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1
Content available Czechosłowackie podróże w czasie – od filmowej lekcji przyrody do normalizacyjnej zwariowanej komedii
100%
Guzek M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2020
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tom 28
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nr 37
61-76
EN
Czechoslovakian film fantasy has its own canon comprised of various works, the successes of which were recorded by press industries around the world. They picked up various threads, but the most interesting one seems to be the theme of time travel, as represented by three films: A Journey to the Beginning of Time (1955), I Killed Einstein, Gentlemen (1969) and Tomorrow I’ll Wake Up and Scald Myself with Tea (1977). They were produced in different production conditions and placed in different genre assumptions, and they referred to the tradition of science fiction developed by popular literature in different ways. The text tries to define their status as part of the achievements of national cinematography, indicate structural components, and briefly discuss their reception, both critical and audience.
2
Content available Niechciana obecność autora – filmowy przypadek Václava Havla
100%
Guzek M.
Przestrzenie Teorii
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2019
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nr 32
115-128
EN
Guzek Mariusz, Niechciana obecność autora – filmowy przypadek Václava Havla [The Unwanted Presence of the Author – Václav Havel in Film]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 115–128. ISSN 1644-6763. DOI 10.14746/pt.2019.32.5. Václav Havel had his views on film, participated in the life of the new wave artist community, had walk-on parts, wrote screenplays, and at the end of his life, made one picture based on his own stage drama Leaving. For Havel, film was a part of a larger cultural challenge, appointed by the Central European character of the second half of the 20th century. In his plays and essays, he discussed the topics of enslavement, lies and resistance to these, constructing a kind of antinomical model of self-power. Repeatedly, the starting point of his work was the Czech reflections included in the theoretical texts of Jan Ivo Osolsobě or the aesthetic manifestos of Karel Teige. As a film director, he created a show of allusions, absurdity and exaggerations, by entering the entire catalogue of experiences, thoughts and techniques of being a “citizen of culture” into diagetic meaning.
3
Content available Filmowy Mińsk (1915–1918) – polskie doświadczenie podczas Wielkiej Wojny
100%
Guzek M.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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2019
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tom 26
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nr 35
147-158
EN
Polish film life in the Eastern Borderlands of the former Republic of Poland is replete with numerous white spots. During World War One, however, activity was quite intense, as evidenced by book-length studies on Vilnius, Lviv and even Kiev. Minsk, the future capital of Belarus, also had its own film-related Polish culture. The article focuses on the functioning of Minsk cinemas and their repertoire, as well as the Polish accents associated with them, which repeatedly had a mobilizing and identitarian character around which the national community of this provincial city was organized. Minsk’s border status means its cinematographic ancestry can be claimed by various national cinematographies, including Russian and Belarusian, but the source query and resulting findings clearly indicate that in the years of the Great War, this center was most strongly associated with Polish culture
4
Content available "Zátopek" – komiksowa codzienność długodystansowca
100%
Guzek M.
Załącznik Kulturoznawczy
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2023
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tom 10
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nr 10
61-80
EN
The comics signed by scriptwriter Jan Novák and illustrator Jaromír 99 follow a particularly well-thought-out authorial strategy. They tell the story of post-war Czechoslovakia, their protagonists are authentic figures, and their approach has little in common with the uncritical glorification so often found in (not only graphic) biographies. Created in 2016, the first of the works is dedicated to Emil Zátopek, a long-distance runner, three-time gold medalist at the Helsinki Olympics, and a man who got caught up in the political realities of the 20th century. The article analyzes the various contexts of diegetic conditioning (including the rituals of everyday life inscribed in the narrative), the critical reception of the book in the Czech Republic, and the correspondence between the sensibilities of the authors and other modes of memory management in a field explored in (popular) culture.
5
Content available Husyckie wątki religijne w najnowszym czeskim komiksie historycznym
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Guzek M.
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nr 44
99-116
EN
The creators of Czech historical comics are active participants in the debate on national identity and the role of historical memory in today’s political practices. Above all, they preferred to refer to the events of the past century, which defined such currently important concepts as responsibility, heroism and sacrifice, among other things. However, the history of Jan Hus and the Hussite movement, recalled on this anniversary, proved just as relevant to comics’ strategies. The article discusses inspirations and references in projects such as the two-volume albums by Z. Ležak and M. Kocián, the evangelistic notebooks by A. Mrazek and the online frames by a cartoonist who signs his works with the pseudonym jaz.
6
Content available W cieniu Olgi Hepnarovéj - totalitaryzm XX wieku w optyce czesko-polskich koprodukcji filmowych
100%
Guzek M.
Kultura i Edukacja
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2019
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nr 3(125)
36-49
EN
Collaborative endeavor of Polish and Czech cinematography has had a tradition dated back to the 1930s. However, their more and more frequent instances dated after the fall of communism and the change of political system in Central Europe created a specific variant of cinematic cooperation - reference to distressing legacy attributable to 20th century totalitarianism. The article discusses the case of three films produced for Czech and Polish money (with a little Slovak, French and Israeli help) in the last decade: In The Shadow by David Ondříček, Burnish Bush by Agnieszka Holland and I, Olga Hepnarová by Tomáš Weibreb and Petr Kazda. It refers to the common perception and the specifics of the national trauma and explains the status of particular artists associated with different generational experience. Gradually, it brings a handful of information about the reception and place of the discussed images in broadly defined culture.
PL
Wspólne przedsięwzięcia polskiej i czeskiej kinematografii mają tradycję sięgającą lat trzydziestych ubiegłego stulecia. Jednak ich coraz częstsze przypadki, odnotowane po upadku komunizmu i zmianie ustroju w Europie Środkowej wytworzyły szczególny wariant filmowej współpracy - odwołania do bolesnego dziedzictwa związanego z XX-wiecznym totalitaryzmem. Artykuł omawia przypadek trzech filmów wyprodukowanych za pieniądze czeskie i polskie (z niewielką pomocą słowacką, francuską i izraelską) w ostatnim dziesięcioleciu: W cieniu reż. David Ondříček, Gorejący krzew reż. Agnieszka Holland i Ja, Olga Hepnarová reż. Tomáš Weibreb i Petr Kazda. Tekst odnosi się do wspólnych wyobrażeń, specyfiki narodowej traumy, wyjaśnia status poszczególnych artystów związanych z różnym doświadczeniem pokoleniowym. Wreszcie przynosi garść informacji o recepcji i miejscu omawianych obrazów w szeroko rozumianej kulturze.
7
Content available Kuglarstwo, szarlataneria czy doświadczenie świata nadprzyrodzonego: słownictwo spirytystyczne w "Emancypantkach" Bolesława Prusa
63%
Czachorowska M. , Guzek M.
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tom 14
71-82
EN
The article brings up the issues of nineteenth-century mesmerism in the works of Bolesław Prus. It describes the coming out of the phenomenon, views of its rationalization and democratisation both from global and Polish perspective. Moreover, it draws attention to those components of the author’s biography, such as the acquaintance and cooperation with Julian Ochorowicz, which influenced the shape of his outlook on the spiritualism enthusiasts movement, quite popular at that times. The writer’s attitude towards the new phenomenon was ambiguous and traces of his internal dilemmas are easily found in the language of “The New Woman”. The analyzed language which creates spiritualistic discourse is represented by general names i.e. names of the doctrine created by Allan Kardec or the reality it concerned; names of the rituals – meetings of people and spirits as well as the names of people and beings, directly or indirectly engaged in those rituals.
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