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Wygnanie ocalonych. Doświadczenie emigracji pomarcowej w filmach Mariana Marzyńskiego i Leszka Leo Kantora

100%
Pietrzak M.
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
137-147
EN
Autobiographical threads occupy an important place in films of Marian Marzyński and Leszek Leo Kantor. Interesting is the convergence of life experiences common to both authors. We can indicate a lot of parallelisms in biographies of both directors. Certainly, the most important analogy is the fact that both of them survived the Holocaust as children. Common to both artists is also experience of anti-Semitic campaign of March 1968, as a result of which they were forced to emigrate from Poland. The objective of this article is to demonstrate how this personal experience of exile resonates in their work.
PL
The exile of survivors. The experience of post-March ‘68 emigration in films of Marian Marzyński and Leszek Leo Kantor Autobiographical threads occupy an important place in films of Marian Marzyński and Leszek Leo Kantor. Interesting is the convergence of life experiences common to both authors. We can indicate a lot of parallelisms in biographies of both directors. Certainly, the most important analogy is the fact that both of them survived the Holocaust as children. Common to both artists is also experience of anti-Semitic campaign of March 1968, as a result of which they were forced to emigrate from Poland. The objective of this article is to demonstrate how this personal experience of exile resonates in their work.
2
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Filmy dokumentalne a postawy młodzieży. Kultura historyczna w rzeczywistości hybrydalnej

100%
Wejbert-Wąsiewicz E., Matuchniak-Mystkowska A.
Perspektywy Kultury
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2023
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vol. 42
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issue 3
143-164
EN
The subject of the study is the social functioning of documentary films about World War II, produced by the Central Museum of Prisoners of War in Opole and Lambinowice – a form of virtual representation of the history and institution of the historical museum located at the memorial site, where German prisoner-of-war camps, necropolises, musealia and archives are preserved. Selected short films were presented to high school students in a sociological experiment, including a study of the reception of the films, as well as the artistic and historical competence of students. The analysis of artistic communication concerning works of art, the creators and consumers, is set in a broader historical context (the reality of the Second World War), artistic context (characteristics of the documentaries), and social context (family, school, museums, mass media, Internet), determining the transmission of culture, education, upbringing, and socialization.
PL
Przedmiotem badania jest społeczne funkcjonowanie filmów dokumentalnych o II wojnie światowej, zrealizowanych przez Centralne Muzeum Jeńców Wojennych z siedzibą w Opolu i Łambinowicach – forma wirtualnego przedstawienia dziejów oraz instytucji muzeum historycznego mieszczącego się w miejscu pamięci, gdzie zachowane są tereny niemieckich obozów jenieckich, nekropolie, muzealia i archiwalia. Wybrane filmy krótkometrażowe zostały zaprezentowane licealistom w trakcie eksperymentu socjologicznego, obejmującego badanie recepcji filmów oraz kompetencji artystycznej i historycznej uczniów. Analiza komunikacji artystycznej dotycząca dzieł sztuki oraz twórców i odbiorców jest osadzona w szerszym kontekście historycznym (realia II wojny światowej), artystycznym (charakterystyka filmów dokumentalnych), a także społecznym (rodziny, szkoły, muzeów, mass mediów, Internetu), decydującym o transmisji kultury, edukacji, wychowaniu, socjalizacji.
3
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Polska wieś z kobiecej perspektywy. Realny socjalizm w twórczości filmowej Ireny Kamieńskiej – wybrane aspekty

84%
Grzywacz M., Kulig A.
Kultura Współczesna. Teoria. Interpretacje. Praktyka
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2021
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vol. 116
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issue 4
92-107
EN
The period of the Polish People’s Republic (communist Poland, in Polish: Polska Republika Ludowa, PRL) was a difficult time for the Polish rural population, marked by dynamic changes. Nevertheless, the impact of socialist ideology on Polish agriculture was not as profound as the patterns of Soviet collectivisation present in the official propaganda until the end of the Stalin era could indicate. Traditional family farms operated alongside the nationalised production plants of the new type. The revision and modification of the long-established family and social patterns proved difficult. In the times of rapid industrialisation, young people left their hometowns and villages for the city to find better conditions for personal and professional development. In the 1950s, documentaries started playing the role of a seismograph of social change, with many directors addressing rural issues and adopting a critical and interventional approach to the contemporary situation. This article focuses on Irena Kamieńska, one of the most famous Polish documentary filmmakers, and her capturing of the social aspects of life in the PRL through the prism of historical anthropology. The female perspective, as indicated in the title, can be found in the specific character of Kamieńska’s productions that can be read not only as films documenting the social life of that period but also as universal stories of the excluded, the poor, and the lonely, regardless of age. Kamieńska presents socialism, proclaimed a system of opportunities and development, in equivocal terms. Rather than offer ready answers or fixed instructions the director encourages a deeper reflection and thus subscribes, as a documentary filmmaker, to the larger movement of the Polish cinema of moral anxiety.
4
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The Discursive Construction of Vietnamese Communities in Czechia and Poland in the Genre of Documentary Films

67%
Švejdarová S.
Studie z aplikované lingvistiky - Studies in Applied Linguistics
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2015
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vol. 6
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issue 1
11-46
EN
This article examines the discursive construction of Vietnamese communities in Czechia and Poland via narratives of the communities’ ordinary members in documentary films. The theoretical framework employed is critical discourse analysis (CDA), and, in particular, the Discourse-Historical Approach (DHA). I focus on two full-length documentary films, Banana Children in Czechia and Warsawers in Poland. These films are assessed and compared regarding their overall style and regarding the discourse topics. I analyse the referential and predicational strategies within the discourse topic of identity. Finally, I link the analysis of identities with the general social and legislative situation of the immigrant communities in the two host countries.
CS
Tento článek se zabývá vietnamskými komunitami v Česku a Polsku a jejich diskurzivní konstrukcí v dokumentárních filmech prostřednictvím narativů běžných členů. Teoretickým rámcem je kritická analýza diskurzu (CDA), konkrétně diskurzivně-historický přístup (DHA). Soustředím se na dva celovečerní dokumentární filmy, Banánové děti v Česku a Warszawiacy v Polsku. Tyto filmy zkoumám a srovnávám z hlediska celkového stylu a z hlediska diskurzivních témat. V rámci diskurzivního tématu identity analyzuji referenční a predikační strategie. Nakonec analýzu dávám do souvislosti s obecnou společenskou a legislativní situací přistěhovaleckých komunit v hostitelských zemích.
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