Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 4

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

Rytmy somatograficzne - Lucyna Winnicka w filmach Jerzego Kawalerowicza

100%
Kwiatkowska P.
Kwartalnik Filmowy
|
2013
|
issue 83-84
80-98
PL
Podążając za Pierre’em Brossardem, ale także Romanem Ingardenem i jego koncepcją warstwowej budowy dzieła filmowego oraz Walterem Benjaminem problematyzującym status aktora filmowego, autorka sięga po zaproponowane w swojej wcześniejszej książce pojęcie somatografii, które może ułatwić analizę filmu zorientowaną na kwestię obecności ciała aktora w obrazie filmowym. Analiza postaci kreowanych przez Lucynę Winnicką w trzech filmach Jerzego Kawalerowicza ("Pociąg", "Matka Joanna od Aniołów" i "Gra") pozwala wskazać na dominujące w nich rytmy somatograficzne, które są determinowane przez bardzo różne zabiegi: sposób filmowania, decyzje formalne, techniczne i estetyczne, ekspresję aktora w przestrzeni filmowej i w przestrzeni kadru, interakcje między aktorami oraz między aktorem a kamerą. Ostatecznie celem jest refleksja nad modernistycznym statusem ciała w obrazie filmowym, które nie może być dłużej traktowane ani jako podstawowa obsesja kina, ani jako to, co kino musi przekroczyć czy porzucić, by odkryć myśl.
EN
Following Pierre Brossard, Roman Ingarden and his idea of layered film structure as well as Walter Benjamin’s discussion on the status of a film actor, the author reaches for a concept of somatography formulated in her earlier book, which might help to carry out a film analysis focused on the presence of the actor’s body in film. The analysis of the characters created by Lucyna Winnicka in Jerzy Kawalerowicz’ three films ("The Train", "Mother Joan of the Angels", "The Game") allows one to identify the dominant somatographic rhythms that are determined by various methods: the manner of filming, formal, technical, aesthetic decisions, actor’s expression in the film and the frame, the interactions between actors and between the actor and the camera. Ultimately the goal is a reflection upon modernist status of the body in a movie, which body can no longer be treated as a basic obsession of the cinema, nor as something that film has to cross or abandon in order to discover thought.
2

The Structures of Memory. The images of space-time in Andrzej Munk’s film "Passenger"

100%
Kwiatkowska P.
Kwartalnik Filmowy
|
2013
|
issue Special Issue - Polish Film Scholars on Polish Cinema
6-30
EN
"Passenger" was the last and uncompleted film by Andrzej Munk who died tragically in 1961. The film was finished by Munk’s friends and collaborators on the basis of the footage left by the director. It is known that Munk was not fully satisfied with all the material and planned to introduce some changes. The film combines in an unusual way two forms of "records of memory" – photography and film. In a very interesting argument Kwiatkowska juxtaposes and interprets various spaces of remembrance that can be found in the movie.
3
Publication available in full text mode
Content available

Agnès Varda amidst Images Sensuous Theory and Strategies of Resistance in Feminist Cinema

100%
Kwiatkowska P.
Władza sądzenia
|
2018
|
issue 14
56-72
EN
Sensuous theory has enriched the way in which we now analyze the multisensory film image as well as the embodied experience of the film viewer. Questions about the corporeality and sensuousness of the director, however, are addressed much less frequently from this perspective. Yet it is precisely this aspect that strikes me as particularly interesting, as it allows us to revisit the issue of the creative strategies employed by women in the cinema, and to pose questions about the meaning and status of the sensuous involvement of the female director in the production of her film. Does her corporeality, her physiological and sensory experience affect how the character are created, how the world is depicted, or, more significantly, the very matter of the film image? Can this involvement also become a conscious tactic of resistance against the dominant narrative and visual structures of “male cinema”? Taking these questions as my point of departure, I focus on the film of Agnès Varda The Beaches of Agnès (Les plages d’Agnès, 2008), which may be regarded as a statement that is just as personal and self-referential as it is possible to universalize. Varda uses the film as a way to examine her own life and art in the context of the history of cinema in the latter half of the 20th century, paying particular attention to the French New Wave, auteur cinema, independent film, and politically and socially engaged cinema. In The Beaches of Agnès Varda reiterates questions about her own status as a female director, accentuating the corporeal, sensuous, and affective connections with the film image, filmed objects, people, and places, the film crew, and, ultimately, the cinema as such.
4

Lewy Brzeg Nowej Fali czy Grupa z Lewego Brzegu?

100%
Kwiatkowska P.
Kwartalnik Filmowy
|
2015
|
issue 89-90 Redefinicje klasyki
70-81
PL
Artykuł jest poświęcony tzw. Grupie z Lewego Brzegu, czyli środowisku twórców kina francuskiego lat 50. i 60., których działalność rozpatruje się zwykle w szerszym kontekście Nowej Fali. Historycy filmu, od początku lat 60. po dziś, toczą spór nie tylko o status i charakter tego zjawiska, ale wręcz o samą zasadność jego wyodrębniania. Autorka przywołuje w artykule najważniejsze stanowiska historyków i krytyków filmu odnoszące się do Grupy z Lewego Brzegu, by ostatecznie wskazać dwie zarysowujące się strategie uprawiania historii kina: inkluzywną (dążącą do włączenia analizowanego zjawiska w kontekst Nowej Fali) oraz ekskluzywną (dowodzącą odrębności Grupy z Lewego Brzegu zarówno w wymiarze problemowym, jak i estetycznym). W praktyce filmoznawczej te dwie skrajne strategie rzadko jednak występują w stanie czystym, wyznaczają raczej pewną dynamikę badań historycznofilmowych – warto zatem zapytać o inne możliwe strategie pozwalające krytycznie redefiniować kanon kina.
EN
The article is devoted to the analysis of the Left Bank Group, a contingent of French filmmakers of the 1950s and 1960s, whose work is usually considered in the wider context of the New Wave. Film historians from the 1960s to the present date are in dispute as to the status and character of this phenomenon, and the justifiability of granting it an identity of its own. The author refers to the most important stances of film historians and critics dealing with the Left Bank Group and identifies two broad strategies of practising film history: an inclusive one (aiming to include the analysed phenomenon into the New Wave) and the exclusive one (which argues for a completely separate identity of the Left Bank Group both in the aesthetic and problem areas). In film studies practice these two strategies rarely appear in pure form, rather they determine a certain direction for film history research – therefore it is worth considering whether other strategies are possible that would help to critically redefine the canon of cinema.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.