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Pocałunek śmierci. Przestrzeń pozakadrowa w filmach Michaela Haneke, Aleksandra Sokurowa i Andrzeja Wajdy

100%
Falkowska J.
Kwartalnik Filmowy
|
2014
|
issue 87-88
217-230
PL
Autorka skupia się w tekście na zagadnieniu przestrzeni pozakadrowej jako odrębnej kategorii estetycznej, która pełni różne funkcje w filmach Michaela Haneke, Andrzeja Wajdy i Aleksandra Sokurowa. Wszyscy trzej filmowcy kierują uwagę widza w przestrzeń pozakadrową na odmienne sposoby i posługując się innymi kontekstami diegetycznymi. Haneke robi to przez ukrycie przed widzem scen skrajnej przemocy, Wajda – w scenach przesyconych refleksją i smutkiem, a Sokurow wtedy, gdy nie chce pokazać pewnych faktów czy stanów umysłu. Każdy z nich skutecznie i po mistrzowsku tworzy „niepomyślane” i przekonująco wykorzystuje przestrzeń „pozakadrową” jako: przestrzeń „niesamowitą” (Haneke), niewypowiedzianą i ahistoryczną (Sokurow), bądź jako reprezentującą „niewyrażalną” melancholię i smutek (Wajda). Autorka wybiera jedynie niektóre filmy wspomnianych reżyserów, by ów fenomen poddać szczegółowej analizie. Swój esej zamyka konkluzją, że prawdziwym mieszkańcem przestrzeni pozakadrowej jest śmierć obecna w filmach wszystkich trzech reżyserów.
EN
The essay introduces off screen space as a separate aesthetic category which performs different functions in the films of Michael Haneke, Andrzej Wajda, and Alexander Sokurov. All three filmmakers direct the attention of spectators to off screen spaces in different ways and in different diegetic contexts. Haneke directs the spectators’ attention off screen when he hides scenes of extreme violence to the audience. Wajda directs the spectators off screen in the scenes of reflection and sadness while Alexander Sokurov redirects the spectators off screen when he is unwilling to show certain facts or states of mind. Each of them is effective and masterful in creating “the unthought” and convincingly using “off screen” space as “the uncanny” in Haneke, “the inexpressible” melancholia and sadness in Wajda, and the unsaid and ahistorical in Sokurov. The author chooses only some films of the above mentioned directors to analyze this phenomenon in detail. She concludes her essay with a statement that the real inhabitant of the off screen space is death present in the films of all three filmmakers.
2
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Europeanness – A Nostalgic Object of Scrutiny at the Time of Pandemic

100%
Falkowska J.
Polonia Journal
|
2021
|
issue 14
13-31
EN
The idea of Europeanness and European identity rather than the national identity gains in relevance in view of the symbolic reorganization of the geographic spaces. Moreover, the national identity issues have somewhat lost importance in view of the global hazard of the COVID pandemic. The purpose of this paper is to debate the concept of Europeanness and to express an ambivalent position on this notion. Taking into consideration the most recent accomplishments of cultural theory I would like to demonstrate that the so-called European identity is a nostalgic object recalled to reminisce about the time when globalization and global threats did not exist at the scale comparable to the present. Or, the knowledge about them was patchy due to the undeveloped internet communication. Taking into consideration the explanations of Arjun Appadurai and Svetlana Boym, I will deconstruct the notion of Europeanness in view of a broad idea of nostalgia which according to Boym interprets the past as illusory and non-existent.
3
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Pre-emptive Anxiety or Existentialist Freedom of Choice?

100%
Falkowska J.
Polonia Journal
|
2022
|
issue 15
17-27
EN
The paper introduces all the essays in the volume in the context of Affect Theory and the Theory of Existentialism. These two theories help explain some expected but slightly distressing zones in the enclosed texts. It seems that all these texts embrace inconspicuously the fear of the present and of the future. In their very well researched articles, dealing with various aspects of contemporary times, like jihadism, terrorism, the nature of Russian soul, the presence of the post Socialist ideology in Eastern Europe, kitsch, morality in the world of simulacra, the world of Barack Obama and the presence/absence of Jesus in pop-culture, the authors carefully explore their topics within the general theme of the volume, Social Unrest in History. Analyses, interpretations and representations in literature and visual arts. The author of this essay concludes her article with an argument that the area of affect should be paid closer attention than ever when analyzing the above topics today.
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