Wyniki wyszukiwania - Biblioteka Nauki

1

Third Wave of Polish Cinema? The History of a Few Terms

100%

Hauschild M.

Kwartalnik Filmowy

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2007

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nr 57-58

103-117

EN

The term 'third Polish cinema' was coined by film critics of the late 1960s in a bid to link by a hot slogan the work of debuting directors of the generation of the turn of the 1960s and 1970s. From historical and cinematic perspectives, the criteria the critics were guided by lost clarity and led to many misunderstandings. In her article, the authoress traces the history of the term and the way in which it was characterised by the term inventors, the directors included in the category and film critics and historians who tried to find their points of similarity.

2

OUR NATIONAL COMEDY (Nasza komedia narodowa)

63%

Lubelski T.

Kwartalnik Filmowy

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2009

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nr 67-68

286-303

EN

The author analyses Polish comedy, which is the favourite genre of the Polish audience. He seeks meaning related to national identity and shared imagination in the characters, dialogues, landscapes, and comedy catchphrases that entered the Polish language. Starting with pre war comedies such as the 'Forgotten Melody' (Zapomniana melodia, 1938) by Konrad Tom and Jan Fethke, and ending with the 'Day of the Wacko' (Dzien Swira, 2002) by Marek Koterski, he shows how these films define the nation. He shows how the elements defining the nation are connected to the political and historical situation. He also shows how the 'community of laughter' has always been one of the strongest elements of shared identity. Elements that used to be considered to be the most important ones in the mythology of nationhood, are now presented as ones that underwent degeneration, and are ruthlessly critiqued. This is particularly visible in the 'Day of the Wacko', which questions, mocks and de-mythologises all the elements of the national mythology, including its language.

3

KOSCIUSZKO, LOOK AT US FROM... THE SCREEN (Patrz Kosciuszko na nas z... ekranu. Obraz Naczelnika w filmie)

63%

Wlodek R.

Kwartalnik Filmowy

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2010

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nr 69

32-61

EN

The article deals with film portrayals of Tadeusz Kosciuszko. In 1913, in Lviv, a film 'Kosciuszko at Raclawice' was made. This work, although not made by professionals, fulfilled important patriotic aims, by showing, in the days before the First World War, fight against Russia. The film was found in 2009, and is currently being renovated. Another propaganda film 'Under the Yoke of the Tyrants' (1916) encouraged Poles to struggle alongside the Prussian and Austro-Hungarian armies against Russians. This film was made in Kraków by a German director Franz Porten. 'Kosciuszko's First Love' (1929) failed to present the hero's private life. Another version of 'Kosciuszko at Raclawice' was made in 1938 by Józef Lejtes. In this version the most important scene in the film is the title battle sequence. Because of the Polish socio-political situation of the time, the role of peasants was minimized in the portrayal of the history of the battle, however the warning against Russia remained pertinent. After the Second World War Kosciuszko, given the history of his struggles in the USA and then against Russia, became too controversial figure to be easily portrayed in film. This was brilliantly shown by Antoni Bohdziewicz in the satirical 'Wellies of Happiness' (1958).

4

FIRST POLISH FEATURE FILM: 'LES MARTYRS DE LA POLOGNE - PRUSSIAN CULTURE' (1908) (Pierwszy polski film fabularny. 'Les Martyrs de la Pologne - Pruska kultura' (1908))

63%

Hendrykowska M. , Hendrykowski M.

Kwartalnik Filmowy

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2009

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nr 67-68

212-230

EN

The authors write about a film rediscovered by them in September 2000, in the French archive Bois d'Arcy. The film is entitled 'Les Martyrs de la Pologne', but in Polish film studies is known as 'Prussian Culture' (Pruska kultura). This discovery questioned the previously held opinion that the earliest Polish film is the 'Antos First Visit in Warsaw' (Antos pierwszy raz w Warszawie, 1908). Walter Panofsky was writing in 1907 about the 'Prussian Culture'. According to him it portrayed brutal resettlement of Polish peasants by Hakata and the peasant rebellion that was later viciously crushed by the Prussian army. The film ended with an apotheosis - a white eagle that appeared to Poles at prayer. According to the authors this film was one of the first attempts of informing the world, using the medium of film, about non existent Poland and the dramatic history of Poles. The eight minute film consists of 12 episodes. The authors of the article also describe the historical context of the film, and try to answer the question: who and why made this film? And who were the target audience? They describe the context and circumstances in which the film was first shown in Warsaw in 1914, and place the film within the context of world cinema of the time, dealing with socio-political issues.

5

FROM ABOVE MISS HELENA'S MANOR TO AT THE FRONT OF THE POET'S HOUSE. THE CATEGORY OF NARRATION AND THE AUTHOR'S PRESENCE IN KONWICKI'S 'LAVA' AND 'BOHIN MANOR') (Polish title below)

51%

Kaniecki P.

Kwartalnik Filmowy

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2011

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nr 73

147-162

EN

(Polish title: Znad dworu panny Heleny przed dom Poety. Kategoria narracji a obecnosc autora w 'Lawie' oraz 'Bohini' Konwickiego). The text shows how similar is the narration of 'Lava', Konwicki's film adaptation of Mickiewicz's 'Forefathers' Eve', to the narration of Bohin Manor, a novel which was written just before 'Lava', and how similar is the autobiographic category in these two works (both of them are parabolas), but yet how different is the author's presence in them. In 'Bohin Manor', the narrator of the story is identified straightforwardly with Konwicki's 'I', as a figure of syllepsis (Ryszard Nycz's term for such narrator); in Lava, the Poet, who is the narrator in the film, is presented simultaneously as both Mickiewicz and Konwicki.

6

Deserters, Saints, Tyrants and 'Little Moles': Image of Father in Polish and Czech Post-communist Cinema

51%

Mazierska E.

Kwartalnik Filmowy

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2007

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nr 57-58

300-313

EN

The fall of communism had an enormous impact on the situation of men and women in the countries of the former socialist bloc, and on the social perception of the functions of the sexes. Post-communism tends to be associated with promoting and putting in practice of a society in which women and men play traditional gender roles. This tendency is usually identified with the growth of masculinism in Eastern and Central Europe. But the return to tradition had no explicitly positive influence on men. Patriarchalism requires men to take over part of the burden - which under communist ideology - men and women were supposed to share. At the same time, after 1989 men, no less than women, felt the negative effects of economic transformation (unemployment, uncertain employment and economically-motivated emigration). As a consequence, 'post-communist man' finds it difficult to fulfil the traditional roles of the head of the family, husband and father. In addition, some males rejected fatherhood as they claimed it was in conflict with their choice of the lifestyle of the 'single'. The authoress wonders how the image of father in Polish and Czech cinema reflects these changes in the culture and society of the nations. She is also interested in the cinematic re-evaluation of fathers from the past as this is also affected by a modern concept of the family.

7

SHRINKING THE WAR TO A LITTLE RED SPOT. AUTOBIOGRAPHIC DISPUTE IN 'THE THIRD PART OF NIGHT' BY ANDRZEJ ZULAWSKI (Dyskurs autobiograficzny w 'Trzeciej czesci nocy' Andrzeja Zulawskiego)

51%

Maszewska-Lupiniak M.

Kwartalnik Filmowy

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2011

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nr 73

163-174

EN

The author is mainly interested in the chosen aspect of autobiographic dispute, namely a film autobiographism understood as a defined communication attitude of the film author and the audience reaction generated by it. In this paper Maszewska-Lupiniak discusses autobiographism included in the fictional film narration of 'The Third Part of Night' by Andrzej Zulawski. His film, presenting a part of a family history, matches the autobiographic dispute. As a text about Holocaust it creates a universal message - the duality in the film structure makes us think about the relations between a creator and his work, between the ethical conditions of that relation. All that is reflected in the style and poetics of the film, which, in turn, makes the receiver of the story adopt a distant attitude.