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Katalog surrealistycznych przedmiotów Waleriana Borowczyka. Recenzja książki Jakuba Mikurdy i Jakuba Woynarowskiego: "Corpus Delicti", Stowarzyszenie Nowe Horyzonty, Warszawa-Kraków 2013, ss. 96

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Gaczoł T.

Studia Filmoznawcze

2014

tom 35

265 - 268

This review analyses the structure of the visual essay by Jakub Mikurda and Jakub Woynarowski (Corpus Delicti, Warszawa-Kraków 2013) on Walerian Borowczyk’s movies, underlines the material beauty of the book and tries to show that the publishing of such a book is a pleasant homage but is perhaps too loyal to Borowczyk himself.

Recenzja: Kamil Minkner — "O filmach politycznych. Między polityką, politycznością i ideologią"

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Gaczoł T.

Studia Filmoznawcze

2013

tom 34

225 – 229

In his review the author scores that Minkner’s book’s aims are twofold. Firstly Minkner tries to precise the notions of politics, politicity (political character) and ideology, furthermore he wants to present the most influential contemporary perspectives in the political and ideology-oriented film studies. Secondly, Minkner is trying to cross disciplinary barriers. What is most interesting is that he suggests applying film studies methods to the political education and political research. In the opinion of the author of the review this credits the innovativeness of Minkner’s book and the freshness of its perspective.

The promise of a new cultural periodization: Realism, Modernism, Postmodernism

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Gaczoł T.

nr 4

55-69

The promise of a new cultural periodization:Realism, Modernism, Postmodernism This article discusses the problem of a possibility of finding a comprehensive narrative encompassing the entire course of history and forming an interpretive framework for cultural studies. The author presents Fredric Jameson’s original concept of the history of aesthetic forms: realism, modernism, postmodernism and argues that if offers a promising interpretative framework for Polish studies.

Kino, polityka i apokalipsa

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Gaczoł T.

Studia Filmoznawcze

2013

tom 34

137 - 152

In his essay the author is trying to show that the cinema in recent years deals with the topic of apocalypse, basically, in two different ways. The first group of films uses the apocalyptic myth to persuade particular attitude toward American foreign policy at the turn of the century. The second, newer trend in the apocalyptic cinema makes metaphorical use of the topic of the global annihilation and offers the existential and cultural analysis.

"Aelita" Jakowa Protazanowa w „złotym dziesięcioleciu” Nowej Polityki Ekonomicznej

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Gaczoł T.

Studia Filmoznawcze

2014

tom 35

141 - 151

The main idea of this essay is to reevaluate the almost forgotten film of Yakov Protazanov Aelita (1924). The first part of the essay tracks the reception of the movie since its premiere; the author argues that Aelita was underestimated because very often its critical evaluations had been motivated by teleological, realist, or formalist paradigms. Aelita is based on Aleksy Tolstoy’s novel of the same title. The second part of the essay is dedicated to the scrutiny of the plot of the novel. In the last part of his essay — through the comparison with the novel — the author shows that Protazanov’s film is much more sophisticated than the literary prototype and offers the cognitive mapping of the social and political conflicts in the ‟golden decade” of the New Economic Policy.