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1

Nowa fala po pół wieku

100%

Lubelski T.

Kwartalnik Filmowy

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2014

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issue 85

40-50

PL

W piętnaście lat po napisaniu swojej monografii francuskiej Nowej Fali, autor – powracając do tego zjawiska – omawia najważniejsze spośród jego nowych opracowań, jakie powstały w międzyczasie na świecie, od angielskiej książki krytycznofilmowej Geoffreya Nowella-Smitha „Making Waves” (2008) po doktoraty i habilitacje napisane we Francji i w Niemczech. Efekt tego rekonesansu badawczego zostaje przedstawiony w trzech podrozdziałach zgodnych z ujęciami metodologicznymi poszczególnych opracowań: „Nowa Fala jako prekursorka światowego przełomu”; „Nowa Fala jako reprezentacja francuskości”; „Do utraty tchu” wobec epoki, płci kulturowej, przymusów pola, egzystencjalizmu”.

EN

Fifteen years after writing the monograph on the French New Wave, the author returns to the phenomenon, and presents the most important up to date work on the topic published worldwide sincethen. He presents Geoffrey Nowell-Smith’s “Making waves” (2008), and PhD and habilitation theses written in France and Germany. The result of this preliminary research is presented in three subsections: “New Wave as a precursor of the global breakthrough”; “New Wave as a representation of Frenchness”; “’Breathless’ in relation to the period, gender, compulsion fields and existentialism”.

2

Europeanness – A Nostalgic Object of Scrutiny at the Time of Pandemic

51%

Falkowska J.

Polonia Journal

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2021

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issue 14

13-31

EN

The idea of Europeanness and European identity rather than the national identity gains in relevance in view of the symbolic reorganization of the geographic spaces. Moreover, the national identity issues have somewhat lost importance in view of the global hazard of the COVID pandemic. The purpose of this paper is to debate the concept of Europeanness and to express an ambivalent position on this notion. Taking into consideration the most recent accomplishments of cultural theory I would like to demonstrate that the so-called European identity is a nostalgic object recalled to reminisce about the time when globalization and global threats did not exist at the scale comparable to the present. Or, the knowledge about them was patchy due to the undeveloped internet communication. Taking into consideration the explanations of Arjun Appadurai and Svetlana Boym, I will deconstruct the notion of Europeanness in view of a broad idea of nostalgia which according to Boym interprets the past as illusory and non-existent.

3

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

51%

Kwiatkowska P.

Władza sądzenia

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2018

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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

Wizualna filozofia. Doświadczenie liminalne w „Szalonym Piotrusiu” Godarda

41%

Radomski M.

Społeczeństwo. Edukacja. Język

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2017

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vol. 2(6)

99-107

PL

„Szalonemu Piotrusiowi” Jeana-Luca Godarda warto się przyjrzeć, odwołując się do terminu liminalności, stosowanego przez Victora Turnera. Film zrealizowany został w 1965 roku, a zatem wpisuje się w nurt Francuskiej Nowej Fali. Najistotniejsza w konstrukcji dzieł kina francuskiego tego okresu była nowatorska forma. Charakteryzuje ją odmienny styl kadrowania, sposób montażu, używanie trzęsącej się kamery „z ręki” czy rezygnacja ze sztucznego oświetlenia na rzecz naturalnego. Artykuł analizuje film Godarda odwołując się do antropologicznych teorii rytuałów przejścia w kulturze.

EN

„Pierrot the madman” Jeana-Luca Godarda is worth looking at referring to the limitation term used by Victor Turner. „Pierrot the madman” was made in 1965 and therefore belongs to the trend of the French New Wave. The most important issue of French cinema was the innovative form - different style of framing (not focusing on the beauty of the place but on its real appearance), the way of assembly (breaking the continuity on the axis of movement), using a shaking camera from the hand or abandoning artificial lighting to the natural. The article analyzes Godard’s film by referring to the rite of passage in culture.

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1 Kwartalnik Filmowy

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1 Lubelski T.

1 Radomski M.

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Nowa fala po pół wieku

Europeanness – A Nostalgic Object of Scrutiny at the Time of Pandemic

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

Wizualna filozofia. Doświadczenie liminalne w „Szalonym Piotrusiu” Godarda