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Polak Mazurowi wilkiem. Czy Róża Wojciecha Smarzowskiego jest filmem antypolskim?

100%
Weiher K.
Panoptikum
|
2016
|
issue 15(22)
190- 198
EN
The author of this article tries to explain why the controversial film Róża by Wojciech Smarzowski was well received by the wright-wing media which recognized other historical films from this period, such as Ida by Pawel Pawlikowski and Aftermath by Wladyslaw Pasikowski, as anti-Polish and even harmful. The author examines three aspects of the film: whether it is actually anti-Polish, anti-Soviet or maybe pro-German. At the end she reveals the director’s strategy which allowed to avoid the dispute over the misinterpretation of historical events.
2
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Strach jako kategoria języka postkolonialności (wokół filmów Wojciecha Smarzowskiego: „Wesele", „Dom zły", „Róża", „Drogówka")

87%
Skórczewski D.
Porównania
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2015
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vol. 16
125-145
EN
A most striking characteris-tic of Wojciech Smarzowski’s feature films is their uncanny atmosphere resulting from horrify-ing events and situations represented. This atmosphere seems to transgress the effect assumed in the genre to which the director refers, i.e. the thriller, and be rooted elsewhere than simply in the convention of classical horror cinema. Seeking an answer to the question concerning the causes of fear with which the spectatorship of The Wedding (Wesele), The Dark House (Dom zły), Rose (Róża), and Traffic Department (Drogówka), each of them so different from another, is confronted, the author attempts at theorizing the category of postcolonial fear. He offers the thesis that the fear evoked in Smarzowski’s movies is a medium for articulating the postcolonial trauma of memory of society engaged in dealing with its colonial past and present postcolonial realities. By articulating this trauma, the director carries out a peculiar work of memory in the “zone of tran-sition” (term borrowed from B. Buden).
PL
Jedną z uderzających cech obrazów filmowych Wojciecha Smarzowskiego jest groza i niesamowitość ukazywanych w nich zdarzeń oraz sytuacji. Nastrój budowany przez reżysera zdaje się wykraczać poza efekt przewidziany konwencją thrillera i mieć inne niż w klasycznym kinie grozy podłoże. Poszukując odpowiedzi na pytanie o przyczyny strachu, z jakim konfrontowany jest widz tak różnych od siebie filmów, jak Wesele, Dom zły, Róża i Drogówka, autor artykułu podejmuje próbę teoretyzacji zagadnienia postkolonialnego strachu. Stawia tezę, iż ewokowana w filmach Smarzowskiego emocja stanowi medium artykulacji postkolonialnej traumy pamięci społeczeństwa, które boryka się ze swoją kolonialną przeszłością i postkolonialną teraźniejszością. Artykułując tę traumę, reżyser przeprowadza swoistą pracę pamięci w „strefie przejścia” (słowami B. Budena).
3

Narracja i fokalizacja zmysłowa w „Pod Mocnym Aniołem” Wojciecha Smarzowskiego. O adaptacji powieści Jerzego Pilcha

71%
Birkholc R.
Kwartalnik Filmowy
|
2020
|
issue 111 Zmysły i afekty
123-144
PL
Autor próbuje dowieść funkcjonalności podziału na narrację i fokalizację zmysłową, analizując film Pod Mocnym Aniołem (2014) Wojciecha Smarzowskiego oparty na powieści Jerzego Pilcha. Przeszczepiona z literaturoznawstwa kategoria fokalizacji zmysłowej odnosi się do zmysłowych, cielesnych doznań bohaterów uobecnianych w narracji filmowej. Posługując się kategoriami narratologicznymi, autor zestawia narrację i fokalizację w powieści Pilcha z narracją i fokalizacją zmysłową w adaptacji Smarzowskiego. Podczas gdy Pilch tworzy autotematyczną opowieść o pisaniu, w filmie narracja w całości jest podporządkowana doznaniom cielesnym głównego bohatera, a nie jego aktywności narracyjnej. Artykuł zawiera charakterystykę technik audiowizualnych służących kreacji fokalizacji zmysłowej w filmie. Autor pokazuje, jak zmiana medium oraz reinterpretacja tekstu oryginalnego doprowadziły do zupełnie odmiennego przedstawiania doświadczeń cielesnych bohatera.
EN
The author tries to prove the functionality of the division into narration and sensual focalization, analyzing the film Pod Mocnym Aniołem (The Mighty Angel, 2014) by Wojciech Smarzowski, based on the novel by Jerzy Pilch. Adapted from literary studies, the category of sensual focalization refers to the characters’ bodily sensations represented within a film narrative. Using narratological categories, the author compares narration and focalization in Pilch’s novel with the narration and focalization in the film adaptation. While Pilch creates a self-reflexive novel about the process of writing, in the film narration is determined not by the narrative activity of the main character, but by his bodily experiences. The article describes audio-visual techniques which create sensual focalization in the film. The author shows how the change of the medium and the reinterpretation of the literary text led to a completely different representation of bodily experiences of the main protagonist.
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Róża Wojciecha Smarzowskiego jako medium idei

70%
SZPULAK A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2016
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vol. 18
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issue 27
87-96
EN
Wojciech Smarzowski’s Rose as the medium of ideology The text concentrates on the problem of the ideologization of artistic transmission and uses Wojciech Smarzowski film ‘Rose’ as an example. This problem is considered both on several levels: reception, above all the critical-film level, and also on the level of the work itself. The analysis reveals the impoverishment of the message by radical left-wing and also conservative ideologization is becoming apparent. Also a susceptibility of work to discourse of the political correctness is becoming apparent, in addition it is rather superficial susceptibility.
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Mroczne żądło zdegenerowanej natury. Szkic o czarnoromantycznych inspiracjach Róży Wojciecha Smarzowskiego

61%
SZPULAK A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2016
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vol. 19
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issue 28
265-272
EN
The dark sting of degenerate nature. Sketch of the dark-romantic inspirationsin Wojciech Smarzowski’s Rose The text presents Polish dark romanticism as an important source of inspiration for the images of violence, includ- ing sexual violence, in Wojciech Smarzowskis Rose. The author reveals the mechanisms of this inspiration: visual, dramatic, intellectual, and refers to specific literary texts, from the Romantic era and later, by Antoni Malczewski, Seweryn Goszczyński, Juliusz Słowacki and Włodzimierz Odojewski.
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Echa "Idź i patrz" Elema Klimowa w dwóch polskich filmach antywojennych – "Mieście 44" Jana Komasy oraz "Wołyniu" Wojciecha Smarzowskiego

51%
Szpulak A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2018
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vol. 23
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issue 32
EN
The subject of interest in this text are the relations between the famous Elem Klimow’s Come and See and two Polish movies made in the second decade of the 21st century – Jan Komasa’s Warsaw 44 and Wojciech Smarzowski’s Wołyń. These relations are considered at the genetic level, the level of historical references, the genological level and the plane of audiovisual material created in films. The analysis leads to the conclusion that genological issues play the most important role in building these relationships, among them the shape of the main character’s figure.The text can be treated as a contribution to reflection on the genre distinctiveness of the anti-war film.
PL
The subject of interest in this text are the relations between the famous Elem Klimow’s Come and See and two Polish movies made in the second decade of the 21st century – Jan Komasa’s Warsaw 44 and Wojciech Smarzowski’s Wołyń. These relations are considered at the genetic level, the level of historical references, the genological level and the plane of audiovisual material created in films. The analysis leads to the conclusion that genological issues play the most important role in building these relationships, among them the shape of the main character’s figure.The text can be treated as a contribution to reflection on the genre distinctiveness of the anti-war film.
7
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Róża Wojciecha Smarzowskiego – portret miłości kulturowo zakorzenionej

51%
Szpulak A.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
|
2015
|
vol. 17
|
issue 26
107-118
EN
Róża by Wojciech Smarzowski: Portrait of a Culturally Rooted Love The article presents an interpretation of the love story in Wojciech Smarzowski’s film Róża (2011) in the context of references to culture deeply rooted in the European tradition of representing this theme. It indicates the melodramatic elements presented in this film, as well as the leading role of the myth of romantic love in creating this thread. Clearly visible is a male perspective view of reality in Smarzowski’s film.
PL
Róża by Wojciech Smarzowski: Portrait of a Culturally Rooted Love The article presents an interpretation of the love story in Wojciech Smarzowski’s film Róża (2011) in the context of references to culture deeply rooted in the European tradition of representing this theme. It indicates the melodramatic elements presented in this film, as well as the leading role of the myth of romantic love in creating this thread. Clearly visible is a male perspective view of reality in Smarzowski’s film.
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Warstwa werbalna ścieżki dźwiękowej jako element współbudowania przestrzeni w filmie

44%
Skowronek B.
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 article presents the most typical ways of co-building various types of film space through the verbal layer of the soundtrack: inside the frame and outside of it, diegetic and non-diegetic, and narrative and non-narrative. In order to discuss linguistic ways of co-creating space, the author used the tenets of mediolinguistics and the ideas of the textual image of the world and the linguistic image of the world.
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