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Festiwal w Puli – początek i koniec filmowego święta w socjalistycznej Jugosławii

Author(s): Patrycjusz Pająk / Language(s): Polish Issue: 100/2017

The film festival in Pula deserves to be called the greatest feast of Yugoslavian cinematography, as it was an undertaking of unquestionable artistic prestige and of great social and political significance. In the opinion of the communist authorities of the country including Josip Broz Tito, it promoted the idea of the Yugoslav cultural community and reflected the modernity of the socialist state. For the inhabitants of Pula and its surroundings, it was the most attractive mass event, which due to its momentum and national and international fame brought the Yugoslavian province closer to the world. By publicizing the artistic achievements of local cinema, the Pula festival emphasized the internal diversity of the country’s culture, as the films presented were from several Yugoslav republics, and differed in terms of nation, culture and language.

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Festiwal Etiuda&Anima, czyli filmowe święto (z doświadczeń własnych autora)

Author(s): Bogusław Zmudziński / Language(s): Polish Issue: 100/2017

The author of the text draws a picture of the evolution of the Etiuda International Film Festival, initiated by himself in 1994, an alternative festival dedicated to the creativity of film and art school students. During the last quarter of the century, the festival, which was created as a side event of the Short Film Festival in Krakow, has developed not only as an event promoting student work, but since 2005 also artistic animation from around the world (under the changed name Etiuda&Anima) and finally in 2017 through organization of the third, this time a national competition, Polish artistic animation. By sharing his own experiences, the author formulates the thesis on the possibility of implementing the idea of the festival as a celebration of film – an original project that accomplishes its tasks by organizing film competitions and promoting film culture as part of a rich program of accompanying events.

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Znaczenie obchodów jubileuszu 30-lecia kinematografii Polski Ludowej (1975)

Author(s): Joanna Szczutkowska / Language(s): Polish Issue: 100/2017

Celebrations of the 30th anniversary of the cinematography of the Polish People’s Republic, that were part of the party-state rituals of the Socialist Poland, had multiple meanings. In addition to the very idea of commemorating the act of nationalizing Polish cinematography by a decree of the Council of Ministers, “On the establishment of the state-owned Polish Film [Film Polski] enterprise” from November 13, 1945 it had obvious political dimension. For the authorities of the Polish People’s Republic, the jubilee was one of the occasions to emphasize the PZPR’s contribution to the achievements of Polish culture and to induce as many artists as possible to cooperate. Therefore, a key place in the celebration were the meetings authorities held with the filmmakers. On November 4, 1975, the First Secretary of the Central Committee of the PZPR Edward Gierek honoured 60 artists with high state decorations. Anniversary celebrations served the socialist community as stimuli developing film relationships. On this occasion, the chairman of the State Committee of Cinematography of the Council of Ministers of the USSR Filip Jermasz, general director of Czechoslovak cinematography Jiří Purš and the deputy minister of culture of the GDR Hans Starke visited Poland. The celebrations were accompanied by a propaganda campaign in the media.

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Dla aparatu i dla mas – modele prezentowania święta w Polskiej Kronice Filmowej

Author(s): Marek Kosma Cieśliński / Language(s): Polish Issue: 100/2017

The calendar of social, historical and religious holidays was very rich in Polish People’s Republic and the frequency of appearing of the material about these events in the mass media was subject to dynamic changes depending on the political situation. In the entire output of the weekly Polish Film Chronicle, there are visible periods of increased presence of celebrations in the public landscape (Stalinism, propaganda of success) and typical technical means and aesthetic measures (monothematic editions, film tape selection, duration) used by operators to create and show festivities – with different results. The abundance of various holiday events on film, sometimes with little real social response (the Steelworker’s Day, Civic Militia Day), was a tool for shaping social attitudes, and the very presence of Polish Film Chronicle cameras was part of these ceremonies. The poetics of reports on celebrations, however, changed many times, with varying intensity and sometimes it disappeared altogether.

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Polskie Wesele AD 1968 z Szarym Człowiekiem w tle. Performowanie historii w „Usłyszcie mój krzyk”

Author(s): Sławomir Sikora / Language(s): Polish Issue: 100/2017

The subject of the article is the film by Maciej Drygas “Hear My Cry” (1991) – a famous documentary about the self-immolation of Ryszard Siwiec, which took place on September 8, 1968 at the Decade Stadium (Stadion Dziesięciolecia) in Warsaw. Sikora states that Drygas collided two performances that happened in one place and at one time and that remained opaque to each other in a special way – the act of self-immolation by Siwiec and the state harvest festival taking place at the stadium. The author sketches various contexts of these events (including references to Andrzej Wajda’s “The Wedding” /1972/ ), and above all, he sets his reflections in the field of performativity research. The analysis of these issues leads him to the conclusion that film and cinema as a form of ritual can break the spell cast on history, but also allow it to be seen again and again in a different and fuller light.

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Dwa filmy – dwa święta – dwie teorie

Author(s): Wojciech Dudzik / Language(s): Polish Issue: 100/2017

The text is devoted to two documentary films by Andrzej Fidyk: “North Korea: The Parade” (1989) and “Carnaval. The Biggest Party in the World” (1995) analysed in the context of Émile Durkheim’s (effervescence collective) and Victor Turner’s (communitas) theories of celebration. The author finds sacral elements both in the great parade organized on the occasion of the 40th anniversary of the Korean Democratic People’s Republic and in the carnival in Rio de Janeiro. It turns out, however, that the opposition of profanum and sacrum – or of structure and anti-structure that appears natural in the analysis of the two celebrations filmed by Fidyk, is illusory. The structure is mixed with anti-structure on a dialectical basis: suspended for the duration of the festivity, it is revived in its celebration.

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Dziewczyny, które gryzą. „Córki Dancingu” jako kino buntu

Author(s): Sebastian Jagielski / Language(s): Polish Issue: 100/2017

In Agnieszka Smoczyńska’s “The Lure” (“Córki Dancingu”, 2015) the siren heroines, by their very presence, violate the dominating – patriarchal and heteronormative – social order. This film is a cinema of great refusal, an example of a feminist and queer counter-cinema, which makes us look at reality through the prism of monsters and brings with it the promise of a different life, order and desire. Jagielski situates Smoczyńska’s film in the context of, firstly, camp aesthetics and bodily and abject genres (horror, musical and melodrama), and second – negative affects: unrequited love, sadness, depression, grief, loss or anger. He focuses on images of monstrous, fragmented bodies and sadomasochistic, melodramatic and musical performances. “Backwardness” – camp aesthetics, abnormal bodies, “weak” affects, unfashionable artefacts – lead the viewers of “The Lure”, as the author shows, towards utopia, hope and the future.

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Rozluźnienie śrubek, czyli Emak Bakia

Author(s): Karolina Kosińska / Language(s): Polish Issue: 100/2017

In 1926, Man Ray made the movie “Emak Bakia”, a film poem, which was also one of the manifestos of film Dadaism. Part of the film was made on the Basque coast, near Biarritz, in the house whose name was “Emak Bakia” – which in Basque means Do not bother me. Almost 90 years later, the Basque director Oskar Alegría decided to find this house, having at his disposal, as a guide, only two frames from the film depicting the shoreline and characteristic columns of the balcony from which the beach was filmed. The record of this search, though documentary, turned out to be as Dadaistic as the film by Man Ray. Not in its form, but in surrendering to the Dadaist element: the journey of Alegría, the road to the designated goal, turned out to be a radical triumph of Dada. Kosińska sees in the strategy of Man Ray and Alegría, a form of celebration: of life, of film, of chance, which without expressing any sense gives the only possible meaning to life.

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Znaczenie namiotu w życiu mieszkańców Górnej Austrii, czyli mockdokumentalne „Święto kurczaka”

Author(s): Beata Kosińska-Krippner / Language(s): Polish Issue: 100/2017

The author points to the mock-documental potential of travel films and evokes examples of manipulation, staging and “pressing” reality into shape in this type of films. She analyses in this context the Austrian mock document by Walter Wippersberg entitled “Chicken Festival” (“Das Fest des Huhnes”, 1992), which is a parody of travel films of an anthropological nature and a satire on Austrians and their culture and behaviour of white people in general in their relations with “strangers”. The author follows, among others, the ways of evoking humour in the “Chicken Festival” and the process of creating in the mock-document a non-existent celebration, associated with a non-existent cult, out of elements of reality.

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O świętowaniu i odświętności – „Uroczystość w ogrodzie botanicznym” Elo Havetty

Author(s): Jadwiga Hučková / Language(s): Polish Issue: 100/2017

“The Gala in the Botanical Garden” (1969) by Elo Havetta, one of the most important creators of the Slovak New Wave, treated in the literature primarily as an expression of joyful carnival improvisation, is embedded in Slovak culture and the ever-evolving tradition of the grape harvest festival. At the same time, it is an expression of a tribute to the creators and pioneers of cinematography, an apotheosis of cinema that opens us to other dimensions of the world. It seems that the concept of the film was also influenced by the pictorial representation of the biblical miracle in Cana of Galilee, especially the painting of Paolo Veronese “The Wedding at Cana”, and the collective evocations of evangelical content related to the theme of the feast in Cana and its extensive contexts.

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O melancholii święta

Author(s): Natasza Korczarowska-Różycka / Language(s): Polish Issue: 100/2017

In her reflections on the melancholy dimension of celebration, the author analyses four films: “The Hours” (2002) by Stephen Daldry, “Margot at the Wedding” (2007) by Noah Baumbach, “Rachel Getting Married” (2008) by Jonathan Demme and “Melancholia” (2011) by Lars von Trier. In each of these productions, Korczarowska clearly identifies the melancholy character of the plot and features of the main characters. The analytical parts of the text, also referring to the iconographic layer of these films, allow the author to conclude that, although celebration needs a happy mood, and in essence it has to unite the community, and let individuals and groups – using rituals – “pass” safely from the ordinary duration of time to sacred time, it is during the celebration that melancholy manifests itself with a destructive force. This is probably because, during a birthday party, wedding fête or a solemn family dinner, we unexpectedly realize that something has passed away from us once and for all.

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Spektakl gościnności. „Party przy świecach” Antoniego Krauzego

Author(s): Aldona Ossowska-Zwierzchowska,Piotr Zwierzchowski / Language(s): Polish Issue: 100/2017

„The Candlelight Party” (1980) by Antoni Krauze, based on a story by Jan Himilsbach, is a story about the imitation and the desire to stand out resulting from aspirations, constituting at the same time a critical reference to the socialist consumerism of the era of Edward Gierek. The protagonists want to accentuate their status by organizing the party, to a large extent referring to the imitation of customs and attitudes. Regardless, the title party does not cease to be something special, allowing you to go beyond everyday life. The creation of social identification through the preparation of the party, the manner of behaviour, the selection of dishes and alcohol is something universal, and both the aspirations of the heroes and feasting customs are not associated only with the culture of the Polish People’s Republic. This context has a fundamental meaning in the film. “The Candlelight Party”, as well as other films from the 70s cited by the authors, are also a fascinating description of customs of everyday life and celebration.

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Święto „rāmen”, czyli wielozmysłowa uczta Jūzō Itamiego

Author(s): Krzysztof Loska / Language(s): Polish Issue: 100/2017

Loska przedstawia analizę i interpretację filmu „Tanpopo” (1985) Jūzō Itamiego, sytuując swe rozważania na obszarze tzw. food studies. Jak zauważa, wybierając jedzenie jako temat swojego filmu, Jūzō Itami postanowił zmierzyć się z kultem „japońskości”, obnażyć iluzję homogenicznej kultury przez zwrócenie uwagi na elementy, które nie pasują do tego uproszczonego i jednowymiarowego wizerunku Japonii. Chodziło mu o pokazanie, że każdy posiłek – podobnie jak naród – jest złożony ze składników różnego pochodzenia, że nie ma całości bez poszczególnych części. Analiza rozmaitych kontekstów tego filmu, jego dygresyjnej i wielowątkowej struktury, relacji między bohaterami oraz zawartych w filmie licznych metafor kulinarnych prowadzi autora do konstatacji, że wątki kulinarne służą reżyserowi jako narzędzie krytyczne, ponieważ pozwalają na obnażenia resztek feudalnego porządku, absurdalności rytuałów życia społecznego, a przede wszystkim nieuzasadnionego poczucia wyższości Japończyków nad innymi narodami.

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Aktorka, archetyp, amnezja. Na marginesie „Persony” Bergmana

Author(s): Grzegorz Nadgrodkiewicz / Language(s): Polish Issue: 100/2017

Nadgrodkiewicz presents an interpretation of one shot from the film by Ingmar Bergman “Persona” (1966) – the shot showing the actress Elisabet Vogler at the time of abandoning the role in the performance of “Electra” and the moment of her mysterious silence on the stage. According to the author, Elisabet’s traumatic experience can be analysed in the context of the depth psychology of Carl Gustav Jung, and especially in relation to the concept of the impact of the everlasting archetypes proposed by him. Vogler’s existential experience is also compared with the cases of memory loss occurring during the performance, which Krystyna Janda and Helena Modrzejewska describe in their memoirs. Using the analogies that are taking place here, Nadgrodkiewicz concludes that the actor’s experience of amnesia and the silence connected with it can be attributed to the effect of being struck down with the power of the ancient archetype, which according to Jung exists in the collective unconscious and which reveals itself in the process of creating a work of art.

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Post-irony and Three Faces of Melodrama

Author(s): Patrycja Włodek / Language(s): Polish Issue: 100/2017

As Włodek notes in the introduction to the article, the title “three faces” refer to the three moments in the existence of melodrama – pre-ironic, ironic and post-ironic. It is in this schema that the author presents a theoretical reflection, enriched with numerous film examples, on the issue of film melodrama in its three periods. The first part of the text is devoted to the interpretation of the melodrama, its definition and relation to the classic cinema, as well as the application of the concepts of “post-irony” and “New Sincerity”. In the second part, she focuses on selected films and strategies for updating the melodrama on cinema screen, and also identifies one of the key figures for this genre, which is a harlot with a heart of gold. She also emphasizes that the extended understanding of melodrama turns out to be particularly justified if we consider melodrama from a diachronic perspective – from preto post-irony. In summary, she notes that each of these discussed forms of melodrama shows how flickering and vivid is not only contemporary cinema, but also older films, even those before the classic period. Each of the evoked cinematographic formations (pre-classic and pre-codex, post-modernist and post-ironic) function – in accordance with the observations of Jim Collins quoted by Włodek – in a metamythological dimension built of layers of popular mythology that coexist and are constantly redefined.

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Z okazji jubileuszu

Author(s): Marcin Giżycki / Language(s): Polish Issue: 100/2017

On the jubilee of "Kwartalnik Filmowy"

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Judy Chicago’s Last Supper

Author(s): Marcin Giżycki / Language(s): Polish Issue: 100/2017

In 1979 American artist Judy Chicago presented in the San Francisco Museum of Modern Art her art installation “The Dinner Party” dedicated to 1038 women from the history and mythology of the world. The work, which today can be seen at the Brooklyn Museum of Art, consists of three long tables arranged into a triangle, on which 39 places, marked with names embroidered in golden thread, are set for the women. Among the honoured are: Hatshepsut, Sappho, Saint Brygid of Kildare, Empress Theodora, Eleanor of Aquitaine, Petronilla de Meath, Artemisia Gentileschi, Susan Anthony, Emily Dickinson, Virginia Woolf and Georgia O’Keeffe. Further 999 names are written, also with golden paint, on the tiled floor. The work immediately provoked turbulent reactions and disputes even in feminist circles. It was criticized, among others, for poor representation of women from outside the EuroAmerican culture. Most negative reactions, however, were caused by designs on plates clearly evocative of the female sex organs. Today, however, “The Dinner Party” is regarded as one of the most important and earliest (at least on this scale) manifestations of feminism in art. The entire installation process was documented on the film by Johanna Demetrakas, testifying not only to the great contribution of the team of Chicago’s associates in the finished work, but also the birth of feminist consciousness in the group.

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Pajęcza gra miłosna, czyli o strategiach adaptacji Bernarda Bertolucciego

Author(s): Alicja Helman / Language(s): Polish Issue: 100/2017

Helman presents a review of Bożena Kudrycka’s book “Ukryte spojrzenia w filmach Bernarda Bertolucciego” [“Hidden Gazes in Bernard Bertolucci’s Films”] (2016), indicating that it is a monograph that captures the overall output of the director. Kudrycka focuses in her book primarily on adaptation strategies in eight, selected, films by Bertolucci, for which the starting point was literary material. Discussing the structure of this publication and the nature of film analyses themselves, Helman points out that Kudrycka’s interpretations tend to be extreme, which makes them attractive, however some of them enter the region of over-interpretation. Nevertheless, the reviewer notes that the most extreme interpretations are the most interesting, because they were written with incredible boldness and virtuosity. Helman relates some of Kudrycka’s diagnoses to her own preferences and film interpretations, and in summary notes: “Reading Bożena Kudrycka’s book is an exciting intellectual adventure. The author guides us through the meanders of Bertolucci’s difficult art with an infallible sense of direction”.

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Praktyka w służbie teorii

Author(s): Marta Stańczyk / Language(s): Polish Issue: 100/2017

In a review of the book by Małgorzata Kozubek” Filmoterapia. Teoria i praktyka” [„Film Therapy. Theory and Practice”] (2016). Stańczyk describes the first monograph on film therapy in Poland and the possibilities of cooperation between film experts and psychologists. The reviewer reads the book through the prism of its pro-social goals, recognizing that Filmotherapy does not fulfil the promises made at the outset. Kozubek’s book is divided into three parts: Theory, Between theory and practice and Practice. In the first part of the book Kozubek describes theoretical foundations (especially the projection-identification mechanism) and the socio-cultural context (post-modernity and therapeutic culture), in the second she reflects on the key to selecting films, placing emphasis on genre formulas as a modern form of myths. Superficial and inconsistent findings weaken the value of these two parts, and at the same time the language used is too hermetic for practitioners involved in film therapy. At the same time, they reduce the potential of the third, practical part of the book, showing Kozubek as an engaged humanist.

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Mike Leigh po raz pierwszy

Author(s): Andrzej Pitrus / Language(s): Polish Issue: 100/2017

Review of Artur Piskorz’s book “Kino organiczne Mike’a Leigh” [“Mike Leigh’s Organic Cinema”] (2016). As Pitrus emphasizes, Piskorz’s publication is the first work on the Polish market devoted to the achievements of this British director. However, this is not a complete monograph on the director, because Piskorz captures the achievements of the protagonist of his work only in a certain aspect, in order to narrow down the perspective and make the volume easier to read, but also probably striving to define the adopted research perspective. Pitrus points out that Artur Piskorz is not only a culture studies specialist looking at the cinema, but also an English philologist interested in the culture of Great Britain, including its language, which is also reflected in this publication. The reviewer discusses the construction of the book and its most important methodological assumptions, indicates its stronger points, but also some shortcomings, and in the end allows himself to suggest that one should question the author of “Organic Cinema” strategy and demand that he takes into account other interpretative perspectives, although his publication cannot be denied consistency.

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