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Ciało niedoskonałe? Seksualny aspekt niepełnosprawności fizycznej w kinie współczesnym

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Kozubek M.

Kwartalnik Filmowy

2013

nr 83-84

295-305

W filmach podejmujących temat niepełnosprawności, niezależnie od konwencji, gatunku czy strategii autorskiej, często pojawia się wątek seksualności. Niejednokrotnie zorganizowana jest wokół niego cała fabuła, bywa on punktem jej wyjścia lub pojawia się tylko w jednej scenie, ale zawsze znaczącej z punktu widzenia dramaturgii. W artykule omówione są dwa skrajne sposoby przedstawiania ciała niepełnosprawnego we współczesnym kinie w kontekście seksualności. Z jednej strony jest to ciało upragnione ("Quid Pro Quo", "Crash: Niebezpieczne pożądanie", "American Mary", "Uwięziona Helena", "Zet i dwa zera"), z drugiej – ciało niechciane ("Sesje", "Hasta la Vista!", "Sztuka latania", "Jak to jest", "Zatańcz ze mną", "Zwyczajna historia"). W obu przypadkach ciało zostaje upodmiotowione, wyrwane z dyskursu ciała uniwersalnego, "obowiązującego” – idealnego, stworzonego przez kulturę ponowoczesną.

In films dealing with disability, independently of the convention, genre or the author’s strategy, there always appears the theme of sexuality. Often the whole story is organised around this theme. Sometimes it is a starting point, or appears only in one scene, but always one of great dramatic importance. The article discusses two opposite ways of presenting a disabled body in contemporary cinema in the context of sexuality. On the one side it is the desired body ("Quid Pro Quo", "Crash", "American Mary", "Boxing Helena", "A Zed & Two Noughts"), on the other it is the unwanted body ("The Sessions", "Hasta la vista!", "The Art of Flight", "The Be All and End All", "Shall we dance?", "Mundane History"). In both cases the body is subjectified, taken out of the discourse of the universal, ideal body, created by the postmodern culture.

Jeden film z PRL-u. Maciej Drygas jako historyk kultury?

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Kozubek M.

DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu

2013

tom 16

42-53

Maciej Drygas often compares his work to the work of an archaeologist. Preparations take him a lot of time. For each video, he works (mostly in archives) about three to four year. He visits the IPN, Documentary and Feature Film Archives, Polish Television, Polish Radio, film schools and even small archives of amateur film clubs scattered throughout Poland and private collections. He is not only a patient archivist, a historian, but also a detective. His film entitled ‘One Day in the People's Republic’ (2005) shows his fascination associated with discovering interesting material, and ends with such presentation of the matierial that makes the viewer to ‘feel’ the true moment. Drygas focuses on everyday communism. He shows the reality of one day when nothing unusual happens. He concentrates on the most characteristic aspects of the time-period which come alive in their basic dimensions. He uses the non-typical historic sources which can be considered as "ordinary", "transparent", everyday motifs. The film becomes a source of knowledge about appearances, gestures, attitudes, ideas, projects, imagination and experiences. The movie director is more than a historian: he is a cultural historian.

Ostatnia strona „Obywatela Kane’a”

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Kozubek M.

Prace Kulturoznawcze

2018

tom 22

nr 3

13-26

History of cinema does not consist merely of masterpieces, but also of films that are unfinished, as well as scripts that were supposed to serve as the basis for films which ultimately never came into being or were transformed into completely different works completed by another filmmaker. Welles’ case is very interesting in this context as, on the one hand, he was a star of the “author’s policy”, a universally known celebrity, a legend of world cinema, who contributed significantly to its history, but on the other hand he was also an unaccomplished figure. Yet, his unfulfillment was different from what is often described, for instance, in autobiographical interpretations of Citizen Kane: “he had everything and lost everything”. We may rather say that his oeuvre forms a sinusoid that comprises both completed, artistically accomplished works and films that were rejected by viewers and critics, as well as more than a dozen very interesting unfinished projects. In this paper I’m analysing the case of Orson Welles’ last (un)finished movie — The Other Side of the Wind (2018).