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Zniewala czy wyzwala? „Dzieje grzechu” Waleriana Borowczyka jako film polityczny

100%

Jagielski S.

Kwartalnik Filmowy

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2021

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issue 115 Film formy, film treści

163-176

PL

W Dziejach grzechu (1975) Waleriana Borowczyka za sprawą wizualizacji „ekspresji opresji” i „opresji ekspresji” zostaje ukazana opresja systemów: katolickiego, narodowego (mieszczańskiego) i patriarchalnego. Autor, idąc za refleksją Eleny del Río, próbuje podważyć tezy tych badaczy, którzy w filmie Borowczyka widzieli wyłącznie widowisko uprzedmiotowionego kobiecego ciała. Argumentuje, że choć spektakl hamuje narrację, nie blokuje ekspresji ciała. Przeciwnie, rozluźniając struktury narracji filmowej, uwalnia jego siłę. Ruchliwość ciała bohaterki filmu, Ewy Pobratyńskiej, jest tyleż reakcją na opresyjną rzeczywistość (dom, Kościół), ile obietnicą przełamania wzoru życia opartego na przymusowym powtarzaniu. Przyjmując zasugerowane w pismach Michela Foucaulta terminologiczne rozróżnienie na biowładzę i biopolitykę, autor rozpoznaje w Dziejach grzechu potencjał polityczny wymierzony w społeczeństwo dyscyplinarne, ufundowane na nadzorowaniu praktyk cielesnych i seksualnych.

EN

In The Story of Sin (Dzieje grzechu, 1975), Walerian Borowczyk shows the oppression of the Catholic, national (bourgeois), and patriarchal systems through the visualisation of “oppression expression” and “expression oppression”. Following Elena del Río’s reflection, the author attempts to challenge the claims of those researchers who saw in Borowczyk’s film only a spectacle of the objectified female body. He argues that although the spectacle hinders the narrative, it does not block the expression of the body. On the contrary, it releases its power by loosening the structures of the film narrative. The body movement of Ewa Pobratyńska, the film heroine, is as much a reaction to the oppressive reality (the home and the Church) as it is a promise to break through a pattern of life based on compulsive repetition. Adopting the terminological distinction between biopower and biopolitics suggested in Michel Foucault’s writings, the author recognizes in The Story of Sin political potential aimed at a disciplinary society founded on the supervision of bodily and sexual practices.

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Dzieje grzechu, czyli kontrowersje wokół polskiej recepcji twórczości filmowej Waleriana Borowczyka

99%

Kwas P.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2012

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issue 4

105-112

EN

Worldwide Walerian Borowczyk is known as a vanguard artist. In Poland, however, his works have been always divided into two categories: the “real art”, eg. his animated films made with Jan Lenica and “all the rest”, usually called “controversial” or demoralizing”, made abroad. Borowczyk’s late works (such as Immoral Tales, 1974, The Beast, 1975, or Emmanuelle V, 1987) confirmed his image of a pornographer, an iconoclast and controversial yet repetitive creator constantly shocking with (cheap) erotica. In that context, an insight on the reception of Borowczyk’s cinematic works in his homeland seems particularly interesting. An analysis of the aforementioned problem is followed by an attempt to find all the possible sources of such particular reception of the works of Walerian Borowczyk. He was a director viewed either as a pornographer or an uncompromising icon of bold film productions – the first real surrealist of Polish cinema.

3

Marsjanie. Borowczyk i Lenica na Międzynarodowym Konkursie Filmu Eksperymentalnego w Brukseli

74%

Sitkiewicz P.

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

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2020

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vol. 27

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issue 36

EN

The text describes the backstage of the legendary International Experimental Film Competition in Brussels, which accompanied the Expo-58 Exhibition at a turning point of the political thaw in Eastern and Central Europe. The most important representatives of avant-garde cinema and auteur animation of three generations took part in this event. The Grand Prix was awarded to The House of Walerian Borowczyk and Jan Lenica. The prize became the ticket to a European career for these two young filmmakers. The competition was also remembered as a symbolic beginning of the “Polish school of animation” (or the so-called “Polish school of experimental film”) on the global film market. The author of the article also writes about a difficult return to Poland, about a cash prize that caused many problems, about the successes of Polish films in Brussels, and about the reception of The House in Poland and abroad. Finally, he tries to demonstrate why this bleak and difficult to understand film, which builds opposition to the optimism of Expo Exhibitions, won the main prize, beating over 300 competitors from around the world.

Refine search results

1 Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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

1 Kwartalnik Filmowy

1 Jagielski S.

1 Kwas P.

1 Sitkiewicz P.

1 2021

1 2020

1 2012

Zniewala czy wyzwala? „Dzieje grzechu” Waleriana Borowczyka jako film polityczny

Dzieje grzechu, czyli kontrowersje wokół polskiej recepcji twórczości filmowej Waleriana Borowczyka

Marsjanie. Borowczyk i Lenica na Międzynarodowym Konkursie Filmu Eksperymentalnego w Brukseli