Matka może odejść. Obrazy macierzyństwa i katastrofy w filmach "Wieża. Jasny dzień" (2017) Jagody Szelc oraz "Fuga" (2018) Agnieszki Smoczyńskiej
Mother can leave. Images of motherhood and catastrophe in the films "Tower. A Bright Day" (2017) by Jagoda Szelc and "Fuga" (2018) by Agnieszka Smoczyńska
Author(s): Adam Domalewski, Agnieszka PowierskaSubject(s): Film / Cinema / Cinematography
Published by: Uniwersytet Gdański
Keywords: Melodrama in motion pictures; Motherhood in popular culture; Puzzle films; Women in motion pictures;
Summary/Abstract: In the paper, two recent Polish movies about motherhood are considered: Tower. A Bright Day (2017) by Jagoda Szelc and The Fugue (2019) by Agnieszka Smoczynska. The authors argue that both movies transform the classic plot of a maternal melodrama to depict its heroines as mothers who can make their decision to leave. Simultaneously both main female characters – Kaja and Kinga – are portrayed as somewhat dysfunctional, “abjective”, and monstrous. However, the narration of the movies seems to sympathize with them. As a result, Tower. A Bright Day and The Fugue bring uneasy and provocative images of motherhood as well as the vision of upcoming catastrophe (in social and even extraterrestrial sense).
Journal: Panoptikum
- Issue Year: 2022
- Issue No: 27 (34)
- Page Range: 155-174
- Page Count: 20
- Language: Polish