Wyniki wyszukiwania - Biblioteka Nauki

Nowa wersja platformy, zawierająca wyłącznie zasoby pełnotekstowe, jest już dostępna.
Przejdź na https://bibliotekanauki.pl

Ograniczanie wyników

2 Kwartalnik Filmowy

Znaleziono wyników: 2

Liczba wyników na stronie

Wyniki wyszukiwania

Wyszukiwano:
w słowach kluczowych: Kutz Kazimierz

Sortuj według:

Ogranicz wyniki do:

Obywatel Kutz – slaski gelender

100%

Stachówna G.

nr 75-76

l314-316

Stachówna reviews a book anthology on Kazimierz Kutz and his work – Kutzowisko 2 edited by Andrzej Gwóźdź. This is a continuation of sorts of the first volume on the director. The reviewer notes the consistent structure of the book – the volume is divided into three parts. The first deals with the biography of the artist, the second presents an analysis of the artistic value of his work, and in the final part Kutz’s first novel (written over 40 years) is reviewed. The book is richly illustrated, and carefully designed. A DVD with three rarely shown documentaries by Kutz is attached.

A Bodiless Enemy

100%

Marszałek R.

nr Special Issue - Polish Film Scholars on Polish Cinema

31-36

The following is the text of Rafał Marszałek’s address during the international conference on "The Warsaw Uprising in the Context of Polish-German Relations" (Warsaw, 30 March – 1 April, 2007). Marszałek argues that there is no room for an "absolute enemy" in the selected works by Andrzej Wajda, Kazimierz Kutz and Andrzej Munk of the so-called "Polish Film School" and that the films are free of the hatred to the Germans as invaders and occupiers. What emerge from the films are a toothless enemy and then a bodiless enemy. The thesis is exemplified in "Canal" – the death of the Warsaw insurgents is portrayed in a symbolic language; in "Ostinato lugubre", the second part of "Eroica", in which the Germans (as enemy) are not the demonic personification of oppression; in "The Dog" (part of "Cross of Valor") – the hero saves the life of the dog guarding inmates at an Auschwitz death camp; in "Speed", one of few war films in the history of cinema that does without the character of a (German) enemy. Marszałek points out that the "dematerialization" of the enemy flows from the special (both psychological and moral) instinct of self-preservation rather than forgiveness.