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Film-Festivals (in early 1960s Yugoslavia)

Author(s): Radenko S. Ranković / Language(s): English Issue: 01+02/1999

Although the Yugoslav film industry has existed for more than a hundred years now, film festivals began to be staged as cultural and artistic events only after the Second World War, like elsewhere in the world. Following the disintegration of the former Yugoslavia, the film festivals established earlier in what is now the FR of Yugoslavia (Serbia and Montenegro) continued to be staged and several new ones were also established. The oldest one is the Festival of Yugoslav Documentary and Short Film established in 1954 (together with the Festival of Feature Film) in Pula, it was moved to Belgrade in 1959. According to the Film Institute of Belgrade, 15 film festivals, including two amateur ones, are staged in Yugoslavia. Moreover, the programmes of various summer cultural and artistic events also include film and video works (e.g., Marble and Sound in Arandjelovac, etc.).

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Nieobecni obecni. Próby powrotu duetu Jiří Voskovec i Jan Werich na ekran po 1945 roku

Author(s): Karol Szymański / Language(s): Polish Issue: 97-98/2017

Jiří Voskovec and Jan Werich were co-creators of the famous Liberated Theatre in Prague, on the boards of which in the period of 1927-1938 they presented very successful and critically acclaimed “reviews” considered to be one of the most interesting phenomena of the European avant-garde theatre. In the 1930s, they also starred in four cinematic hits that combined absurd comedy and a vaudeville formula with social and political involvement. After World War II, despite the emigration of Voskovec to the USA and the temporary limitation of Werich’s activities by the communist authorities, the duo of comedians enjoyed unchanged popularity, becoming a symbol of the golden age of national culture and inspiring successive generations of followers. Szymański presents attempts to use this living legend and the creative potential of Voskovec and Werich by post-war Czechoslovak cinematography. He draws attention to interesting film projects of the 1960s, where the artists were to meet again on screen, the ideas of Vojtěch Jasný, and his Shakespearean “Filmfalstaff”, the spectacular screen adaptation of Karel Čapek’s “War With the Newts” planned by Ján Kadár and Elmar Klos, and Evald Schorm’s parody of a detective film “Murder for Good Luck”. Unfortunately, none of these projects was successful, reflecting, among others, the inability to fully and freely restore in communist Czechoslovakia a broken thread of national artistic tradition.

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„Żeby nie bolało” jako postulat antropologiczny

Author(s): Irena Antonina Teleżyńska / Language(s): Polish Issue: 97-98/2017

“So That It Does not Hurt” by Marcel Łoziński is a much written about classic documentary. The film, analysed in anthropological context, appears incredibly pertinent, as it condenses the fundamental problems of the field of cultural and social anthropology. Teleżyńska’s article suggests a gaze towards the direction defined by Urszula – the main character of the film, who becomes the symbol of the anthropological informer. Her mediation enables one to touch the most basic problems of anthropology in a novel way.

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Artysta w domu strachów. Jeremy Blake i Winchester Mystery House

Author(s): Marcin Giżycki / Language(s): Polish Issue: 97-98/2017

This year marks the tenth anniversary of the death of New York artists Jeremy Blake and Theresa Duncan, who committed suicide within one week of each other in July 2007. She had a well-received animated film in her output. He was a rising star of video art, and his most important work was the “Winchester” trilogy, inspired by the mysterious Winchester Mystery House in San Jose, California, and the life of its creator Sarah Winchester, the heiress of fortune coming from the production of rifles well known from western films. According to legend, Ms. Winchester built this house in order to appease the spirits of Native Americans killed by Winchester rifles during the conquest of the Wild West. Despite success, Blake and his partner became paranoid, and their art did not offer them a refuge from evil powers.

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1500 stron o 120 latach polskiego dokumentu

Author(s): Tadeusz Szczepański / Language(s): Polish Issue: 97-98/2017

Review of two thematically related publications devoted to the Polish documentary film: Małgorzata Hendrykowska’s monograph “Historia polskiego filmu dokumentalnego (1896-1944)” [“The History of Polish Documentary Film (1896-1944)”] published in 2015 and the collected volume “Historia polskiego filmu dokumentalnego (1945-2014)” [“The History of Polish Documentary Film (1945-2014)”] also edited and published by Małgorzata Hendrykowska in 2015. Szczepański reviews the content of both books, points out the titanic work that Małgorzata Hendrykowska has put into the preparation of these volumes as an author and editor. In his summary, the reviewer notes that this two-volume edition is a project of a difficult-to-overestimate encyclopaedic value – it impresses with the concept and workmanship, while restoring documentary filmmaking to its rank in post-war national culture.

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Skandynawia pod lupą

Author(s): Magdalena Kempna-Pieniążek / Language(s): Polish Issue: 97-98/2017

The book "Od Ibsena do Aho” [“From Ibsen to Aho”] (ed. T. Szczepański, L. Sokół; 2015) is one of the most ambitious, but also the most difficult undertakings realized within the framework of the interdisciplinary series “Literatura na ekranie” [“Literature on the Screen”]. The authors of the volume present a wide spectrum of interpretations of both literary works and their film versions. Through the prism of individual screen adaptations, they see the various problems of Scandinavian cultures, with particular emphasis on issues such as the patriarchal family, national identity, human relations with the Absolute, nature and the drama of human existence. Articles, which in their vivid style, deviate from the usually standard of writing on film adaptation are worthy of interest. One of the advantages of the volume is its interdisciplinarity, but the comparative method used by many authors, based on listing the differences between the literary original and the screen adaptation, does not always bring the expected results.

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"Production studies" w Polsce – stan badań

Author(s): Anna Wróblewska / Language(s): Polish Issue: 16 (23)/2016

Film culture research involves observing and analysing complex production, economic and market contexts as well as film set issues and the film preparation process, team work realities, customs, and self-reflective narratives of crew members, which usually fall beyond the scope of the film studies. The film production culture research, though innovative a few years ago, is now becoming more and more popular in Poland. Therefore, it appears to be the right moment to define both the state of research and the latest achievements in the production studies in Poland. The aim of this paper is to present an outline of the Polish film culture research on film production in Poland, make an attempt to systematise it as well as specify the areas that have not been examined thoroughly.

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Instytucja festiwalu filmowego w ekonomii kina

Author(s): Marcin Adamczak / Language(s): Polish Issue: 16 (23)/2016

The article focuses on the issue of film festival as a multidimensional social phenomenon crucial to economical organisation of the contemporary cinema, especially in Europe. The author describes history of film festivals and metaphors which highlight their functions. He elaborates the question of festival circulation as a form of distribution and positions of social actors involved in creating a film festival. The institution of a film festival is perceived as linked to the film market, reversed economy and regimes of taste in the contemporary culture.

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Klastry filmowe jako nowy sposób organizacji produkcji audiowizualnej

Author(s): Krzysztof Stachowiak / Language(s): Polish Issue: 16 (23)/2016

The paper aims to analyse film clusters as a spatial form of the organisation of audio-visual production. Audio-visual industries, including film production companies, show a distinct tendency to spatial concentration and forming clusters. Film clusters are specialised assemblies in which audio-visual material is produced, i.e. films, TV programmes, serials, etc. Cooperation within a film cluster brings many benefits to its entities since it ensures them a space favourable to creative work. Because of the so-called spill-over effects, the advantages following from their cooperation can also be felt in other sectors of economy. This is the case because the dynamic environment of creative clusters has strong links with related industries with which it usually shares creative capital – a common pool of talents. The paper explains the concept of cluster and shows the benefits of clustering for the film industry. Then, it analyses the distinctive features of a film cluster and explores them empirically on the example of a film cluster in London.

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Etnografia w badaniach filmu i kultury produkcji

Author(s): Iwona Morozow / Language(s): Polish Issue: 16 (23)/2016

Using the ethnographic field methods in visual anthropology as a useful tool to understand and describe the process of filmmaking is a well-known practise. Of course, most of this research usually deals with a small, local production. But in fact there are also a few cases of implication of ethnography for the study of the mainstream cinema outside of the mentioned subdiscipline. Giving an examples of anthropologists and others who considered field research as a possible method to study film and production culture the author tries to look at possible gains but also problems associated with using ethnography in the film related research. What is more, the author pays attention not only to critical reading of given literature but also focuses on promising new perspectives which could strengthen and diversify the association of anthropology and film studies.

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Podstawowe formy komunikacji marketingowej dzieła filmowego

Author(s): Arkadiusz Lewicki / Language(s): Polish Issue: 16 (23)/2016

The article presents the most important forms of marketing communication which are used in film promotion. The author starts from the concept of the marketing mix, appearing in the classic book of Philip Kotler. The main differences in the perception of marketing tools by producers and distributors of films have also been discussed. The rest of the article is an analysis of the most important forms of marketing communication, such as a title, poster or trailer.

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Zło konieczne. Dubbing w przedwojennej Polsce

Author(s): Paweł Sitkiewicz / Language(s): Polish Issue: 16 (23)/2016

In the early sound film period, a discussion on dubbing started in Poland. Some believed that this was the best way to translate films from one language to another, others criticised dubbing (for a variety of reasons) or considered it as “necessary evil” or a difficult compromise. In his article, the author tries to refer the arguments of both parties. He studies the opinions of filmmakers, film critics, representatives of various artistic disciplines, and the audience. The dispute was not just about artistic or practical issues (such as efficiency of translation methods or the comfort of the audience). In the era of nationalism, dubbing was a political problem. The author also tries to answer the question why dubbing did not spread in the Polish cinema before 1939, despite favourable conditions.

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Produkcja filmu krótkometrażowego w epoce gierkowskiej na przykładzie działalności Wytwórni Filmów Oświatowych

Author(s): Emil Sowiński / Language(s): Polish Issue: 16 (23)/2016

The Educational Film Studio in Łódź (abbreviated in Polish as WFO) was a bustling film production centre in the Poland of the 1970s, with a yearly output of over 100 short films. The Studio had its own technical equipment and a fairly specialised workforce of over 450 employees – some of them provided services to other organizations, e.g. lab development for Se-ma-for. The Studio utilised a variety of genres, including advertisements, instructional films, science films, and even aspiring art films (e.g. the films of Wojciech Wiszniewski). The aim of this article is to analyse the production process that took place at WFO – both in case of the films commissioned by outside contractors as well as the typical agenda films. The study centres around three crucial stages of the short film production process: (1) pre-production and development, (2) filming, and (3) post-production. Adhering to the principles of production studies, a wide corpus of historical sources has been analysed in regard to films: Arena życia, Muzeum, Lekcja władzy, Kobiety pracujące, Hokej, Polam and Wanda Gościmińska. Włókniarka.

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Box office, kinocentryzm i polskie kino lat dziewięćdziesiątych

Author(s): Michał Piepiórka / Language(s): Polish Issue: 16 (23)/2016

The Polish cinema in the 1990s struggled with many problems, mainly economic ones. In this period, Polish movies were not so popular, only few of them achieved a bigger box office success. The movie market of this time suffered from the lack of sufficient number of film copies. Due to this problem, the accessibility of specific movies was truly limited. This is the reason why the results of box office are not meaningful enough when researchers want to point to the most popular Polish movies of this period. Cinema is one of many channels of distribution and in the 1990s it was definitely marginalised by the audience. Polish spectators were watching native films on TV or on video players more often than in the cinemas. So the researchers who want to describe the popular side of the Polish cinema of the 1990s should abandon the discourse of “cinemacentrism” and take a look at the other media.

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Czynniki hamujące rozwój skandynawskiego horroru w XX wieku

Author(s): Piotr Wajda / Language(s): Polish Issue: 16 (23)/2016

While researching the Scandinavian horror, it can be noticed that film historians compared appearance and development of the Swedish Film School to German Expressionism. Although sharing many elements, the Scandinavian filmmakers from that era seem to play second fiddle. The Swedish premiere of Benjamin Christensen’s Häxan in 1922 showed real problems related to horror and its reception in the conservative, at that time, Scandinavian society.The author of this paper analyses several causes that were responsible for suppression of the Scandinavian horrors development. On that ground, horror genre could not be developed for a long time because of censorship institutions, which were operating especially in Norway and Sweden. Control organs focused on narrowing down the access to violent content in motion pictures. Those limitations led to the situation in which the American horror films were illegally distributed. Furthermore, the next part of the presented paper contains a brief description of the European markets, where horror developed well. Among the suppressing factors, the author analyses demographical and economic issues that influenced the lack of development of horror cinema in Northern Europe. For years, the genre cinema was considered as the opposition to the arthouse cinema, which suddenly changed after Villmark appeared on the screen in 2003.

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Ewaluacja aplikacji programu operacyjnego Produkcja filmowa w Polskim Instytucie Sztuki Filmowej

Author(s): Artur Majer / Language(s): Polish Issue: 16 (23)/2016

The article discusses changes in methods of evaluation of the application for Operational Programme named Film Production at the Polish Film Institute. In the beginning of its founding (2006), the Institute’s experts (specialists from the Polish film industry) were selected randomly. They were giving their opinions about film projects anonymously and independently from each other. Several meaningful changes were implemented over 10 years – like requirement for the experts to meet and negotiate their common opinion – changed the landscape of the Polish Cinema. The Polish Film Institute established The Script Development Department and at the same time has allowed the applicants (film producers and screenwriters) to choose the experts to evaluate their projects. These changes show how PFI influences the film industry by letting the experts make decisions and becoming the real advisor for producers and artists.

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"Forget the film, watch the title credits!". Wprowadzenie do czołówki filmowej

Author(s): Grażyna Świętochowska / Language(s): Polish Issue: 16 (23)/2016

I regard a warning put on the film cans with The man with a golden arm by Otto Premingera (1955), „Projectionists, pull curtain before titles” as a symbolic beginning of a visibility, legibility and individuation of a title sequence. This particular recommendation was to change the movie audience practice and combine cognitive openness with the first metres of a screening film. It set in motion a long-term reflection motivated by different circulations of knowledge and cognitive needs. The promotion of the title sequence translated directly into the bottom-up movement of obtaining a place (and prestige) by a previously anonymous occupational group. At the same time the opening sequence became a centre of an artistic and proto-film expression from a visual culture perspective. A title sequence can be located between iconic message, typography, advertising, packaging, neon sign, vignette and poster. An opening sequence would be then nested in various forms (and media) of the management of human surroundings, in this particular example negotiated thanks to the perceptual activity of the viewer, in the wider meaning – recipient based on different culture competences and in the widest meaning – user. The contemporary direction of participation in an audiovisual culture heritage and commonness of an access to the “primeval movie version” result in a diverse offer of short multi- and post-medial forms and let the intercepted and emancipated title sequence accommodate on a map of ahistorical practices belonging to the remix culture.

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Wokół mitu wolności w internecie

Author(s): Helena Draganik / Language(s): Polish Issue: 16 (23)/2016

The text regards the freedom of information on the Internet, basing on the fact that it evolved to the level of mass media from a stage of a network dedicated to serving the academic purposes and promoting scientific knowledge. In the effect of intensive development and massification it was commercialised and subjected to laws that apply to all mass media – including the need to regulate its content. Meanwhile, the public expectations regarding the freedom of information which arose in the early years of the Internet have hardly changed: the myth of the free Internet is still widespread. The text analyses the functioning of the mythology of the freedom of the Internet among its users. It also refers to the freedom of information on the Internet in the twenty-first century.

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Reżyseria: Robert Redford

Author(s): Anna Dębowska / Language(s): Polish Issue: 16 (23)/2016

Robert Redford, a big Hollywood star, directed nine feature films. The question is whether, using the terminology developed on the basis of the auteur theory, he is a real auteur, impressing a unique stamp on his films, or simply a craftsman, creating impersonal products, or “postauteur”, effectively managing his image. The films directed by Redford did not fit in the canons and the trends prevailing at the time of their creation. They are also not distinguished by the individual character of the script, rather following the path of classical directing, with traditional narrative and a standard use of film resources. However, there is a consistent attachment of the director – a representative of the ’68 generation – to the values proclaimed by contestants in the turbulent sixties. Through the prism of these values, the director’s topics of interest are portrayed: the family, the process of growing-up and self-development, equality, freedom, brotherhood, the beauty of man and the surrounding nature, the pillars of liberal democracy – the rule of law and freedom of speech. Exactly this determines the specifics of Redford’s films and shapes his personality as auteur.

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Teatralność sztuki wideo – festiwal In Out 2016

Author(s): Jakub Kłeczek / Language(s): Polish Issue: 16 (23)/2016

The article describes the selected works presented during the festival In Out in 2016. The topic of the festival (theatricality) has inspired many artists to recognise the zone of remediation between the theatre and electronic media. The works of Bogna Burska, Michał Soja, Eva Van Tongeren, Piotr Urbaniec, and Katarzyna Świnarska presented at the festival have interpreted the category of theatricality on many different levels. The article analyses the theatricality of the work from the perspective of reflection of Samuel Weber, Samuel Beckett, Philip Auslander, and other artists and theorists.

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