Wyniki wyszukiwania - Biblioteka Nauki

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A Brief History of Communism. "Rabbit à la Berlin" by Bartosz Konopka

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nr 20

75-81

EN

A Brief History of Communism. "Rabbit à la Berlin" by Bartosz Konopka The documentary film Rabbit à la Berlin (Królik po berlińsku), directed by Bartosz Konopka, tells the story of the Berlin Wall. The story is presented from an unusual perspective – that of the wild rabbits inhabiting the zone in the middle of the wall separating East and West Berlin, thus making reference to animal fables and the conventions of the nature film. The filmmakers also use known archival materials in an interesting way by placing them in new, surprising contexts. The story of animals told in Rabbit á la Berlin is parallel to that of people. The film combines these analogies in order to construct a powerful metaphor. The creators of Rabbit á la Berlin not only tell the story of the Germans, of East Germans separated from the western world, the story of the Berlin Wall, but also the story of Eastern European people living behind the Iron Curtain.

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W poszukiwaniu hierofanii – o filmie Góra Sulejmana Jelizawiety Stiszowej

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Czaja J.

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nr 39

201-216

EN

The subject of the article is Elizaveta Stishova's film Suleiman Mountain, the action of which focuses on the Kyrgyz mountain, surrounded by religious veneration. The title place is treated as a spatial hierophany, that is, according to Mircea Eliade's concept, a place where and through which the sacred is revealed. The text will analyze the film's space-time and its symbolic dimension, and the characters' relations with the title place, especially the relationship between women and the mountain and its mythical character.

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Patrzenie poprzez fragmenty. Komiksowy dziennik Aleksandra Zografa "Pozdrowienia z Serbii"

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nr 19

57-65

EN

n his comic Greetings from Serbia. A Journal in Comics Written During the Conflict in Serbia, Aleksander Zograf’s choice of form is associated with the periodical form of the diary in drawings kept by the author. By means of a series of episodes, Zograf shows selected fragments of daily life in Serbia: the realities of living in a country under sanctions, being bombed by NATO aircraft, and struggling with post-war chaos. A characteristic feature of the anthology Greetings from Serbia. A Journal in Comics Written During the Conflict in Serbia is – in the words of the author – “observation through fragments”. The poetics of the fragment, the autonomization of the individual elements that comprise the open composition, and the breaking up of the plot’s cohesion are all associated with the worldview that emerges from Zograf’s comics. The reality observed turns out to be chaotic, incoherent and irrational. It becomes impossible to fully embrace or provide any overarching sense to the events, and thus fictionalize and express them by means of a traditional narrative form. By choosing the form of the comic book, and abandoning a comprehensive, ordered point of view, the author attempts to describe the whole by means of fragments.

PL

In his comic Greetings from Serbia. A Journal in Comics Written During the Conflict in Serbia, Aleksander Zograf’s choice of form is associated with the periodical form of the diary in drawings kept by the author. By means of a series of episodes, Zograf shows selected fragments of daily life in Serbia: the realities of living in a country under sanctions, being bombed by NATO aircraft, and struggling with post-war chaos. A characteristic feature of the anthology Greetings from Serbia. A Journal in Comics Written During the Conflict in Serbia is – in the words of the author – “observation through fragments”. The poetics of the fragment, the autonomization of the individual elements that comprise the open composition, and the breaking up of the plot’s cohesion are all associated with the worldview that emerges from Zograf’s comics. The reality observed turns out to be chaotic, incoherent and irrational. It becomes impossible to fully embrace or provide any overarching sense to the events, and thus fictionalize and express them by means of a traditional narrative form. By choosing the form of the comic book, and abandoning a comprehensive, ordered point of view, the author attempts to describe the whole by means of fragments.

4

Warszawa – miasto, które nie istnieje

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tom 12

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nr 21

219-225

EN

The subject of the article is attempts in cinema and comics to reconstruct the image of pre-war Warsaw. The use of archival photographs of the capital, old postcards, and computer reconstructions using 3D technology increase the realism of the presentation, and provide the effect of intuition, intimacy, and directness. A Warsaw non-existent today comes to life again on the screen and in the pages of the comic book.

PL

Warsaw - a city that does not exist The subject of the article is attempts in cinema and comics to reconstruct the image of pre-warWarsaw. The use of archival photographs of the capital, old postcards, and computer reconstructions using 3D technology increase the realism of the presentation, and provide the effect of intuition, intimacy, and directness. AWarsawnon-existent today comes to life again on the screen and in the pages of the comic book.

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Moskwa w bieli i czerni - trzy filmowe portrety miasta

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Czaja J.

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tom 12

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nr 21

265-273

EN

This article presents the three different portraits of Moscow depicted in the Russian films Walking the Streets of Moscow by Georgy Danielija, Taxi Blues by Pavel Lungin and Moscow by Alexander Zeldovich. The times the films were made (the thaw period, the period after the collapse of the Soviet Union, and the decline during the 1990s) determine differences in the directors’ perceptions. The picture of the city becomes a reflection of both hope and of more contemporary fears and anxieties.

PL

Moscow in black and white - three film portraits of the city This article presents the three different portraits of Moscow depicted in the Russian films Walking the Streets of Moscow by Georgy Danielija, Taxi Blues by Pavel Lungin and Moscow by Alexander Zeldovich. The times the films were made (the thaw period, the period after the collapse of theSoviet Union, and the decline during the 1990s) determine differences in the directors’ perceptions. The picture of the city becomes a reflection of both hope and of more contemporary fears and anxieties.

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Tabloidyzacja Holocaustu w kulturze popularnej

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nr 15-16

81-99

EN

The text is an attempt to answer the question about the effects of the collision of Holocaust, recognized as a historical fact, with the mechanism of popular culture and how particular aspects of Holocaust, such as sex, violence and death, are used.

PL

The trivialization of the Holocaust in popular culture The text is an attempt to answer the question about the effects of the collision of Holocaust, recognized as a historical fact, with the mechanism of popular culture and how particular aspects of Holocaust, such as sex, violence and death, are used.