Search results

1

Portret polsko-żydowskiej rodziny w amerykańskim wnętrzu. „Anya (In and Out of Focus)” Mariana Marzyńskiego

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Mikołaj J.

Kwartalnik Filmowy

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2016

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issue 95 Transnarodowość kina polskiego

125-136

PL

Zagadnienia dotyczące tożsamości narodowej zajmują istotne miejsce w całej twórczości Mariana Marzyńskiego, polskiego filmowca o żydowskich korzeniach od lat tworzącego dokumenty w USA. Jego autobiograficzny film „Anya (In and Out of Focus)” (2004), złożony z nagrań wideo dokumentujących 30 lat z życia jego córki, a także całej rodziny Marzyńskich, opisuje nieustanny proces „negocjowania” własnej tożsamości narodowej przez emigrantów z Polski w ciągu trzech dekad życia w USA. Film Marzyńskiego ogniskuje się wokół dwóch postaci – córki Anyi i samego reżysera. Dla Anyi Marzynski sprawa jej tożsamości narodowej wynika z faktu wzrastania w państwie emigrantów. Dla Mariana Marzyńskiego z kolei kwestia jego własnej tożsamości narodowej jest sprawą bardziej złożoną i wynika z osobistych przeżyć nierozłącznie powiązanych z dramatycznymi wydarzeniami z dziejów XX-wiecznej Polski: Holocaustu, odbudowy kraju po II wojnie światowej, antyżydowskiej nagonki z marca 1968 r., Polskiego Sierpnia ’80, a także życia na emigracji w Danii i USA. Reżyser zestawia w filmie oba losy, ukazując, jak skomplikowana może być odpowiedź na pytania: kim jesteś? jaka jest Twoja narodowość?

EN

Issues concerning national identity occupy an important place in the whole work of Marian Marzyński, a Polish documentary filmmaker of Jewish descent working in the United States for years. His autobiographical “Anya (In and Out of Focus)” (2004), consisting of videos documenting thirty years of the life of his daughter and the whole Marzyński family, describes a continuous process of “negotiating” the national identity by Polish immigrants during three decades of living in the USA. In his film Marzyński focuses on two persons – his daughter Anya and the director himself. For Anya Marzynski the question of her national identity stems from the fact of growing up in a country of immigrants. For Marian Marzyński the question of his personal identity is a more complex matter and stems from his personal experience inextricably linked to the dramatic events in the Polish history of the 20th century: the Holocaust, reconstruction of the country after World War II, anti-Jewish persecution in March 1968, Polish August ‘80, as well as life in exile in Denmark and the USA. The director of the film juxtaposes the two personal histories showing how complicated might be the answers to the questions: who are you? what is your nationality?

2

Documenting the City: A Construction of Urban Memory

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Michałowska M.

Przegląd Kulturoznawczy

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2013

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issue 4(18)

259–273

EN

The text reflects on photographic methods of documenting the city. The paper is parted into four sections: the first presents the issues surrounding documenting, the second discusses historical examples of urban documentary, the third analyses the modern tendency of construction and, finally, the last fourth section introduces examples of contemporary art practice. Written with regard to the concepts of François Soulages I will discuss, among others, the following projects: The Inventory (Inwentaryzacja) by Ireneusz Zjeżdżałka, A Sky over Warsaw by Juliusz Sokołowski and The Other City (Inne miasto) by Wojciech Wilczyk and Elżbieta Janicka. All examples focus on different aspects of documentation: they allow preserving in a viewer’s mind the lost past, create a contra-image of a city or reveal the unseen and forgotten fragments of history.

3

Łódź jako temat regionalnego reportażu radiowego

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Klimczak K., Uniwersytet Łódzki W. F., Kinga Klimczak – adiunkt w Katedrze Dziennikarstwa i Komunikacji Społecznej UŁ j. b. n. k. s. w. d. r., kinga.klimczak@gmail.com

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2015

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vol. 29

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issue 3

EN

In the text, the author describes the specifics of the regional radio documentary, and discusses the themes and characters that appear in documents from PR Lodz. The author proposes a division of themes focused on various regional aspects. The research material includes recorded programming published on the radio station’s website during the early days of the site’s existence.

4

Biografia i autobiografia w literaturze audialnej

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Bachura-Wojtasik J., Uniwersytet Łódzki W. F., Joanna Bachura-Wojtasik – adiunkt w Katedrze Dziennikarstwa i Komunikacji Społecznej UŁ. Jest autorką książki Odsłony wyobraźni. Współczesne słuchowisko radiowe (2012) oraz współautorką (obok Elżbiety Pleszkun-Olejniczakowej i Aleksandry Pawlik) książki Dwa Teatry. Studia z zakresu teorii i interpretacji sztuki słuchowiskowej (2011). Podstawą jej zainteresowań badawczych jest radioznawstwo p. w. a. g. r. I. j. t. w. k. j. p., joanna.bachura@gmail.com

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2015

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vol. 28

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issue 2

EN

The article discusses the audio form of the biography and autobiography – as seen in the radio- drama and documentary – as a distinct form in audio literature. The article is inspired by the theoretical findings of Philippe Lejeune concerning autobiographical literature and the personal diary genre. Theoretical reflections are complemented by selected examples of artistic audio genres. The examples of radio-dramas and artistic documentaries (features) discussed illustrate the specificity of the radio medium, which, on the one hand, opens up new opportunities for documentaries that are impossible to achieve in printed literature, while, on the other hand, it also imposes restrictions.

5

...krok przez granicę. Transkulturowe przestrzenie dokumentu muzycznego.

100%

Stasiowski M.

Kwartalnik Filmowy

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2012

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issue 80

47-60

PL

Multikulturowość narodziła się w atmosferze emancypacji kultur Trzeciego Świata, jednak oferuje ona redukcjonistyczną ideologię pomijającą istotę wzajemnej wymiany doświadczeń i synkretycznego rezultatu tych spotkań – wartości nowej dla obu systemów estetycznych. Muzyka stanowi idealny przykład do ilustracji tego dialogu. Kinowa reprezentacja „przestrzeni wymiany”, w przypadku takich filmów, jak "Dotknąć dźwięk", "Step Across the Border" czy "Sounds and Silence", wiąże się z ich eseistyczną formą, filozofującą na temat natury dźwięku i niehomogeniczności muzyki, a także ze strukturą, która porzuca schematyzm typowych rockumentaries. Łączy je wspólny bohater (nomada – kompozytor– podróżnik), a chronologia jego doświadczeń odzwierciedla zarazem topografię miejsc i transkulturowych projektów artystycznych. Filmy analizowane w artykule opowiadają o tej „transkulturowej przestrzeni” za pomocą rozmaitych środków wyrazu służących już nie tylko prezentacji biografii wykonawcy, ale oddaniu charakteru zjawiska – natury brzmienia, jakie powstaje na styku dwóch kultur.

EN

Multiculturalism was born in an atmosphere of emancipation of the cultures of the Third World. However multiculturalism offers a reductionist ideology, that neglects the character of mutual exchanges of experiences and the syncretic results of this dialogue, that is an added value of both aesthetic systems. Music is a perfect example to illustrate this kind of dialogue. Cinematic representation of “swapping spaces”, for example in films such as 'Touch the sound', 'Step Across the Border' or 'Sounds and Silence', is connected with their form of documentary essays that reflect on the nature of sound, and the non-homogeneity of music and with their structure that abandons the typical schema of rockumentaries. They share a common character (nomad, composer-traveller), and at the same time the chronology of his experiences reflects the topography of sites and cross-cultural art projects. Films analysed in the article approach the topic of “transcultural space” through a variety of means of expression, that not only present the biography of the artist, but also reflect the nature of the sound, which is formed at the interface of two cultures.

6

Gwiazdy filmowe płaczą tylko przez minutę. Z Joramem Ten Brinkiem rozmawia Andrzej Pitrus

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Pitrus A.

Kwartalnik Filmowy

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2013

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issue 82

105-110

PL

Pitrus rozmawia z Joramem ten Brinkiem – reżyserem i producentem eksperymentalnych filmów dokumentalnych i eseistycznych – tuż po prywatnej projekcji wyprodukowanego przez niego filmu Joshui Oppenheimera "Scena zbrodni" ("The Act of Killing", 2012). Dokument ten opowiada o płatnych zabójcach działających na zlecenie prawicowego reżimu generała Suharto i stał się sensacją wielu festiwali, w tym tegorocznego festiwalu w Berlinie, gdzie otrzymał dwa znaczące wyróżnienia – Nagrodę Jury Ekumenicznego oraz Nagrodę Publiczności. Werner Herzog, Errol Morris i Dušan Makavejev okrzyknęli tę produkcję sensacją i arcydziełem. W filmie wykorzystano niecodzienną strategię – jego bohaterowie odgrywają własne zbrodnie, wykorzystując różne konwencje gatunkowe: od kina czarnego, przez western, aż po musical. Joram ten Brink m.in. zdradza rozmaite szczegóły dotyczące realizacji filmu, mówi o jego recepcji, a także wspomina swoje wcześniejsze produkcje.

EN

Pitrus interviews Joram ten Brink – a film director and producer of experimental film documentaries and film essays – just after a private screening of "The Act of Killing" (2012), a film produced by him, and directed by Joshua Oppenheimer. The documentary tells the story of paid assassins who worked on behalf of the right wing regime of general Suharto. The film was considered sensational on many film festivals, including this year’s Berlin International Film Festival, where it obtained two major awards – the Prize of the Ecumenical Jury and the Panorama Audience Award. Werner Herzog, Errol Morris and Dušan Makavejev hailed the production to be a sensational masterpiece. The film is based on a very original strategy – the protagonists act out their own crimes using various film genres, from film noir, through western, to the musical. Joram ten Brink reveals among others various details related to the production of the film, he talks about the way it was received, and recalls his earlier productions.

7

Between fact and fiction. Documentary telenovela, or docusoap Polish style

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Kosińska-Krippner B.

Kwartalnik Filmowy

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2013

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issue Special Issue - Polish Film Scholars on Polish Cinema

169-188

EN

The article deals with documentary soap operas, or the Polish version of docusoaps. This is a television genre that is a hybrid of observational documentary and elements typical of soap operas. In the introduction the author presents up to date research on docusoaps: she defines, following Margaret Lünenborg, the conditions that had to be met, in order for the genre to come into the existence, and she shows the circumstances in which it first appeared. She refers to the work of Richard Kilborn in order to present characteristic features of docusoap, and she uses the staging strategies for reality TV described by Elisabeth Klaus and Stephanie Lücke, in order to show staging strategies in docusoaps. In the main part of the article Kosińska-Krippner presents a short history of documentary soap operas, classification of its various types and the analysis of its components. She then defines this genre and describes its features. In the conclusion the author compares docusoaps and documentary soap operas, and shows the similarities and differences between the two genres, she also comments upon the value and usefulness of this genre.

8

Haptic Vision and the Experience of Difference in Agnès Varda’s Les Glaneurs et la glaneuse (2000)

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Chareyron R.

Acta Universitatis Sapientiae, Film and Media Studies

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2013

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vol. 7

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issue 1

83-96

EN

This article investigates how, in her documentary The Gleaners and I (Les Glaneurs et la glaneuse, 2000), French director Agnès Varda relies on the establishment of haptic vision in order to merge the experience of her own body with the representation of another “body,” that of people living at the margins of society and gleaning for food. In so doing, the article will bring out the director’s social and aesthetic concerns by positing that Varda turns to a sensuous depiction based on the textural properties of the image to deter any form of instrumental vision regarding the representation of the body and its connections to pre-determined norms of conduct. The article will show that, in its portrayal of a socially and economically alienated group of people, as well as in the rendering of her aging body, Varda’s miseen- scène brings forth a tactile form of knowledge that calls for a humanistic approach, thus defusing any form of mastery of the gaze over the image.

9

Sztuka „permanentnego zdziwienia”. Wokół języka symboli w Sztuce znikania Bartka Konopki i Piotra Rosołowskiego

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Kamińska A.

Kultura i Edukacja

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2018

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issue 1(119)

210-226

EN

„Art disappearance” (2012)2 is a film by Bartosz Konopka and Piotr Rosołowski, qualified by the authors of the document, but not entirely located within the traditionally understood documentary3. „Art disappearance” combines various genres: classic dokument, found footage and mocumentary. The axis, around which the narrative of the film focuses, is in fact a romantic concept of messianism of the Polish nation by Adam Mickiewicz. Less obviously, however, it is inspired by anthropological reflection of Ryszard Kapuscinski. The author analyzed those topics, associations and inspiration appearing in the film which allow the reader to include „Art of disappearing” among the works of the complicated structure of intertextual references.

10

Australijskie „idealne miejsce” Jerzego Domaradzkiego

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Radkiewicz M.

Postscriptum Polonistyczne

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2016

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issue 1(17)

97-103

EN

Jerzy Domaradzki started to work in Australia after his film Wielki bieg [ The Great Race ] had been presented at a film festival in Sydney. During those first years he had been mainly teach- ing at a film school, but after some time he began to make feature films and documentaries. The text examines the films he made in Australia, analyzing the way he selected characters and the problems he had in developing stories and images of people of different nations, cultures and times.

11

Специфика колымского юмора

100%

Gorbačevskij Č.

Acta Polono-Ruthenica

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2013

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vol. Tom 1 Nr XVIII

35-45

EN

The article is devoted to the problem of „Kolyma humour”. This term is consider by formers Kolyma political prisoners such as Varlam Shalamov, Daniil Alin, Georgiy Demidov, ZalmanRoomer, Wernon Kress, Juriy Dombrowskiy etc. „Kolyma humour” as definition sounded quite absurdly with reference to slavish condition of existence huge quantity deprived elementary civil rights people. Through „Kolyma humour” everyone can see the extremely cruel attitude so called „friends of people” to „enemies of people”. As a result: only human with fatal deformed consciousness has ability for understanding such kind of non-human humour, called „Kolyma humour”.

12

Case of an artist as a scriptwriter in the works of Latvian documentary filmmaker Juris Podnieks

100%

Balčus Z.

Panoptikum

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2013

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issue 12(19)

174-186

EN

Original study devoted to the collaboration between little known Latvian documentary filmmaker Juris Podnieks, and scriptwriter Arnolds Plaudis. Zane Balčus goes beyond traditional analysis focused on film style and interpretation, taking into account wide spectrum of visual documents (illustrated scripts), reflecting in an original way the process of developing an artwork by two creative personalities. The author reconstructs the image of their collaborative work following press materials, interviews and other written and drawn data.

PL

Oryginalne studium poświęcone współpracy mało znanego na zachodzie litewskiego dokumentalisty Jurisa Podnieksa i scenarzysty Arnolda Plaudisa. W swoim artykule Zane Balčus wykracza poza tradycyjną analizę skoncentrowaną na opisie stylu i interpretacji, badając zróżnicowany materiał obejmujący szerokie spektrum materiałów wizualnych (ilustrowane scenariusze) odzwierciedlających w oryginalny sposób proces powstawania dzieła realizowanego przez dwie niezwykłe osobowości. Autorka rekonstruuje obraz ich wspólnej pracy sięgając po materiały prasowe, wywiady, teksty i szkice.

13

Theatrical documentary of performance art

88%

Podmaková D.

Human Affairs

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2013

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vol. 23

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issue 1

81-90

EN

M.H.L. is a theatrical production dedicated to the first Slovak professional female director Magda Husáková-Lokvencová, which combines documentary theatre and performance. Sláva Daubnerová wrote the script and scene concept and is director and plays the sole character in the play. She portrays the private and professional life of M.H.L. in a chronologically sequenced and mosaic-like fashion. M.H.L. is portrayed as an educated, broad-minded and intelligent woman who knows her own mind. She graduated in law and then took up theatre direction. Her private and professional life represented a series of ups and downs. Initially happy at the side of her husband, Gustáv Husák-successful early on as a politician, and flourishing in the theatre, she later had to struggle to survive and make a comeback to the theatre. Performer Daubnerová, enhanced the performance by using video art and sound design as important elements in the production.

14

Blondynki na krańcu świata. Kobieca opowieść o Czarnym Lądzie

88%

Wrzeszcz N.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2013

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issue 5

203-2014

EN

The text is an attempt at determining in which direction the contemporary travel documentary is going, based on the example of artistic achievements of Beata Pawlikowska and Martyna Wojciechowska. The authors, using the features of the transmedia narration, show the small parts of the world and facilitate the understanding of the „Other”. The documentary is evolving, it adapts to human likings and undergoes technical development into women’s transmedia story. The expectations of the mass culture influence the quality of the presented stories, and a specific kind of „product” is created for the consumers.

15

Reflections on Elephants A National Geographic Special

88%

Istrate V.

Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies

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2020

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vol. 13

147-152

EN

„Reflections on Elephants‟ is a nature documentary film produced by „Wildlife Films Botswana‟ for the National Geographic Society. The movie was released in the United States on the 9th of February 1994. It is narrated by Stacy Keach, written and edited by the well-known south-African director of photography Dereck Joubert. The figurative language used by Dereck Joubert is surprisingly rich and blends nicely with the visual metaphors resulting in a flavory and watchable Sunday evening family film. The film captures the extraordinary journey of elephant herds through the bushes of North Botswana and their incredible capability of adaptation and understanding of the surrounding nature. Being „a symbol of the African wilderness‟ (Reflections on Elephants, approximately 3‟30”), the majestic African elephants „live out their isolation, slowly drawing life from the Earth‟s opened wounds‟ (approximately 3‟59‟‟) and „each movement is a calculated conservation of energy, each day, a tiny investment in a legend‟.„Reflections on Elephants‟ is a nature documentary film produced by „Wildlife Films Botswana‟ for the National Geographic Society. The movie was released in the United States on the 9th of February 1994. It is narrated by Stacy Keach, written and edited by the well-known south-African director of photography Dereck Joubert. The figurative language used by Dereck Joubert is surprisingly rich and blends nicely with the visual metaphors resulting in a flavory and watchable Sunday evening family film. The film captures the extraordinary journey of elephant herds through the bushes of North Botswana and their incredible capability of adaptation and understanding of the surrounding nature. Being „a symbol of the African wilderness‟ (Reflections on Elephants, approximately 3‟30”), the majestic African elephants „live out their isolation, slowly drawing life from the Earth‟s opened wounds‟ (approximately 3‟59‟‟) and „each movement is a calculated conservation of energy, each day, a tiny investment in a legend‟.

16

Nowy dokument historyczny

88%

Hendrykowski M.

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

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2015

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vol. 17

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issue 26

67-77

EN

Methodology of New Film History The article’s author, based on various examples taken from the European documentary tradition, seeks to determine how the particular position of a new generation of found footage films is allocated and viewed in Polish cinemas and in relation to Polish contemporary audiovisual culture. Marek Hendrykowski redefines film editing (found footage film, compilation) as a historical narrative with its own, attractive poetics and successful way of negotiating its prestige and popularity in the public sphere.

17

Opowieść reżysera, który chce być reżyserowany

88%

Pławuszewski P.

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

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2012

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vol. 10

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issue 19

174-177

EN

The review A Tale of a Director Who Wants to Be Directed concerns a book written by Jacek Bławut (A Character in a Documentary). Notable Polish filmmaker sums up some of his artistic achievements (not without mentioning the future plans), trying to explain his view on a co-operation with a movie character (especially due to a documentary genre), but also on a directing itself. The review follows the vital points of the book, placing them under two general categories: “author” and “character”. It also recalls (with no abbreviation) something that’s been called as “Dogmas or what’s important for me” – these are ten “rules” that Jacek Bławut (as a director) tries to adapt to all of his film doings.

PL

A Tale of a Director Who Wants to Be Directed The review A Tale of a Director Who Wants to Be Directed concerns a book written by Jacek Bławut (A Character in a Documentary). Notable Polish filmmaker sums up some of his artistic achievements (not without mentioning the future plans), trying to explain his view on a co-operation with a movie character (especially due to a documentary genre), but also on a directing itself. The review follows the vital points of the book, placing them under two general categories: “author” and “character”. It also recalls (with no abbreviation) something that’s been called as “Dogmas or what’s important for me” – these are ten “rules” that Jacek Bławut (as a director) tries to adapt to all of his film doings.

18

Charkowska szkoła fotografii i społecznej. Między dokumentem a sztuką

88%

Zambrzycka M.

Studia Ucrainica Varsoviensia

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2015

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vol. 3

381-387

PL

The topic of the text is the relationship between the documentary and artistic sides of photography. This issue is related to the problem of “reading” photographs as texts, as well as modeling reality as an object of interpretation. These problems will be presented with reference to the “Kharkov school of social photography”. The history of Kharkov social photography began in the 1960/70s and is associated with such names as: Boris Mikhailov, Yevhen Pavlov, Oleh Malowanyj, Serhij Bratkov and others.

19

"Without One Tree, a Forest Will Stay a Forest" by Dagmara Drzazga As a Religious and Historical Documentary

88%

Citko K.

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

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2014

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vol. 15

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issue 24

129-136

PL

Katarzyna Citkos article is an analysis of Dagmara Drzazga’s film Bez jednego drzewa las lasem zostanie (Without One Tree, a Forest Will Stay a Forest, 2012), an example of a religious and historical documentary. The article describes the film’s depiction of the tragic fate of Jan Macha, a priest who during the Nazi occupation of Poland organized help for victims of German oppression as a co-founder of the Scout organization Konwalia (Lilly). For his work, he was arrested and executed in a prison in Katowice by means of a guillotine that was installed there in 1941. The article also analyses film-making techniques characteristic to documentaries, as well as the specific forms of expression which situate Drzazga’s work in the realm of religious cinema. These documentary techniques include combining photos and archival documentaries, interviews with people who knew Macha, and the opinions of experts, such as historians, clergymen and journalists. Other interesting techniques employed by the director make it possible to describe the film as belonging to religious cinema of the transcendental style, as described by Paul Schrader, which abandons unnecessary suspense in favour of poetic images; focuses on the dynamics and drama of the events rather than an in-depth psychological analysis of characters’ motivations; interweaves first- and third-person narration, which is carried out by means of both voice-over and by people speaking in the film; uses suggestive image editing combined with music which employs the theme of Agnus Dei. All of these features helped Drzazga’s interesting and thought-provoking film win a number of awards at international Catholic film festivals.

20

Telewizja miejscem rozwoju filmowych form dokumentalnych

88%

Sosnowska J.

Biuletyn Edukacji Medialnej

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2014

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issue 1

123-136

EN

The article is demonstrating the situation of the documentary on television. The documentary at contemporary television is an inherent element of showing reality, however species mutations of this form caused, that for her the clean form belonged to the exceptional subject matter. Documents found their place mainly in thematic or film channels. However the place of the document not only very much changed, but also her status. An expansion of many subspecies of television improved the exclusiveness of the documentary nonfictional on television. Today they are dominating, documentary fictionalised series, mockumentary whether widely comprehended forms realites TV.

Refine search results

Portret polsko-żydowskiej rodziny w amerykańskim wnętrzu. „Anya (In and Out of Focus)” Mariana Marzyńskiego

Documenting the City: A Construction of Urban Memory

Łódź jako temat regionalnego reportażu radiowego

Biografia i autobiografia w literaturze audialnej

...krok przez granicę. Transkulturowe przestrzenie dokumentu muzycznego.

Gwiazdy filmowe płaczą tylko przez minutę. Z Joramem Ten Brinkiem rozmawia Andrzej Pitrus

Between fact and fiction. Documentary telenovela, or docusoap Polish style

Haptic Vision and the Experience of Difference in Agnès Varda’s Les Glaneurs et la glaneuse (2000)

Sztuka „permanentnego zdziwienia”. Wokół języka symboli w Sztuce znikania Bartka Konopki i Piotra Rosołowskiego

Australijskie „idealne miejsce” Jerzego Domaradzkiego

Специфика колымского юмора

Case of an artist as a scriptwriter in the works of Latvian documentary filmmaker Juris Podnieks

Theatrical documentary of performance art

Blondynki na krańcu świata. Kobieca opowieść o Czarnym Lądzie

Reflections on Elephants A National Geographic Special

Nowy dokument historyczny

Opowieść reżysera, który chce być reżyserowany

Charkowska szkoła fotografii i społecznej. Między dokumentem a sztuką

"Without One Tree, a Forest Will Stay a Forest" by Dagmara Drzazga As a Religious and Historical Documentary

Telewizja miejscem rozwoju filmowych form dokumentalnych