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This article analyses how actors’ ensembles function as an alternative to the star system of actors’ participation in film.
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This article analyses how actors’ ensembles function as an alternative to the star system of actors’ participation in film.
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Jan Świderski was one of the most original figures of the Polish stage. As an actor, director, theater director and teacher he left a considerable legacy. He also enjoyed appearing on television. However, he never warmed to the idea of film. His filmography from 1947-1988 totals a mere 14 films, including one leading role. Despite this modest output, these roles do create a kind of acting strategies, which supplement his stage output in the form of counterpoint. The text presents two variants of his screen characters - the old man and the scoundrel, who were rather unsuccessful attempts at transferring the tried-and-tested theater formula to the demanding requirements of the film set.
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2017 brings two important anniversaries: the 90th anniversary of the birth (1927) and 50th anniversary of the death of Zbigniew Cybulski, Polands foremost actor of the 1960s and the hero of his time. His image (dark sunglasses, leather jacket, worn jeans and sneakers and ever-present backpack) was imitated by thousands of Poles. For Cybulski one of the most important means of expression were gestures. This was very important in one of Cybulskis first films - Ashes and Diamonds. Cybulski developed his arsenal of acting expression in subsequent films, including: Night Train, See you tomorrow, No more divorces, The Saragossa Manscript, Salto, The Codes, Jowita.
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In this paper I want to focus on working with actors. How we tried to reach such extreme emotions and behavior as described above. I will describe the process of rehearsals with the two main actors and the problems we met on the road. Its important to mention that the idea for this kind of film was also strongly inspired by my wish to work with actors on an extremely emotional level, where we would all more or less lose control.
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The author analyses in detail the structure of the leading role based on the film “I’m yours” His analysis takes into account acting skills, the relations between the protagonists and adversaries and also cinematic time and space. He appreciates the role played by the screenwriter and establishes the principles for cooperation between actors and the director.
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The text presents Polish dark romanticism as an important source of inspiration for the images of violence, including sexual violence, in Wojciech Smarzowskis Rose. The author reveals the mechanisms of this inspiration: visual, dramatic, intellectual, and refers to specific literary texts, from the Romantic era and later, by Antoni Malczewski, Seweryn Goszczyński, Juliusz Słowacki and Włodzimierz Odojewski.
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The paper aims at analyzing the relationship between dramaturgy in documentary film and fiction film as a form of storytelling governed by similar rules. The author tries to answer questions about the methods used to shape the material in documentary films. She presents an analysis of two Polish documentaries: Siberian Lesson and Argentinean Lesson by Wojciech Staroń. The structures of both works are based on the theme of the journey. These films represent a type of drama resulting from real life events, close Kracauer’s theory of “the found story” and Kieślowski’s “dramaturgy of reality”. They also implement the basic assumptions of the paradigm (of the mythic structures) described by Joseph Campbell and Christopher Vogler typical of fiction films.
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The article attempts to point out how Korean director Kim Ki-duk constructs the dramaturgy of his films. His works belong to the European art cinema tradition, and are marked by specific narrative structures and strategies (e.g. chronological order of events, parallel and mirror plot schemes, silent characters and limitation of film dialogue). Dramaturgically signifi cant are also repeating scenes of violence and cruelty, characteristic for Kim. Finally, briefly presented are critical approaches to his films, which together with the director’s biography allow us to call him “an accented filmmaker” (using terms and concepts proposed by Hamid Naficy).
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The article analyzes the theme of photography in Ari Folman’s Waltz with Bashir (2008). It shows the relation between photography and narration as well as similarities between the way the photographic medium functions and the mechanisms of trauma. The author points out that Folman’s documentary film uses the theme of photography as a metaphor for the characters’ emotional distance to what they experience.
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The text is devoted to an unknown short film made in 1957 in the Łódź Film School, Images XVI - rewizja.indd 276 2015-09-07 11:54:38 abstracts 277 Henryk Kluba’s Salvation. The film, showing the scary face of Stalinist terror in Poland, clearly transcends political taboo. Another work whose exploration of this theme goes as far will not be made until some twenty-five years later, Ryszard Bugajski’s well-known Interrogation (1982). It turns out that it was not the first.
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Marek Hendrykowski’s case study on Polański’s famous student etude Two Men with a Wardrobe reconstructs this wonderful short movie take-by-take: a must for anyone who cares about cinema as art. The young (24 years old) director, together with a team of talented colleagues (cameraman Maciej Kijowski, actors Jakub Goldberg and Henryk Kluba, director’s assistant Andrzej Kostenko and film music composer and jazz-man Krzysztof Komeda), demonstrated a very modern way of thinking about the art of the moving image and about the various possibilities hidden in the simple poetics of screen drama. From its opening scene on the beach to the dramatic and nostalgic ending with a comeback to the sea, the film charts two men’s struggles on the difficult path to becoming independent human beings enjoying their own freedom.
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The text discusses the most creative period in Lithuanian cinema, the 1960s. This analysis is an attempt to frame the artistic and thematic changes in Lithuanian cinema within the context of the changes that occurred in Central Europe cinema during the 1960s. Showing that the cinematic influence of the neighboring countries of Central Europe was sufficiently strong allows us to show the exceptional nature of Lithuanian cinema in the context of the policies towards the arts in the Soviet Union.
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Pavel Bednařík’s paper emphasizes the new era of Czech documentary, focusing on several issues and topics from contemporary Czech docs. Introducing the new era of Czech documentaries since the 1990s, Bednarik’s text depicts the development of its social and political background, including a new upheaval in the auteur documentary approach at FAMU, and leading to inspiration by professor and filmmaker Karel Vachek. A case study follows on the successful film alliance between Vít Klusák and Filip Remunda producing the engaged “Czech Journal” for Czech Television within the new production scheme adopted aft er 2013.
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The peculiarity of the films by Ulrich Seidl lies in the fact that the Austrian director combines freely the feature and documentary film techniques. This makes classifying his works not only impossible, but also pointless. Nevertheless, Seidl was perceived by critics as a documentary film director until he shot “Dog Days” in the year 2001. This film is regarded as a kind of a turning point in his career, a transition from documentary to fictional filmmaking. In fact it is hard to speak of a fundamental change in this instance. It seems more appropriate to perceive Seidl’s work as the director’s own consistently developed concept of cinema. The category of authenticity in meaning, contained in a definition formulated by the German film theoretician Manfred Hattendorf, proves to be very useful for describing the characteristic features of Seidl’s works. The techniques applied by Seidl in order to achieve the impression of authenticity by the viewer also bring to mind the voyeur’s perspective.
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This brief study presents the main streams in Lithuanian documentary film in our century. It discusses the most interesting work of three generations of Lithuanian directors, and the nature of their politics and narrative structure. Although film expression in the Lithuanian documentary has become more varied at the turn of this century in terms of subject matter, nonetheless, an attempt to return to the film aesthetics of the 1960s through the poetic fusion of the visual with documentary information from the outside world still dominates. The search for formal constructs, the painstaking composition of the visual aspect, narrative lyricism, and an authorial point of view are all typical traits of the contemporary documentary in Lithuania. One could argue that the history of the Lithuanian documentary film is one that is imbued with a poetical style that creatively interprets the world outside. It places at the very center of the world out there humanity’s fate, and draws reflections on its condition in the contemporary world. Documentaries devoted to history and biography constitute a separate group that introduces variety and, consequently, broadens the field of subject matter featured in the Lithuanian documentary. In addition, one of the important changes that has taken place in Lithuanian films is the subject of the Holocaust in Lithuanian culture and interpreting reality from the perspective of the woman's “patient eye”.
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The subject of “Europeans” has been analysed in Belarus thoroughly for the last twenty years, but mainly in journalistic publications and books. It is hard to trace the implication of this topic in cinema. Nevertheless, a documentary examined from a certain angle can reveal a “European component”, manifesting important issues about Belorussian identity at the same time. The documentary We Are Living on the Edge (2002) by Victor Asliuk (Belarus) is reviewed in this connection. The reality shown in the film represents the European past and evokes a strong nostalgic feeling. However, the film, though generally renowned, is perceived differently by film professionals and audiences in Western and Eastern Europe. Some points of this East-West divergence are considered in the article. Finally, the issue of the relevance of Europe is analysed in the context of Belorussian history.
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The semiotic mechanism of representing time present in documentary film has remained the same since the 19th century up to this very day. This is governed without exception in the cinematographic “message” by the choice and combination of visual and audio elements shown on the screen, together with the process of fragmentation and segmentation of images in respect to the reality being communicated. The nature of information contained in the moving pictures is one of communicating integrated experiences of the world, and experiences of civilization and culture. Thus conceptualized, information and the process of informing have a dimension that is par excellence anthropological. There in fact lies the broadly understood process of experience on the part of man and society - regardless of the changeability and ad hoc nature of the subjects raised in a given piece of subject matter - representing each time its ‘what’ and ‘how’. Regardless of the means of film expression used, there is always the same point of significance: the difference in the potential between what is known and that which is unknown. That is why the creative documentary proves on each occasion to be a mutual discovery of both known and unknown reality - one shared by the filmmaker and audience.
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