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1

Pali się, moja panno

100%

Kurz I.

Kwartalnik Filmowy

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2022

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issue 120 Kultura filmowa

239-245

PL

Historia wynalazku kinematograficznego ściśle wiąże się z historią straży pożarnej. Instytucja ta dawała miejsce na pokazy filmowe, ale też była często tematem kina. Zainteresowanie strażą z jednej strony wynikało z jej roli w społeczeństwie nowoczesnym, z drugiej wiązało się z uniwersalnym ludzkim mitem o podboju żywiołów. Punktem wyjścia do namysłu nad wyobraźnią ogniskującą się wokół pożaru jako tematu filmowego jest film Kinema (1999) Stanisława Różewicza, będący nostalgiczną wycieczką do Radomska, miasta dzieciństwa i młodości reżysera, i do ówczesnych doświadczeń kinowych. (Materiał nierecenzowany).

EN

The history of the cinematographic invention is closely related to the history of firefighting. The institution of the fire brigade provided a space for film screenings, but it was also a common subject of cinema. The interest of the fire brigade, on the one hand, resulted from their role in modern society; on the other hand, it related to the universal human myth about the conquest of the elements. The starting point for reflection on the imaginary focusing on fire as a film theme is the film Kinema (1999) by Stanisław Różewicz, which is a nostalgic trip to Radomsko, the city of the director’s childhood and youth, and his first cinema experiences. (Non-reviewed material).

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Jerzy Wójcik – estetyka światła

85%

Kozłowski K.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2014

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vol. 14

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issue 23

249-258

EN

The article shows the creative way of Jerzy Wójcik, from his first artistic trials to the beginning of his career as a cameraman with Andrzej Munk, Andrzej Wajda and Jerzy Kawalerowicz, to his late films made together with Stanisław Różewicz. Particularly significant are the “changes of light”, the key to understanding the art of Wójcik’s films. They are examined one by one in reference to such issues as the depth system, the aesthetics of black-and-white and grey, the art of the icon and the blue hour.

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„Ci, co pomarli, widzą nas, widzą nasze grzechy i nasze cierpienia”, czyli o Głosie z tamtego świata Stanisława Różewicza

71%

Śmiałowski P.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2017

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vol. 20

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issue 29

161-177

EN

Stanisław Różewicz’s The voice from the other world is one of these masterpieces od polish cinematography, which draws inspiration from the authentic case: two fraudsters impersonate a doctor and quack medium. But at the same time Różewicz’s movie has become an artistic event showing the drama of frauders’ victims – people struggling with pain, loneliness and lack of hope. Formation of concept of The voice from the other world and the analysis of its following realization’s stages are the attempt to describe the essence of Stanisław Różewicz’s unique style and his sensitivity as a director.

PL

‘Those who have died see us, see our sins and our suffering’: The voice from the other world of Stanisław Różewicz Stanisław Różewicz’s The voice from the other world is one of these masterpieces od polish cinematography, which draws inspiration from the authentic case: two fraudsters impersonate a doctor and quack medium. But at the same time Różewicz’s movie has become an artistic event showing the drama of frauders’ victims – people struggling with pain, loneliness and lack of hope. Formation of concept of The voice from the other world and the analysis of its following realization’s stages are the attempt to describe the essence of Stanisław Różewicz’s unique style and his sensitivity as a director.

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2 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Kwartalnik Filmowy

1 Kozłowski K.

1 Kurz I.

1 Śmiałowski P.

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1 2017

1 2014

Pali się, moja panno

Jerzy Wójcik – estetyka światła

„Ci, co pomarli, widzą nas, widzą nasze grzechy i nasze cierpienia”, czyli o Głosie z tamtego świata Stanisława Różewicza