Wyniki wyszukiwania - Biblioteka Nauki

1

Katyń i Generał „Nil” a (długi) zmierzch paradygmatu

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Adamczak M.

Kwartalnik Filmowy

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2012

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nr 77-78

72-94

EN

This paper builds upon on insights of Artur Zmijewski on recent national blockbusters contained in a volume of The Polish Cinema (Kino polskie) from 1989 to 2009: A Critical history. The insights go beyond the generally accepted views on those films. The author then examines the films Katyn and General “Nil” as phenomena reflecting the kind of “posthumous life” of the romantic paradigm of Polish culture buried nearly two decades ago by Maria Janion, that for decades was seen as anachronistic, but that remains popular and is occasionally revived. He describes its fate in the culture of the Socialist People’s Republic of Poland (PRL), and also considers memoirs as historical sources. In the last part of the article Adamczak presents a new perspective of seeing Jerzy Skolimowski’s Essential Killing and Anna Jadowska’s General as attempts of breaking out of the magic circle of constantly renewing opposition between romanticism and anti-romanticism.

2

Między poetyką kulturową a kulturą produkcji. Społeczny kontekst realizacji pierwszych filmów Andrzeja Wajdy

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Adamczak M.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2013

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tom 13

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nr 22

73-90

EN

The article is an attempt to examining again the three first movies of Andrzej Wajda: Generation, Canal and Diamonds and Ashes, regarding archival protocols and production issues more then stict artistic or auteur factors. The inspiration was both production culture perspective and New Historicism of Stephen Greenblatt. The text shows how many additional factors played decisive role in realising those classical movies and how much the movies were connected with plays for cultural power and dominance in those historical reality. In effect we can observe specific kind of dispersive authorship in which film authors hasn’t full control on the final effacts of the movie, for example its social impact and audience recepton.

PL

The article is an attempt to examining again the three first movies of Andrzej Wajda: Generation, Canal and Diamonds and Ashes, regarding archival protocols and production issues more then stict artistic or auteur factors. The inspiration was both production culture perspective and New Historicism of Stephen Greenblatt. The text shows how many additional factors played decisive role in realising those classical movies and how much the movies were connected with plays for cultural power and dominance in those historical reality. In effect we can observe specific kind of dispersive authorship in which film authors hasn’t full control on the final effacts of the movie, for example its social impact and audience recepton.Artykuł stanowi próbę ponownego przyjrzenia się trzem pierwszym filmom Andrzeja Wajdy: Pokoleniu, Kanałowi oraz Popiołowi i diamentowi uwzględniając dokumenty archiwalne i materię produkcyjną w większym stopniu niż czynniki ściśle artystyczne i autorskie. Inspiracją są badania kultury produkcji oraz poetyka kulturowa Stephena Greenblatta. W efekcie tekst pokazuje jak wiele czynników pobocznych odgrywało decydującą rolę dla powstania danych tytułów oraz w jak wielkim stopniu filmy te były powiązane z ówczesnymi walkami o dominację kulturową. Tekst pokazuje w ten sposób wizję swoistego rozproszonego autorstwa, o mniejszym stopniu reżyserskiej kontroli względem powstającego dzieła, w również jego recepcji.

3

Jak działać, gdy „nobody knows anything”? Prawidłowości pośród wyników frekwencyjnych filmów w dystrybucji kinowej

63%

Adamczak M. , Salomon S.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2022

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tom 32

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nr 41

257-276

PL

The distribution sector, contrary to film production, was not subsidized in 21st-century Poland from public funds, with only very rare exceptions. The distribution sector demands high levels of investment with regard to advertising movies and the necessity of building awareness of the titles before releasing them. The investment could be profitable but, in the case of a box office flop, becomes a permanent loss. Operating in the distribution sector is inevitably a high-risk endeavour. Predicting box office results is the key element of risk assessment made by distributors. The specificity of the film market and future results of the movies seem to be determined by uncertainty and unpredictability, according to William Goldman’s famous dictum nobody knows anything. However, distributors were able to develop a few ways to assess future box office results, at least roughly. The tendency to establish franchises and whole universes, the role of the opening weekend, the types of weekly results trajectories and the impact of major festival awards for the box office result are described in the article. In the case of the latter, the brand and capacity of the distributor seems to be more relevant than the award itself, which leads to conclusions about the crucial and probably still underestimated role of the distribution sector in the cinema.

4

Film and finance. An attempt at a statistical comparison of the attendance results and ratings of Polish films in the years 2012–2015

63%

Adamczak M. , Orankiewicz A.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

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2018

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tom 23

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nr 32

EN

The article is an attempt to use essential statistical tools for analysis of market performance of films and its aes- thetical judgements made by film critics and fans. The authors describe differences between evaluations of films by professional and non-professional viewers, correlations between market performance and artistic merit and impact of level of public support for success and quality of movies. The material for analysis are Polish films in cinema distribution between 2012 and 2015.

5

Decrease of Arterial Hypertension After Adrenalectomy in Patients Without Confirmation of Adrenal Tumour Hyperfunction

38%

Ziaja J. , Chudek J. , Król R. , Cierniak T. , Adamczak M. , Więcek A. , Cierpka L.

Polish Journal of Surgery

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2007

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tom 79

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nr 4

273-279

EN

Adrenal tumours incidentally found in patients with arterial hypertension pose a severe clinical problem when no endocrine hyperactivity is confirmed and their features in diagnostic imaging do not suggest malignancy.The aim of the study was to evaluate the clinical consequences of unilateral adrenalectomy in a long term follow up period for patients that have adrenal tumours without confirmed endocrine hyperactivity.Material and methods. We evaluated the clinical consequences of unilateral adrenalectomy in a long term follow up of 48 hypertensive patients with a unilateral adrenal tumour lacking biochemical confirmation of adrenal hyperactivity. The mean duration of hypertension was 87 months; observation time ranged from 6 to 62 months.Results. Normalisation of blood pressure was observed in 8.3% of patients. In addition, better blood pressure control was documented in 35.4% of patients. There were no significant differences between group of patients with normalization or improvement of blood pressure control and those with no improvement with respect to age, BMI, duration of hypertension, tumour size, renin activity, aldosterone to plasma renin activity ratio, or the preoperative plasma concentration of potassium, aldosterone, or cortisol. The maximum values of systolic, but not diastolic, blood pressure before surgery were lower in patients with normalization or improvement of blood pressure control.Conclusions. Improvement of blood pressure control after unilateral adrenalectomy in 43.7% of patients may suggest tumour endocrine hyperactivity which remains unconfirmed by laboratory tests. It is not possible to predict improvement of blood pressure control after adrenalectomy in this group of patients according to tumour size and routine biochemical examination.