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Ukryte, jawne, zaszyfrowane…Retrospekcje w filmie na tle teorii narracji Mieke Bal. Opowieść a retrospekcja

100%
Jakubowska M.
Kwartalnik Filmowy
|
2022
|
issue 117 Kino nieznane/ukryte
98-122
PL
Autorka bada filmowe retrospekcje jako wieloaspektowe techniki narracyjne na tle narratologii Mieke Bal. Kreśli szeroką ramę dla rozważań nad retrospekcją, co pozwala jej zbudować bazę różnych kontekstów narracyjnych, w jakie można wpisać odsłanianie wspomnień, pamięci i historii. Następnie podejmuje próbę krytycznej analizy teorii Bal, chcąc wskazać sprzeczności czy nieścisłości w jej rozważaniach. Podążając za holenderską badaczką, jako podstawowe założenie przyjmuje jej tezę, że system narracyjny składa się z tekstu, opowieści i fabuły. Autorka koncentruje się na relacji między opowieścią i retrospekcją. Analizuje różne aspekty temporalne opowieści na tle porządkowania sekwencyjnego. Łączy przy tym klasyfikację opartą o koncepcję podziałów zaproponowanych przez Bal z własnymi badaniami. Ponadto uzupełnia aspekty „opowieści o czasie przeszłym” o kilka problemów (np. od retrospekcji do antycypacji, retrospekcja kontra odwrócona chronologia, retrospekcja prosta/złożona, wiarygodna/niewiarygodna).
EN
The author examines film retroversions as multi-faceted narrative devices against the background of Mieke Bal’s narratology. She outlines a broad framework for reflection upon flashbacks, which allows her to build a set of various narrative contexts for discovering recollections, memory and history. She then attempts a critical analysis of Bal’s theory, seeking to point out contradictions or inaccuracies in her considerations. Following the Dutch theorist, the author takes her fundamental statement that the narrative system consists of text, story and fabula as a basic premise. The author focuses on the relationship between story and retroversion. She analyses different temporal aspects of story that characterize returns to the past against the background of sequential ordering. Consequently, she combines a classification based on Bal’s divisions with her own research. Additionally, she complements aspects of “stories about the past times” with some of her suggestions (e.g. from retroversion to anticipation, flashbacks vs. inverted chronology, simple/complex and reliable/unreliable retroversion).
2
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Wędrujące pojęcia w twórczości Zygmunta Baumana

99%
Brzeziński D.
Przegląd Humanistyczny
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2017
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vol. 61(3(458))
79-92
PL
In this article, I use Mieke Bal’ concept of wandering notions to analyse the conceptual apparatus that Zygmunt Bauman used in his works. In the first part of the text, I describe the most important features of his works which have connection with the practice of borrowing for the needs of the sociological discourse of the terms coming from other contexts: transdisciplinarity, connections with literature and art, engaged character. Then, I present the examples of the concepts of illustrative, propagation and foundation character which appear in his analyses. In the conclusion, I highlight the significance of categories redefined by him for social sciences and humanities development.
3
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Film jako instalacja. Przestrzeń, narracja i afekt w ekspozycji Mieke Bal „Madame B".

98%
Rejniak-Majewska A.
Artium Quaestiones
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2020
|
issue 1
39-66
EN
The article discusses the construction of space and the position of the viewer in the video installation Madame B. Explorations in Emotional Capitalism, presented at the turn of 2013 at the Museum of Art in Łódź. Directed and designed by Mieke Bal and Michelle Williams Gamaker, the installation was produced in parallel with a full feature film of the same title. Both the installation and the film constitute an intersemiotic translation of a literary work – Gustave Flaubert’sMadame Bovary. Part of the inspiration for this experiment was the proto-cinematic quality of Flaubert’s style (narrative simultaneity resembling parallel editing, the suppression of drama, dissolution of the time-flow). The museum installation, with its use of dark exhibition space and multiscreen projection, provided an innovative interpretation of the novel by bringing to the fore its acute audio-visuality: the non-verbal level of meaning found in the presentation of material surroundings, fashion, gesture, facial expressions, sound, tone, and tempo of action. In this respect, the exhibition had an advantage over the continuous version of the feature film, which tends to focus the viewer’s attention more directly on the plot. In the case of the museum installation, the narrative continuity was disregarded in favor of the affective resonance of selected scenes from Emma’s life. Walking through a series of episodes split across nineteen screens, the viewer had to choose his or her own way through a complex narrative (the whole comprised 450 min. of filmic material), so in a sense it was the viewer who “performed the piece”. The narrative of Madame B. partly diverged from Flaubert’s story to bring it closer to our times. The anachronistic intermingling of the 19th century and contemporary realities set it away from the conventions of costume movies and suggested the actuality of Emma’s story – its relevance for contemporary questions of “emotional capitalism”. These anachronisms and the spatialization of the narrative occasioned a specific position for the viewer, who, despite the immersive effect of the images, remained conscious of his or her participatory presence here and now. Thus, while attending to the scenes of Emma’s life, the viewer might also reflect on the emotional effects they raised in him/herself. This analytic outlook did not necessarily inhibit the viewer’s sympathetic engagement with the protagonists’ emotions and experiences, but gave it a more informed character. The spatial arrangement of images, as well as the situations performed in several episodes, also invited reflections on the social function of looking and being seen. In this sense, the installation may be counted as a part of Mieke Bal’s practice of visual culture analysis.
4
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Ruch: kinowość w malarstwie i literaturze

86%
Bal M., Lipiński F.
Artium Quaestiones
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2020
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issue 1
277-311
EN
Translation of Mieke Bal's chapter into Polish 
5
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Wędrująca idea tolerancji

85%
Burszta W.
Slavia Meridionalis
|
2014
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vol. 14
EN
The travelling idea of toleranceAs an idea, “tolerance” belongs to a category of notions that can be seen as a subjective phenomenon in the sense that the underlying semantics of its assumptions are greatly varied and variable. Tolerance is a travelling idea exactly because of this primary reason, for which the practice of verbalising tolerance influences the way it is being understood. Tolerance always forms a relation with a wide palette of similar notions, which decide on its particular semantic understanding. These include for example the notions of universality, relativity and cosmopolitism. Against this background, the difference between tolerance in theory (subjective) and tolerance in practice (objective, pragmatic) also becomes evident.The paper presents several important episodes from the specific journey of tolerance-as-an-idea in the history of European culture – beginning with the Ottoman Empire and ending with modern disputes on the status of tolerance in liberal democracies. Wędrująca idea tolerancjiTolerancja należy do tych idei, które można traktować jako zjawisko podmiotowe w tym sensie, że semantyka założeń, leżąca u podstaw jego rozumienia, jest bardzo zróżnicowana i zmienna. Tolerancja jest ideą podróżującą w czasie i przestrzeni właśnie z tego podstawo­wego powodu, że sposób jej werbalizacji decyduje każdorazowo o sposobie, w jaki rozumie się to pojęcie. Tolerancja zawsze wchodzi w związki z całą paletą pokrewnych pojęć, w ramach których tworzy się konkretna semantyka tej idei. To m.in. pojęcia uniwersalności, relatyw­ności i kosmopolityzmu. Na tym tle dobrze widać także różnicę między tolerancją w sensie teoretycznym (podmiotową) a tolerancją praktyczną (przedmiotową, pragmatyczną).Artykuł przedstawia kilka najważniejszych epizodów wędrówki tolerancji-jako-idei w historii kultury europejskiej – począwszy od Imperium Osmańskiego, a skończywszy na dzisiejszych sporach o status tolerancji w demokracjach liberalnych.
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Fokalizacja taktylna w filmie. Uwagi wstępne na przykładzie Wstrętu Romana Polańskiego

80%
Birkholc R.
Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica
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2022
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vol. 10
250-266
EN
The article is devoted to the issue of representing the tactile experiences of characters in films. Although the category of tactility is very popular among contemporary film scholars, it has not yet been the subject of extensive research in the field of structural poetics. The author examines the issue referring to the narratological concept of Mieke Bal and the category of focalization. Birkholc distinguishes the basic types of representing tactile experiences in films, which can be depicted both within the objective and subjective mode of narration. The author tries to prove the functionality of the category of tactile focalization, which allows to focus on issues which were marginalized by classic narratology.
PL
Artykuł poświęcony jest reprezentacjom taktylnych doświadczeń bohaterów w filmie. Choć zagadnienie taktylności cieszy się dużą popularnością wśród współczesnych filmoznawców, to jednak nie było dotychczas przedmiotem szerokich badań z zakresu poetyki strukturalnej. Autor ujmuje zagadnienie, odwołując się do koncepcji narratologicznej Mieke Bal oraz zaproponowanej przez badaczkę kategorii fokalizacji. Badacz wyróżnia podstawowe sposoby oddawania doświadczeń taktylnych w filmie, które mogą być przedstawiane zarówno w ramach narracji zobiektywizowanej, jak i w ramach subiektywizacji. Materiałem analitycznym jest Wstręt Romana Polańskiego, w którym doświadczenia taktylne głównej bohaterki organizują poetykę przekazu. Autor próbuje dowieść funkcjonalności kategorii fokalizacji taktylnej, pozwalającej zogniskować się na zagadnieniach z zakresu poetyki tekstu, które były marginalizowane przez tradycyjną narratologię.
7
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Cinematic Art (History) and Mieke Bal's Thinking in Film

74%
Lipiński F.
Artium Quaestiones
|
2020
|
issue 1
5-37
PL
The article focuses on Mieke Bal’s theoretical considerations of art in terms of film and movement in general. This cinematic frame offers her a conceptual framework for “thinking in film”, a way to rethink not only diverse forms of art, moving and still images, but also, as I argue, methodological models for art history. The text begins with a general outline of the tensions and relations between art history and film/film studies, with a discussion of several cases of the theoretical application of film in the field of art history. Bal’s case, the main subject of the article, is perhaps the most consistent and theoretically advanced attempt at reconceptualizing diverse aspects of art in interdisciplinary, cinematic terms within a larger phenomenon which might called a theoretical dimension of the “cinematic turn”. While I acknowledge the importance and complementary nature of Bal’s artistic practice as a video artist with her theoretical work, due to the limited space of this article, the focus of my text is on her writing. I closely trace and discuss a variety of Bal’s texts, predominantly written over the last 20 years, in which she theorizes and analyzes works in which movement is either explicit, such as video or video installation or implicit, such as painting. In her crucial, relevant books, Thinking in Film. The Politics of Video Installation According to Eija-Liisa Athila (2013) or Emma&Edvard Looking Sideways: Loneliness and the Cinematic, Bal, referring to a number of scholars and thinkers, but most prominently and consistently to Henri Bergson, points to four kinds of movement: literal or represented movement of/in the image, movement related to perception, affective movement and, finally, its political dimension, all of which are discussed in this article. Video installation is an art form which for Bal becomes the best concretization (a contact space) of all of the above aspects of movement, activating “thinking in film”. This involves new reformulations of spatial and temporal dimensions of art, with such concepts as heterochrony and timespace. Moreover, with reference to video art, Bal coined the notion of  “migratory aesthetics”, where migration not only literally concerns migrants and immigration but offers a platform to reflect on and renegotiate the issues of movement, stagnation, the everyday and their political dimensions. Last but not least, film, according to Bal, also offers a useful framework for analyzing the experience of art exhibitions. In discussing Bal’s work, I argue that her  “cinematic”, conceptual travels in art offer a radical opening of a number of art historical categories and procedures, and I propose to regard her project of  “thinking in film” as indicative of a larger changes across disciplines already visible in her earlier work in the 1990s, which involve the productive redefinition of historical and temporal experience, mobilization of perception and the body, relational mode of thinking and vision, affective dimension of experiencing art and the acknowledgment of agency both on the part of the viewer and the artwork.
8
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Poświęcić niepewność – prolegomena do badań nad kinem postsekularnym

57%
Piskorska A. M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2021
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vol. 30
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issue 39
47-66
EN
This article undertakes the issue of defining film phenomena which put forward questions of a primary religious nature (about the meaning of life, source of evil, life after death, the existence of Absolute, etc.) in a way that is independent from major religious traditions. The author posits that describing this phenomenon in the case of European film culture is done best by employing the philosophical thought of postsecularism. Utilizing Mieke Bal’s method of cultural analysis, the author takes as an example the term “sacrifice” to point to the existence of different models by which religious topics are undertaken by the cinema. This leads to a preliminary typology of the phenomenon which differentiates between ‘apologetic’ and ‘critical’ films and, furthermore, between films that refer to particular religious traditions and those expressing a postsecular perspective.
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