemented the characteristics of the documental horror set of tricks: shaky camera, natural lighting, unprofessional acting, reflexivity and specific marketing strategies that activate the viewer using a variety of metatexts (casus Sundance and web site). Series such as Paranormal Activity or [REC] show that through balancing on the edge of fictional and factual order, the recipient accustomed to exaggerated gore, is able to refer again to the basic determinant of horror – fear. Paradocumentalism’s immersion can be achieved with varying degrees of intensity and it is up to the viewer to decide whether he will step up to the plate.
Przedmiotem prezentowanej w tekście analizy jest film „Bitwa o Algier” („La battaglia di Algeri”, 1966) Gilla Pontecorva – rozważany w perspektywie postkolonialnej. Wychodząc od kontekstu historycznego, okoliczności powstania i pracy nad scenariuszem, autor próbuje pokazać, w jaki sposób włoski reżyser zamierzał stworzyć nie tylko utwór zaangażowany politycznie, obrazujący upadek kolonializmu i powstanie państwa algierskiego, ale także dzieło ponadczasowe, uchodzące za wzór współczesnego dramatu rewolucyjnego, łączącego poetykę paradokumentalną, podporządkowaną „dyktaturze prawdy”, z pełną napięcia fabułą oraz przemyślaną kompozycją narracyjną i wizualną. Na poziomie ideologicznym Loska zwraca uwagę na nawiązania do pism Frantza Fanona, zwłaszcza do jego koncepcji przemocy kolonialnej wyłożonej w „Wyklętym ludzie ziemi”. W końcowych fragmentach tekstu autor przechodzi do problemu recepcji filmu i sporów toczonych przez krytyków francuskich, w większości niechętnych wizji wojny o niepodległość przedstawionej przez reżysera.
EN
The article presents an analysis of Gillo Pontecorvo’s film “The Battle of Algiers” (“La battaglia di Algeri” /1966/) written from the post-colonial perspective. Starting from the historical context and circumstances of the creation of the script, the author aims to show the manner in which the Italian director wanted to make a film politically engaged, presenting the fall of colonialism and the creation of the Algerian state, but also a timeless masterpiece, widely regarded as the model of a modern revolutionary drama, combining the poetics of a quasi-documentary, subordinated to the “dictatorship of the truth”, with a tense storyline, and a thoughtfully composed narrative and visual dimension. On an ideological level Loska draws attention to the references to the writings of Frantz Fanon, in particular to his idea of colonial violence presented in “The Wretched of the Earth”. In the final parts of the text the author turns to the problem of the reception of the film and the debate between French film critics, who in their majority were opposed to the vision of the war for independence presented by the director.
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