Around the Bloc - Russia Halts Release of U.S. Action Film
‘Hunter Killer’ also fighting for release in Ukraine after censors say it glamorizes Russia.
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‘Hunter Killer’ also fighting for release in Ukraine after censors say it glamorizes Russia.
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Jedan broj priča američkog pisca Jack Londona neraskidivo je vezan za podneblje Tihog okeana od kojih nekoliko, međusobno povezanih isprepletenim narativima o životu i podvizima centralnog lika - pustolova Davida Griefa - sačinjava knjigu pod naslovom Sin sunca.
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The text is an attempt to adapt the tradition of French thematic criticism to the needs of the analysis of basic techniques and the poetics of film essays. The common part of the compared discourses is the authors’ interest in searching for the “theme” characteristic of the poet/director’s work treated as a whole. This “theme” is specially defined here, mainly through the prism of its obsessive intensity and countable repetitions in a given poetic/film creativity. In the article devoted to film essay (as a genre of interpretative statements about a film/director’s work), the topic connected with the problem of film interpretation was raised: how is its non-verbal (that is film) form possible? The examples analysed in the text are mainly selected video essays by Kogonada.
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The author writes about three essayistic films concerning to concentration camps. They were created at different times, as well as in different countries. Their creators – although they are characterized by a different sensitivity, and their works prove the breadth of the formula of an essay – speak in a way with a common voice. They want to talk about what is in fact unnamed, which goes beyond the possibility of imagining the magnitude of the evil of the Holocaust. None of them is a documentalist. Instead of loud accusations, they explore the realm of silence. The author of the article tries to find out how to face a difficult topic – in the past, almost at the time of perpetration, and today, when a wave of neo-nationalist movements is sweeping through Europe and the world.
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The author deals with the production, exegesis and ideological and political contexts of the first Italian compilation film “La Rabbia” (“Anger”) by Pier Paolo Pasolini and Giovanni Guareschi. The film created in 1962, based on film footage collected by the film chronicle Mondo Libero for two decades, was to present the problems of modernity from two opposing ideological positions: leftist, represented by Pasolini, and rightwing, represented by Guareschi. In his text Jóźwiak questions the previous interpretations of this film. An in-depth analysis of the dialogue layer and visual material reveals the political position of Pasolini, which from today’s perspective raises doubts, towards the Soviet regime, which consists of, among others, justification of the Soviet invasion of Hungary in 1956 and ethical relativization of Soviet policy. On the other hand, the analysis of the right-wing “fascist” part of Guareschi leads to surprising conclusions regarding the camouflaged influence of his thoughts on Pasolini’s later political attitude. In this light “La Rabbia” appears as a ground-breaking film in the evolution of Pasolini’s thought and creativity.
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The article is an analysis of the first three film essays by Jonas Mekas in the context of the autobiographical theory in film. The biographical experience of displacement and the search for rooting in the new reality became the background of the interpretation and analysis. The early work of the Lithuanian director was analyzed in relation to the concept of film diary and diary film, using the close reading method. The article is particularly concerned with the issue of shaping of the original style of Jonas Mekas, based on editing made at the time of filming, which was combined with the mnemonic processes proper to the phenomenon of reminiscence and the poetics of the American avant-garde film of the 1960s.
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Praca jest próbą analizy „Histoire(s) du cinéma” (1988-1998) Jean-Luca Godarda pod kątem problemu autorstwa filmowego. Uznając dzieło za wyjątkowy przykład autobiografii, autor w swym tekście zmierza do ustalenia, za pomocą jakich strategii oraz w jakiej formie twórca wpisuje się w swój film. Doprowadza to do odnotowania dwóch pozornie sobie przeciwstawnych tendencji ukierunkowanych z jednej strony na unicestwienie, a z drugiej na odsłonięcie figury autora.
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The aim of the article is to outline the characteristics of the film essay as a genre typical of post-war modernist cinema, developed especially in Europe in the 1950s, 1960s and 1970s. Its hybridity, formal idiosyncrasies and content ambiguity appear in this approach as a consequence of the doubts, that are typical for modernity, in the cognitive possibilities and aesthetic coherence of traditional forms, as well as proof of displaying the author’s voice and discursive forms of expression. In the context of this background one can also consider quite numerous examples of late-modernist Polish cinema as film essays. They occur in two basic variants – the first one is a fictional story (represented for example by Krzysztof Zanussi’s “Illumination” or Tadeusz Konwicki’s “How Far, How Near”), the second is a creative and discursive version of the document (represented by so-called creative documents of Wojciech Wiszniewski, Bogdan Dziworski or Grzegorz Królikiewicz).
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The article is devoted to Grzegorz Królikiewicz’s film essays. Michał Dondzik discusses the youthful fascination of Królikiewicz with the reading of Michel de Montaigne’s Essais, his first film essays realized at the Educational Film Studios in Łódź, video essays about the rectors of the Łódź Film School, and the compilation essay Kern. The author reconstructed the production contexts of the director’s essays and the path they had to travel to reach the viewers. As he writes at the end of the article: “The work of Grzegorz Królikiewicz in both Polish People’s Republic and after 1989 was condemned to narrow dissemination. Accessing the director’s films required determination and overcoming a number of difficulties, but the real challenge was watching the essays. They are absent from the space of Polish culture today. It is even better to look at them closely, analyse and argue with them, because it is Królikiewicz who invites such a personal, often emotional reception”.
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The subject of this article is the characterization of a particular variety of films whose narrative structure has been based entirely or predominantly on static photographic material. Works described as films from photographs, photo-films or “photographic stories” have not yet been extensively studied in a manner that would capture the phenomenon in a comprehensive manner. The lack of terminological systematization provokes scientific reflection not only on specific works, but also on their place among existing genre classification. The originality of the photo-film poetics has been presented in combination with iconographic film, animation and found footage, with which it exhibits formal similarities; these genres share a common history. Theoretical considerations are supported by the analysis of selected photo-films from Polish and foreign cinema.
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The text is an analysis and interpretation of found footage documentaries: “A Song of Air” by Merilee Bennett (1988) and “Sea In The Blood” by Richard Fung (2000), which were constructed from family footage from the archives of their creators. The text is an attempt to show the potential of found footage as a creative technique based on editing in the construction of the narrative of the past identity. The authors of the text refer to, among others, points made by William C. Wees in the work “Recycled Images: The Art and Politics of Found Footage Films” and Jaimie Baron in “The Archive Effect: Found Footage” and the Audiovisual Experience of History. They refer to the category of constructed identity, presented in Katarzyna Rosner’s work “Narracja, tożsamość i czas” [“Narrative, identity and time”], and David Carr’s concept to emphasize how the use of home movies allows individual film-makers, being the subject of the work, to tell individual experiences and incorporate family relationships in a narrative story dealing with identity.
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In his article Loska adopts the wider meaning of “recycled images”, thanks to which he can include in his analysis feature films whose creators use documentary aesthetic strategy to suggest that the visual material was filmed by someone else. The best examples of this practice are modern found footage horrors, which are based on blurring the difference between the fiction and the document. Loska assumes that the film examples he discusses are not about making a false document, but about using a genre convention recognizable by the audience, the aim of which is to undermine the boundary between the world depicted and the real, creating a “community of emotional states” about which Noël Carroll wrote in regard to horrors. Films belonging to this genre show how the technique has moved the boundary separating the public and private spheres and how it has become a part of everyday life.
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The aim of the article is to show the connections, both formal and in terms of content, taking place 1) between the found footage work, entitled “Sculptor with a Camera. Film Passion of August Zamoyski” by Marcin Giżycki, and amateur recordings by renowned Polish sculptor August Zamoyski, and 2) between Giżycki’s activities and strategies used in contemporary art (the concept of ready-made by Marcel Duchamp) and cinema (compilation film). In addition to the description and analysis referring to both Giżycki’s film and materials from the film archive of Zamoyski (containing the priceless document of life of the Polish landowning class in 1927-1929, as well as portraits of the artist’s friends, including A. Loos, A. Rubinstein, L. Marcoussis, A. Halicka, M. Kisling and the only recordings of S. I. Witkiewicz), the context of their creation and the possibilities for further use (e.g. by the Museum of Literature, which is the owner of Zamoyski’s recordings) were presented.
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Piotr Szulkin was one of the most important creators of the Polish cinema of the last decade of the Polish People’s Republic, who in an intriguing way tried to create a “separate cinema” in the realities of free Poland. Unfortunately to this day, no academic monograph or anthology devoted to his work (film, TV theatre, literary stories and paintings) was published in Poland. On the other hand, popular science articles on the subject of Szulkin’s cinema focus most often on the readings of this phenomenon of Polish culture in political or historiosophical contexts or related to the poetics of dystopia. And yet, both Szulkin’s science-fiction tetralogy, as well as several of his other cinema and television productions, are items that go far beyond these perspectives. Szulkin’s films can be regarded as some very interesting examples of creative drawing from various traditions of francophone thought (including Foucault, Derrida, Baudrillard), aesthetic attitudes of the poetics of absurd and grotesque (with Beckett at the top), and also from selected anthropologists and sociologists of culture (Girard or Bauman). In addition to this kind of tropes in his film studies commemoration of the recently deceased director, Konefał also tries to find narrative threads and strategies from works by Piotr Szulkin, which may seem interesting to the younger generation of viewers who do not know his work (the author relies here on the opinions of students of Gdańsk film studies and Norwegian PhD students from the University of Tromsø).
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Four spectacular cases of artistic appropriation of other artists’ artefacts have been discussed in the text: “Fountain” by Marcel Duchamp from 1917; written from scratch, word for word, “Don Quixote” by Pierre Menard, the hero of Borges’s story from 1939; photographs of Walker Evans’s photographs by Sherrie Levine in 1981 and displayed as her own (“After Walker Evans”); and the found footage of William E. Jones “Tearoom” from 2007, which was made up of an unchanged police record made in a toilet that was a meeting place of homosexuals. The author shows how such acts become contagious and cause an avalanche of subsequent appropriations of already appropriated works.
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The breadth of texts that make up the two-volume publication “KINtop. Antologia wczesnego kina” [“KINtop. Anthology of Early Cinema”] (2016), prepared by Andrzej Dębski and Martin Loiperdinger, and published by the Wrocław Publishing House Atut in the renowned and extremely valuable series “Germany – Media – Culture”, is very wide. It contains both strictly film history and philosophical texts, discussing specific issues, as well as those having a methodological character, often combining both approaches. “KINtop” can be used as a kind of manual of research procedures, it is also an invaluable source of knowledge for research on the historiography of early cinema, because it allows one to look at the circulation of ideas, methods, and detailed solutions.
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The article is a review of the book by Paweł Mościcki “Migawki z tradycji uciśnionych” [“Images from the Tradition of the Oppressed”] (2017), devoted to experimental and alternative art, the authors of which address the issue of migration and refugees. Fiuk draws attention to the merits of the publication, referring both to the choice of the theme and the formula of its presentation, and also points out – in places in detail – examples of film, photographic and poetic works which are mentioned. At the same time, she questions some of the interpretative clues that Mościcki follows, and lists examples of Eurocentric works of art created about refugees and an Eurocentric view of them, which – in her opinion – the author of the book and some artists cited adopt.
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The latest volume of the Wrocław series “Germany – Media – Culture” fits in with the new, multifaceted picture of the history of German cinema that has been formed recently, but it is not a typical presentation of film history. The author of the review draws attention to the numerous merits of the book by Andrzej Gwóźdź “Zaklinanie rzeczywistości. Filmy niemieckie i ich historie 1933-1949” [“Enchantment of Reality. German Films and their Histories 1933-1949”] (2018). Above all, it combines the qualities of an interesting reading with the meticulous reconstruction of the audiovisual landscape of Germany of the years 1933-1949. The most important context of this landscape are various ideologies, which is why one of the dominant themes of the monograph is the theme of cinema as a weapon of war, subordinated to various institutions. The second common theme in the films analysed in the book is the pleasure principle, implemented both by the cinema of the Third Reich and by cinematographies of the post-war occupation zones. The third part of the volume, offering a collection of precisely edited writings from the discussed era, is also noteworthy.
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Review of the book by Magdalena Kempna-Pieniążek and Przemysław Pieniążek „Inny/Obcy. Transnarodowe i transgresyjne motywy w twórczości Petera Weira” [„Different/Other. Transnational and Transgressive Motives in the Works of Peter Weir”] (2017). In the first Polish monograph devoted to Peter Weir, the authors propose a holistic reading of the Australian director’s achievements through the prism of a diverse character of the struggle with what is different, foreign, incomprehensible present in his films. In the review of the book, Karolina Kostyra develops the authors’ observations, providing further arguments Kempna-Pieniążek and Pieniążek proposed approach to Weir as a director struggling with cultural difference and perceiving in phenomena, that from the perspective of Western view may appear as irrational, their proper rationality, not depriving the analysed films of the incompleteness and secrets contained in them.
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Ovaj se naputak može pridružiti Popisu arhiviranih emisija... s područja Dalmacije..., no jednako se tako može pridružiti i dosadašnjim njemu sličnim Popisima, objavljenima u Etnološkim tribinama br. 21, 22 i 23. Naime, riječ je o uputi namijenjenoj svima, a u prvome redu etnolozima koji se uradcima televizijske produkcije žele koristiti u svojem stručnom, odn. znanstvenom radu. Valja i napomenuti da je sadržaj ovog naputka primjenjiv i na ostale (dokumentarne) emisije HTV-a, tj. drugih njegovih redakcija jer se taj tip emisija u svih HTV-ovih programskih jedinica proizvodi u približno istim produkcijskim uvjetima.
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