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Nowe zagrożenia, stare lęki? Hollywoodzkie "kino konspiracyjne" i jego konteksty

100%
Piskorz A.
ER(R)GO: Teoria – Literatura – Kultura
|
2007
|
issue 15
EN
Artur Piskorz New Threats, Old Fears? Contemporary Hollywood 'Conspiracy Films' and Their Contexts Hollywood cinema has always been keen on producing films dealing with various forms of conspiracy. A particularly prolific era begun towards the late 1960s and continued for nearly a decade. Leftist filmmakers (e.g. Alan J.Pakula, Sidney Pollack) made a number of 'conspiracy films' constituting an artistic response to the social and political upheavals of the times (the Pen­tagon Papers, the Watergate scandal, the Vietnam War, the ITT and Lockheed disclosures, and so on). This cycle of films was to stay with the American filmmakers ever since. Virtually every major political controversy earned it­self a conspiracy theory and its filmic representation. Depending on the cur­rent 'fashion', the films have tackled diverse subjects ranging from the fear of total control to the fear of the world government to the problem of global terrorism after the 9/11 attacks. With the advance of cheap digital technology as well as the Internet, various individuals have been utilizing their opportunity to make films 'unmasking' global conspiracies and plots. This has become particularly widespread after the events of September 11. The essay inquires into the possibility of establishing any patterns of discourse between the clas­sic productions and the new, emerging ones.
PL
Artur Piskorz New Threats, Old Fears? Contemporary Hollywood 'Conspiracy Films' and Their Contexts Hollywood cinema has always been keen on producing films dealing with various forms of conspiracy. A particularly prolific era begun towards the late 1960s and continued for nearly a decade. Leftist filmmakers (e.g. Alan J.Pakula, Sidney Pollack) made a number of 'conspiracy films' constituting an artistic response to the social and political upheavals of the times (the Pen­tagon Papers, the Watergate scandal, the Vietnam War, the ITT and Lockheed disclosures, and so on). This cycle of films was to stay with the American filmmakers ever since. Virtually every major political controversy earned it­self a conspiracy theory and its filmic representation. Depending on the cur­rent 'fashion', the films have tackled diverse subjects ranging from the fear of total control to the fear of the world government to the problem of global terrorism after the 9/11 attacks. With the advance of cheap digital technology as well as the Internet, various individuals have been utilizing their opportunity to make films 'unmasking' global conspiracies and plots. This has become particularly widespread after the events of September 11. The essay inquires into the possibility of establishing any patterns of discourse between the clas­sic productions and the new, emerging ones.
2

Imperium kontratakuje. Obraz mniejszości etnicznych w powojennym kinie brytyjskim.

100%
Piskorz A.
Kwartalnik Filmowy
|
2012
|
issue 80
80-90
PL
Autor koncentruje się na wizerunku mniejszości etnicznych w brytyjskim kinie powojennym. Upadek Imperium Brytyjskiego w połączeniu z obiema wojnami światowymi spowodowały daleko idące przemiany społeczno-polityczne w Zjednoczonym Królestwie. Jedną z ich konsekwencji był napływ na terytorium Wielkiej Brytanii znacznej liczby imigrantów z byłych kolonii, co wygenerowało szereg napięć społecznych. Piskorz analizuje sposób, w jaki wydarzenia te znalazły swe odzwierciedlenie w utworach filmowych oraz drogę ewolucji wizerunku imigranta o egzotycznych korzeniach kulturowych i etnicznych w dziełach brytyjskich twórców filmowych w latach 50. i 60. ubiegłego stulecia.
EN
The author focuses on the image of ethnic minorities in post-war British cinema. The fall of the British Empire in conjunction with the two world wars led to far-reaching social and political changes in the United Kingdom. One of the consequences was the inflow of a large number of immigrants from former colonies to the UK, which generated a range of social tensions. The author examines the way in which these events are reflected in film, and how the image of the immigrant belonging to an ethnic and cultural minority evolved in the work of British filmmakers in the 1950s and 1960s.
3
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Erasing “Knowable Communities”: From Saturday Night and Sunday Morning to Brassed Off

100%
Piskorz A.
Text Matters: A Journal of Literature, Theory and Culture
|
2023
|
issue 13
396-413
EN
The paper discusses cinematic representations of working class communities in British cinema from the pre-war documentary movement to (post-)Thatcher feature films chronicling the decline of traditional industries. A particular focus is given to contrasting Karel Reisz’s Saturday Night and Sunday Morning and Mark Herman’s Brassed Off. The former title serves as a model example of British New Wave cinema, marking the “discovery” of the working class with its “knowable communities” that revealed them to the general public. The latter film provides an apt illustration of the impact and consequences of Thatcherism on the very same communities. The paper elaborates on selected narrative and visual motifs, investigating the ways in which British filmmakers have striven to depict social changes in British society over the consecutive decades.
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