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Controversial Polish director, who is a fugitive from U.S. justice, faces new rape allegations.
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Controversial Polish director, who is a fugitive from U.S. justice, faces new rape allegations.
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Show’s co-director claims the wild-eyed Bolshevik was the true father of the 1917 Revolution.
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This paper is focused on problems concerning film education in Poland. It concentrates on the changes in and different ways of defining the goals of film education, the aims or recipients of this type of education. By presenting several definitions provided by Polish experts, it shows the direction of the changes; for example the inclusion of film knowledge into a wider context of essential competencies of each participant of contemporary audiovisual culture. The paper shows that in the 80’s and the 90’s of the 20th century academics identified the relationship and mutual interdependence between literature and the cinema as the most important part. Now, however, they mostly focus on the role of film in preserving national and European heritage. Moreover, contemporary concepts of film education mainly deal with workshops rather than with theoretical studies. What are the effects of the changes and new tendencies? Film education is present in the curriculums of primary and secondary schools (but constituting only limited elements and playing a marginal role). In Poland there are ministerial programmes, institutional projects, public offerings and also competitive commercial offers. Although we can see positive tendencies in this area, the system of film education in Poland still needs a coherent policy and institutional care.
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This article collects information on the functioning of the system of teacher training and development in the field of film education in Poland, and proposes how the process of self-education in this area may progress. The author focuses on the most popular forms, reaching broad audiences. The starting point in the text is a discussion about the place of film education in the Polish education system, and an analysis of syllabuses. The author also attempts to analyse the direction of activities related to the development of film education methodology in Poland, reviewing the activities of individual academic centres. In the latter part of the text, she describes the content and organisational concepts of cyclical and nationwide projects. A separate paragraph is devoted to online resources for the improvement, and consequent self-education of teachers in the area of film education. The article’s conclusion contains suggestions for systemic actions which would make it possible to raise the profile of this field of education, or even help make film education a school subject.
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The article describes teaching techniques used in film education in schools (at every level) and outside schools. All techniques described in the article are placed within the context of Polish didactics and delineate the evolution of dominant approaches to film education and regulations determining the work of teachers and film educators. The article discusses various factors that need to be taken into consideration when selecting the most appropriate teaching techniques and describes the main film didactic methods with a special focus on participation stimulating techniques. Finally, the article provides a brief overview of various teaching techniques utilised in extracurricular film education, with reference to existing procedural demands. The article is based on theoretical knowledge as well as the authors’ practical experience.
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Film and media education in the case of preschool-age-children is a particularly complicated matter. There are many different factors, including the question of methodology, challenges which stem from the learning abilities and skills of young children that should be discussed. The article on the one hand tries to indicate the main obstacle that preschool audiovisual education in Poland deals with. But on the other hand it presents and describes as a case study the New Horizons Association projects dedicated to children age 3–7. As the New Horizons are a nongovernmental organisation, the kind of solution they propose does not solve all the problems and is limited and restricted. In the final part of the article I critically try to refer to, what is still for many, an exceptional proposition.
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The paper describes events which are focused on Polish animation, with special regards to their educational values. The thesis refers to the importance of the Polish Film Institute, higher education, film workshops and film festivals for Polish animations. The most important part of the paper describes animation film festivals. Film festivals are portrayed as the most extensive educational platform, because of which the whole paper centres on an understanding of the issue through festival studies. The author evokes theories of the field-configuring events by Bernard Leca, Charles-Clemens Rüling and Dominique Puthod. In the paper the Polish animation film scene is described as heterogeneous, however, filmmakers who make animations are evolving a coherent vision of it. Helpful in this process is the Polish Animation Producers Association. In the final part of the paper the author focuses on O!PLA. The Festival of Polish Animation. This event can be interpreted as a something more than a field-configuring event, and described as a communicator of the convergence of expertise (term of Grzegorz D. Stunża and associates).
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The paper presents a comprehensive overview of the issues of the broadly defined audial education (how to listen), with special regard to its meaning in the need of film education. Beginning with comments on the specificity of contemporary audiovisual culture and on the role of education in the matters of listening (including music education) in general as well as professional education, the author analyses the consequences of this state concerning incomplete film perception and interpretation resulting from underestimating the role of its audial layer. In the second part of the article the author points to and describes certain important initiatives aimed at the improvement of the previously shown negative situation.
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The author analyses activities described as film therapy in Poland, emphasising the fact that in their description the term is often overused (most of them use film as a tool in school and social education or even rehabilitation, without any connection to therapy as a psychological and psychiatric method), which can cause some perplexity among those interested in the topic. The author also discusses the ideological implications of the method, inscribing it in the context of therapeutic culture and referring to Polish publications about film therapy, as they are potential signposts for those looking for information on the issue. This leads to the conclusion that film therapy can be seen as a part of film and media education in Poland, that favours the utilisable and reducing approach to cinema. Visible, especially on internet film forums, is an urgent need to educate the viewers, which reveals an even broader problem (that will be only briefly mentioned) – humanities education in general.
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The article is an attempt at critical analysis of selected film education programmes addressed at school students by independent and network cinemas. The first part of the article is devoted to a survey of key determinants for Polish film academies’ educational profiles, largely determined by the contents of the Core Curriculum. Subsequently, four case studies are conducted: the New Horizons of Film Education programme operating in the Network of Studio and Local Cinemas, Młodzieżowa Akademia Filmowa [Youth Film Academy] at Amok cinema in Gliwice, the Interdisciplinary Programme of Media Education KinoSzkoła [CinemaSchool] operating at independent cinemas and community culture centres in smaller towns and finally Akademia Filmowa Multikino [Multikino Film Academy]. In her conclusion, the author analyses these cases in the light of current European tendencies in film education, outlined in the document "A Framework for Film Education".
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This article describes the educational actions (including the use of them in education) related to pre-war films conducted by the National Film Archive in Warsaw. First to exemplify this phenomenon, I focused on the works of three silent films: "Mania. The history of a cigarette factory worker" (Mania. Die Geschichte einer Zigarettenarbeiterin, 1918, directed by Eugen Illés), "Pan Tadeusz" ([Sir Thaddeus, 1928, directed by Ryszard Ordyński) and "Zew morza" ([The call of the sea], 1927, directed by Henryk Szaro), which have undergone a complete digital reconstruction during the Nitrofilm project (2008–2014) in the National Film Archive. The aim is to show how knowledge about silent film is communicated to the audience, and how these movies can be used to achieve educational goals/targets. The theoretical framework of this essay is examining the changing function of film archives, where technological change, the possibilities of restoration and digitisation of films contributes to increasing popularisation of audiovisual heritage by film archivists and museums. An essential category in this essay is the authenticity both for the reconstructed film and its presentation. The perception of authenticity often determinates strategies for presentation of this heritage. The article is based on qualitative research (interviews with the audience and workers at the film archive; participant observation, press materials and websites).
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The article considers industry workshops organised during film festivals and festivals dedicated to the film profession in Poland. It puts forward the fact that during film festivals not only screenings, contact between a filmmaker and a viewer are important, but also workshops and industry meetings dedicated to artists. This kind of education seems to be needed because after graduating from film school it is a possibility to develop one’s own skills and to update knowledge about the profession. The author also concentrates on Polish film festivals fully dedicated to the film profession, such as Camerimage International Film Festival in Bydgoszcz, Script Fiesta in Warsaw, Regiofun Film Festival in Katowice, Kamera Akcja Festival and Transatlantyk Film Festival both in Lodz. Even though there are not so many film festivals dedicated to one film profession, they are important because of their educational value for filmmakers and for audience.
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An interdisciplinary project “Dimensions of the body: between bioethics and film studies” is focused on the concepts of the body and on the ways of portraying it in audiovisual culture. One of the issues we investigate is the body of a paediatric patient. In this paper we concentrate on the new idea of using film as an element of psychiatric therapy of paediatric cancer patients. By referring to the concept of resilience theory, which studies the phenomenon of children’s, adolescents’ or adults’ positive adaptation despite adverse life conditions, traumatic events and hostile environments, we show how filmmaking workshops can constitute a key element of achieving resilience. In our research we employ the concept of José Luis Medina Amor’s theory of three C’s, that is: control, change, commitment. This paper presents the way filmmaking workshops for paediatric cancer patients could become a practical tool contributing greatly to achieving resilience. We show how all the elements of the three C’s theory can have a practical use in filmmaking workshops and that an active participation in such workshops can be especially beneficial to paediatric oncology patients while they discover and bolster resilient values.
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It is hardly a secret that the film community in contemporary Poland is not particularly interested in animation, which makes it, to a certain extent, a niche. So how is the animation branch of the industry coping in Poland? What is Polish animation and what problems is it facing right now? All about filling the niches and more in a conversation with Agnieszka Kowalska-Skowron, one of the organisers of the International Festival of Animation Art AnimArt in Poland.
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This article is a review of the book titled "Rozmowy przy filmie. Wywiady z polskimi filmoznawcami" [Talking about Films. Interviews with Polish Film Scholars], edited by Żakieta, K., Góralik, M., Pospieszyńska, A. (Łódź, 2016). The reviewer pays attention to different topics brought up by interviewees in academic discussion. Both the series of meetings mentioned in the book’s title and the book itself were also meant to popularise film knowledge among people interested in audiovisual culture. The greatest advantage of the book is sharing with readers not only their extensive knowledge, but – what is at least equally important – their love for cinema.
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The paper concentrates on two feature films based upon Henryk Sienkiewicz’s novel about ancient Rome – "Quo Vadis?" (dir. Enrico Guazzoni [1913]) and "Quo Vadis?" (dir. Gabriellino D’Annunzio, Georg Jacoby [1925]). Both films belong to the peplum genre, popular during the era of silent cinema. The paper reconstructs production circumstances of both films as well as their historical reception. It is argued that both films can be seen through the prism of socio-political contexts, including the colonial ambitions of the Italian state.
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Wim Wenders’s report is devoted to the output of the world-renowned photographer Sebastião Salgado. The presentation of his works in the documentary employed the text within a text composition, or rather photography within a documentary. The director emphasised the photographs and the statements by the photographer in such a way that the viewers could learn about Salgado as the author of his works and as a human, a humanist concerned about the fate of contemporary human beings. The analysis and the interpretation of the report enabled me to reflect theoretically on the definition and the specificity of photography.
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This article investigates gender role reversal in the feminist revisionist Western film by exploring the notion of reversal (peripeteia). First, it demonstrates features of classical Western on the example of John Ford’s „The Searchers” (1956). It establishes genre’s reliance on gendered binary opposites i.e. civilization/wilderness, individual/community, passive/active, and draws attention to language. Then it analyzes how these fundamental conventions are changed in more recent films and what do differences signal rhetorically. Distinction is made between „The Missing” (2013) with its clear focus on reversal of generic features associated with dominant masculinity, and „The Ballad of Little Jo” (1993) which addresses critical concepts of agency, gaze, and performative aspect of gender.
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The article is dedicated to the research work of the famous Ukrainian film director Dovzhenko. The article highlights the main periods of the director, his influence on the formation of the Soviet and national film school. We consider creative director stages, its contribution to the formation of "poetic cinema" noted feature creative approach to creating films that were due to creative director significant artistic and cultural heritage not only to Ukrainian but also for world cinema. Development famous film director of Alexander Dovzhenko Ukrainian art is extremely remarkable that manifests itself in immortal cinema masterpieces of the artist with his particular style of Film, recognized not only by the Soviet, but also world cinema. Myths about filmmaking of the outstanding Ukrainian Oleksandr Dovzhenko trying to create and distribute even today, when society has stepped in the XXI century. Great master`s works are inexhaustible and multi-vector, philologists distinguish the special beauty of its language, artists emphasize the Dovzhenko`s cartoon style, film find an innovator Ukrainian Dovzhenko cinema, art – bright creator and representative of world culture, writers – virtuoso artistic expression, publicist, known stands. Alexander Dovzhenko lived and worked in difficult times of history, but that gave impetus to the canonization of its kind as a person in the cinema and creative person. This process began in the late 1920s, right after the movie "Zvenyhora" and "Arsenal" – the phenomenon is quite typical of the artistic life of the Soviet period, when politics and ideology influence and hang over the work of art circles as an integral part of the system. The world had to know about the achievements of the young socialist state, which created conditions for "the full development of national cultures" gave ground for the emergence of their own Soviet cinema. Dovzhenko received massive acclaim in a wide media USSR and abroad. His name became known, it acquired legendary significance, thus creating a mythological space around the artist that was characteristic of the 30s of the twentieth century. Ukrainian writers, with whom communicated director, always emphasized his national identity, considered him a messiah Ukrainian cinematography, stressed its mission the revival of spiritual culture of the people. In 30 years, Alexander Dovzhenko appeared as an original filmmaker, founder poetic cinema in the Soviet cinema. His search for innovative ideas and author embodies creativity, launching a new direction in Soviet movies – poetic film, where she is a prose-poetic metaphorically rich, organic in nature, associated with increased descriptiveness, and therefore – zhyvopysnosti, justified itself not only the term "kinopoeziya" found supporters not only in domestic but also in world cinema. Poetry in his work is not an end in itself, but acts only one of the tools for a peculiar image of what he wanted to show people on the screen, it naturally permeates the entire artistic fabric film artist. Dovzhenko shot his first sound film, "Ivan" in 1932, the social meaning of this painting is unpretentious, but composition, character and decor are different from others. Director abandoned young Soviet film tradition, deeply affected socialist realism when the screen stood turbine column of tractors, gears, paravozy. For grinding iron artist shows ordinary man with his ordinariness, emotions, hopes and doubts, joy and grief. On the first International Venice Film Festival in August 1934 took place a snippet of his film "Ivan". Since conflicts at Kiev Dovzhenko studio, especially after the setting of the film "Ivan", exacerbated, the director decided to go to Moscow and in 1933 started working on "Mosfilm". In 1935 Dovzhenko awarded the Order of Lenin, and in autumn of the same year on the screens was "optimistic" movie "Aerohrad", and in 1939 the screens out the historical and revolutionary epic – "Schors" staged at the Kiev Film Studio. Directed building plot on reports of military operations and Bogunskiy Tarashcha regiments commanded by Vasyl Bozhenko. They serve as a leading line to show the crucial role of education regular units of the Red Army to victory in the Civil War. Movies Dovzhenko special, defined organic combination of figurative historicism thinking deeply creation of folk, national character, a combination of high-rise romantic thoughts with penetrating philosophical analysis of reality, rethinking poetics of folk art, a free application hyperbolism, grotesque, symbolism. These features are inherent creativity Dovzhenkivskiy greatly enriched Ukrainian cinema.
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The article discusses artistic methods of voicing commercials. An attempt was made to identify the factors of effectiveness in articulating promotional products and use of new technical capabilities, as well as broadly reflected the emotional-value component impact promotional videos to a mass audience. Using the existing theoretical base and her own experience in articulating promotional videos, the author defines the methods as auxiliary functions in articulating advertising. Sound promotional videos is a process that requires professionalism in the creative and technical understanding. In its form it is in many ways similar to the scoring feature, documentary and animated films, but has its own specifics. Modern scholars rightly believe that the most emotional and spectacular views of advertising is television advertising. Despite the fact that artistic aspects of production and distribution of advertising generally sufficient research (the works of Vuymy, A. Muhayeva, D. Ogilvie, K. Hopkins and others), but it is artistic means and methods of scoring promotional videos and still remain out of sight of scientists. The need for a clear definition of the basic characteristics of the genre of video, identification of key technical and artistic features sound makes promotional videos urgency of the article, whose author can draw on its own expertise. Advertising as a way of transmitting information takes many forms. However, the most popular and effective among them are promotional videos as covering the widest range of consumers and in contrast to other types of advertising including the emotional factor of influence on the audience. Sponsored videos are divided into two types: it is informative videos and music clips without music. Commercials musical composition called "jingles". Each has its own specific sound, technical support and opportunities. It should be noted that it is creating music videos are unexplored creative process. Thus, the art of scoring factors commercials deserve special attention. In today's advertising market there are several types of television advertising. Leading among them is the television video – a small advertising "film" lasting 15-30 seconds. After completion of the visuals, which manages producer, comes an interesting and crucial final phase of video production – editing and dubbing. At the forefront of this creative process are the breaking sound, the singer, if the music video, and necessarily announcer. All promotional videos are aired at professional recording studios. This may be the studio working only with advertising production and conventional recording studio. Today, almost every professional studio recording commercials (most often – advertising for radio stations). This process requires the participation of recording studio professionals, and quality necessary technical equipment and conditions. Sound advertising has many forms and specifics. This may be offscreen sound or dubbing. When adapting clip is duplicated basic version, which will be broadcast in another country, replaced all tracks – the speaker's voice and background sound. The original language is replaced with one in which the country is adaptation. Today scoring promotional videos foreign origin – the most popular type of work on the speech. Sound clips can be carried out as follows: Narration, sounding off screen or frame, a song or a combination of songs and Narration. If a dubbing that is adapting video advertising, announcers or vocalist should necessarily start from the original. To duplicate some promotional videos used technology. Advertising agency receives a foreign movie version, the session "Pro Tools" (number of tracks), that presented separately music, language specific characters and various effects. The first stage of duplication of video advertising is a translation of the text to be correct and appropriate to the original. Correctly translated text – the basis dubbing. The manner of scoring in every singer or speaker is an individual. Artists use their "tricks" and secrets possibilities sound of his voice, its timbre and color manner. Considerable importance in voicing the roller are acting ability Artist: announcer and vocalist should work together with the characters "relive" history, proposed director, which is an important component of the quality and success of video advertising. Sound promotional videos – is painstaking, difficult and interesting creative process. In a short period of time required to draw the audience's attention, hold it and encourage the audience to certain actions. For this interesting video series must be combined with good speech. Commercials that are broadcast on television, often broadcast at intervals of interesting films and programs.
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