Wyniki wyszukiwania - Biblioteka Nauki

1

Biografia i autobiografia w literaturze audialnej

100%

Bachura-Wojtasik J. , Uniwersytet Łódzki W. F. , Joanna Bachura-Wojtasik – adiunkt w Katedrze Dziennikarstwa i Komunikacji Społecznej UŁ. Jest autorką książki Odsłony wyobraźni. Współczesne słuchowisko radiowe (2012) oraz współautorką (obok Elżbiety Pleszkun-Olejniczakowej i Aleksandry Pawlik) książki Dwa Teatry. Studia z zakresu teorii i interpretacji sztuki słuchowiskowej (2011). Podstawą jej zainteresowań badawczych jest radioznawstwo p. w. a. g. r. I. j. t. w. k. j. p. , joanna.bachura@gmail.com

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nr 2

EN

The article discusses the audio form of the biography and autobiography – as seen in the radio- drama and documentary – as a distinct form in audio literature. The article is inspired by the theoretical findings of Philippe Lejeune concerning autobiographical literature and the personal diary genre. Theoretical reflections are complemented by selected examples of artistic audio genres. The examples of radio-dramas and artistic documentaries (features) discussed illustrate the specificity of the radio medium, which, on the one hand, opens up new opportunities for documentaries that are impossible to achieve in printed literature, while, on the other hand, it also imposes restrictions.

2

Case of an artist as a scriptwriter in the works of Latvian documentary filmmaker Juris Podnieks

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Balčus Z.

Panoptikum

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2013

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nr 12(19)

174-186

EN

Original study devoted to the collaboration between little known Latvian documentary filmmaker Juris Podnieks, and scriptwriter Arnolds Plaudis. Zane Balčus goes beyond traditional analysis focused on film style and interpretation, taking into account wide spectrum of visual documents (illustrated scripts), reflecting in an original way the process of developing an artwork by two creative personalities. The author reconstructs the image of their collaborative work following press materials, interviews and other written and drawn data.

PL

Oryginalne studium poświęcone współpracy mało znanego na zachodzie litewskiego dokumentalisty Jurisa Podnieksa i scenarzysty Arnolda Plaudisa. W swoim artykule Zane Balčus wykracza poza tradycyjną analizę skoncentrowaną na opisie stylu i interpretacji, badając zróżnicowany materiał obejmujący szerokie spektrum materiałów wizualnych (ilustrowane scenariusze) odzwierciedlających w oryginalny sposób proces powstawania dzieła realizowanego przez dwie niezwykłe osobowości. Autorka rekonstruuje obraz ich wspólnej pracy sięgając po materiały prasowe, wywiady, teksty i szkice.

3

Between fact and fiction. Documentary telenovela, or docusoap Polish style

100%

Kosińska-Krippner B.

Kwartalnik Filmowy

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2013

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nr Special Issue - Polish Film Scholars on Polish Cinema

169-188

EN

The article deals with documentary soap operas, or the Polish version of docusoaps. This is a television genre that is a hybrid of observational documentary and elements typical of soap operas. In the introduction the author presents up to date research on docusoaps: she defines, following Margaret Lünenborg, the conditions that had to be met, in order for the genre to come into the existence, and she shows the circumstances in which it first appeared. She refers to the work of Richard Kilborn in order to present characteristic features of docusoap, and she uses the staging strategies for reality TV described by Elisabeth Klaus and Stephanie Lücke, in order to show staging strategies in docusoaps. In the main part of the article Kosińska-Krippner presents a short history of documentary soap operas, classification of its various types and the analysis of its components. She then defines this genre and describes its features. In the conclusion the author compares docusoaps and documentary soap operas, and shows the similarities and differences between the two genres, she also comments upon the value and usefulness of this genre.

4

Gwiazdy filmowe płaczą tylko przez minutę. Z Joramem Ten Brinkiem rozmawia Andrzej Pitrus

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Pitrus A.

Kwartalnik Filmowy

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2013

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nr 82

105-110

PL

Pitrus rozmawia z Joramem ten Brinkiem – reżyserem i producentem eksperymentalnych filmów dokumentalnych i eseistycznych – tuż po prywatnej projekcji wyprodukowanego przez niego filmu Joshui Oppenheimera "Scena zbrodni" ("The Act of Killing", 2012). Dokument ten opowiada o płatnych zabójcach działających na zlecenie prawicowego reżimu generała Suharto i stał się sensacją wielu festiwali, w tym tegorocznego festiwalu w Berlinie, gdzie otrzymał dwa znaczące wyróżnienia – Nagrodę Jury Ekumenicznego oraz Nagrodę Publiczności. Werner Herzog, Errol Morris i Dušan Makavejev okrzyknęli tę produkcję sensacją i arcydziełem. W filmie wykorzystano niecodzienną strategię – jego bohaterowie odgrywają własne zbrodnie, wykorzystując różne konwencje gatunkowe: od kina czarnego, przez western, aż po musical. Joram ten Brink m.in. zdradza rozmaite szczegóły dotyczące realizacji filmu, mówi o jego recepcji, a także wspomina swoje wcześniejsze produkcje.

EN

Pitrus interviews Joram ten Brink – a film director and producer of experimental film documentaries and film essays – just after a private screening of "The Act of Killing" (2012), a film produced by him, and directed by Joshua Oppenheimer. The documentary tells the story of paid assassins who worked on behalf of the right wing regime of general Suharto. The film was considered sensational on many film festivals, including this year’s Berlin International Film Festival, where it obtained two major awards – the Prize of the Ecumenical Jury and the Panorama Audience Award. Werner Herzog, Errol Morris and Dušan Makavejev hailed the production to be a sensational masterpiece. The film is based on a very original strategy – the protagonists act out their own crimes using various film genres, from film noir, through western, to the musical. Joram ten Brink reveals among others various details related to the production of the film, he talks about the way it was received, and recalls his earlier productions.

5

Australijskie „idealne miejsce” Jerzego Domaradzkiego

100%

Radkiewicz M.

Postscriptum Polonistyczne

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2016

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nr 1(17)

97-103

EN

Jerzy Domaradzki started to work in Australia after his film Wielki bieg [ The Great Race ] had been presented at a film festival in Sydney. During those first years he had been mainly teach- ing at a film school, but after some time he began to make feature films and documentaries. The text examines the films he made in Australia, analyzing the way he selected characters and the problems he had in developing stories and images of people of different nations, cultures and times.

6

...krok przez granicę. Transkulturowe przestrzenie dokumentu muzycznego.

100%

Stasiowski M.

Kwartalnik Filmowy

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2012

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nr 80

47-60

PL

Multikulturowość narodziła się w atmosferze emancypacji kultur Trzeciego Świata, jednak oferuje ona redukcjonistyczną ideologię pomijającą istotę wzajemnej wymiany doświadczeń i synkretycznego rezultatu tych spotkań – wartości nowej dla obu systemów estetycznych. Muzyka stanowi idealny przykład do ilustracji tego dialogu. Kinowa reprezentacja „przestrzeni wymiany”, w przypadku takich filmów, jak "Dotknąć dźwięk", "Step Across the Border" czy "Sounds and Silence", wiąże się z ich eseistyczną formą, filozofującą na temat natury dźwięku i niehomogeniczności muzyki, a także ze strukturą, która porzuca schematyzm typowych rockumentaries. Łączy je wspólny bohater (nomada – kompozytor– podróżnik), a chronologia jego doświadczeń odzwierciedla zarazem topografię miejsc i transkulturowych projektów artystycznych. Filmy analizowane w artykule opowiadają o tej „transkulturowej przestrzeni” za pomocą rozmaitych środków wyrazu służących już nie tylko prezentacji biografii wykonawcy, ale oddaniu charakteru zjawiska – natury brzmienia, jakie powstaje na styku dwóch kultur.

EN

Multiculturalism was born in an atmosphere of emancipation of the cultures of the Third World. However multiculturalism offers a reductionist ideology, that neglects the character of mutual exchanges of experiences and the syncretic results of this dialogue, that is an added value of both aesthetic systems. Music is a perfect example to illustrate this kind of dialogue. Cinematic representation of “swapping spaces”, for example in films such as 'Touch the sound', 'Step Across the Border' or 'Sounds and Silence', is connected with their form of documentary essays that reflect on the nature of sound, and the non-homogeneity of music and with their structure that abandons the typical schema of rockumentaries. They share a common character (nomad, composer-traveller), and at the same time the chronology of his experiences reflects the topography of sites and cross-cultural art projects. Films analysed in the article approach the topic of “transcultural space” through a variety of means of expression, that not only present the biography of the artist, but also reflect the nature of the sound, which is formed at the interface of two cultures.

7

Obecność form dokumentalnych w polskiej literaturze pięknej realizmu socjalistycznego

75%

Mazurkiewicz A.

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nr 4

131-142

EN

The article is dedicated to ways in which authors of the socialist realism novel used the poetics of the non-fiction literature (mainly reportage). Perceiving a work of art as a cultural fact of political character had serious consequences. The literary creation was to be replaced by a reportage storyline. The outer reality was depicted in accordance with top-down guidelines of propaganda. Two strategies were used: linking poetics of documentary with belles lettres and incorporating elements typical of non-fiction literature to fiction. At the same time genological “light-heartedness” of authors of socialist realism makes it now difficult to decide about typological affiliation of those works.

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Means of reproducing the individual past in W. Sebald’s novel Austerlitz

63%

Megela I.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2022

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nr 4(1)

81-86

EN

The article is devoted to the coverage of the problem of bricolage as a method of memory reconstruction in the novel “Austerlitz” by the greatest German writer Winfried Sebald. The article notes that “Austerlitz” marks the transition from trauma to conscious identity as part of the historical memory of the Holocaust. It shows how the hero of the work, Jacques Austerlitz, acquires his identity by assembling from scattered information his personal history, reflecting a significant part of the collective tragedy. The genre feature of the work as a travelogue, memoir, investigation, as literature bordering on documentary and artistic experience, where the real is combined with the fictional, is highlighted. The article describes in detail the content of the technique of bricolage as a form of “wild”, “pre-rational” way of thinking, as a technique of fitting auxiliary materials (old photographs, newspaper clippings), a montage of disparate episodes, the technique of collage. The structure of the work’s storytelling is analyzed when the narrator does not tell the story but describes what he hears from Jacques Austerlitz. It is as if it is not a text, but the story itself, which someone tells, and also shows pictures for authenticity. The functions of the hero in the novel gradually shift from people to things, documents, bearers of the memory of individual and collective civilizational catastrophe. These indescribable witnesses break the blockade of traumatic silence around the childhood of Austerlitz, embodied in images of blindness, dumbness, oblivion. Before the protagonist of the work, the “man without a past,” the history of his family, the ghostly happy childhood that was rudely cut short by the separation from his biological parents, is suddenly revealed. Sebald demonstrates a contemporary form of novel narrative in which the truthfulness of the Holocaust narrative is revealed by incorporating the exile’s personal authorial biography, pain, and guilt into the memory of this tragedy. The role of photographs and descriptions of architectural structures in revealing the immanent semantic content of the subject, not manifested verbally, is analyzed. The latter is the key document that unites and structures the important for the writer themes of memories, memory, indifference, oblivion, return to the ghostly past, overcoming of the psychological trauma. Based on the analysis the author concludes that the attitude to the reader as a co-author brings Sebald’s novel closer to the tradition of the European intellectual novel and postmodern hypertexts, in which meaningful units are not presented in a traditional linear sequence, but as a multiplicity of links and transitions. The author notes that the acute experience of humanitarian catastrophe, the multilayered text, the density of meaningful meanings make this work a notable phenomenon in the context of artistic comprehension of traumatic memory.

9

Kino mocnego uderzenia. Polska muzyka rockowa w polskim filmie dokumentalnym lat 60. i 70.

63%

Piotr P.

Kwartalnik Filmowy

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2015

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nr 91 Film między muzyką pop a popkulturą

105-120

PL

Polska muzyka rockowa to, rzecz jasna, przede wszystkim konkretni artyści i ich dźwiękowo-tekstowa twórczość (której początki datuje się na przełom lat 50. i 60.). Ta trwająca już ponad półwiecze historia ma jednak wartego wspomnienia sekundanta – jest nim kino dokumentalne. Artykuł prezentuje przejawy tego muzyczno-filmowego spotkania w latach 60. i 70., kiedy polski bigbit rozwijał się, przybierał coraz ambitniejsze formy, ale też przeżywał okresy kryzysu. Film dokumentalny pewne aspekty tych zjawisk zapisał na taśmie – zarówno w postaci reportaży Polskiej Kroniki Filmowej, jak i krótkometrażowych produkcji (wyróżniają się tu „Mocne uderzenie. Opus II” Andrzeja Trzosa i Krzysztofa Szmagiera oraz „Sukces” Marka Piwowskiego). Choć materiał badawczy nie jest obfity ilościowo, to przyjrzenie mu się z perspektywy analityczno-historycznej prowadzi do wielu ciekawych odkryć, będących też koniecznym punktem wyjścia dla namysłu nad kolejnymi dekadami styku polskiego rocka i dokumentu.

EN

Polish rock music of course means certain artists and their work in text and sound (dating back to the turn of the 1950s and 1960s). Polish Rock, now over half a century old, has a worthy companion in documentary film. The article presents the meeting points of Rock and film during the 1960s and 1970s, when Polish rock music was developing, taking on most ambitious forms, but when it also experienced moments of crisis. Some aspects of this were recorded in documentaries – both in the form of the Polish newsreel and short documentaries (especially „Big Beat. Opus II” by Andrzej Trzos and Krzysztof Szmagier and „Success” by Marek Piwowski). Although research material is not abundant in quantity, its analysis taking into account its historical context leads to many interesting discoveries, which are a necessary starting point for further reflection on successive decades of coexistence of Polish rock music and the documentary.

10

Blending of the Documentary and the Fictional – Erasing the Boundaries between Literary and Non-literary Genres in Travelogues of Serbian Avantgarde

63%

Jacimović S.

Studia Slavica

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2013

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tom 17

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nr 2

53-64

SR

Starting from the poetics of the avantgarde travelogue, this paper focuses on the most significant features of the travel reportages in Serbia between two wars. In contrast to the more artistic travelogues, these texts by Milos Crnjanski, Rastko Petrovic, Stanislav Vinaver and other avantgarde writers use different techniques to blur and erase the boundaries between the documentary and the fictional, the artistic and the journalistic. Lyrical procedures, dynamised and tropic landscape, narrativisation of documentary contents – are some ofthe basic features due to which these travel reportages are read like hybrid-genre texts unique in Serbian literature of the 20th century. A selection of paradigmatic examples (primarily: Through Dalmatia and „Still Szentendre„ by Crnjanski, In the Shadow of Our Endowment by Petrovic, and Russian Processions by Vinaver) has been used to show how, driven by the impulses of avantgarde, the boundary between the literary and the journalistic texts in the Serbian travelogue writing is being surpassed in many ways. Like journalists, avantgarde writers included and activated in their travel reportages procedures and stylistic techniques of avantgarde art, expanding the field of ??artistic expression to areas beyond art, thus winning new opportunities to express their modern artistic sensibility. Never before, or after this period of Serbian literature, did travel reportage reach such a highly literary level, largely surpassing its journalistic impulse. As an inextricable connection between the realistic and fictional, the objective and personal, perception and tangibility, the artistic and journalistic, these texts are a proof of the success of avantgarde in winning non-literary spaces and of fruitful blending of different affinities and engagements among some of the greatest writers in Serbian literature.

11

Polish and Lithuanian Tatars. One history and two stories

63%

Warmińska K.

Nurt SVD

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2017

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nr 2

111-122

EN

The aim of this article is to discuss the problem of relations between history, memory and ethnic identity. The closer look at similarities and differences pertaining to the character of the ethnicity of Polish and Lithuanian Tatars is taken with a special focus on the vision of ethno-history shared by each group. The empirical part of this text includes the description and interpretation of four documentaries. The analysis of visual materials show how Polish and Lithuanian Tatars use their cultural resources, e.g. the history and the past (partly common, partly different) to communicate their ethnic identity.

PL

Celem tego artykułu jest analiza relacji między historią, pamięcią i tożsamością etniczną. Szczególną uwagę skupiono na ukazaniu podobieństw i różnic między polskimi i litewskimi Tatarami w kontekście występującej w każdej z grup wizji etnohistorii. W części empirycznej zwarto opis i interpretację czterech filmów dokumentalnych. Analiza materiałów wizualnych pokazuje jak w obu społecznościach używa się kulturowych zasobów, to jest historii i przeszłości (podobnej, ale też odmiennej) w procesach komunikacji etnicznej tożsamości.

12

Klasyka polskiego filmu o sztuce. Dwie tendencj

63%

Głowa J.

Estetyka i Krytyka

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2008

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nr 13-14

47-61

EN

Film about art has usually belonged to a marginalized genre. Th is article discusses two types of f ilm within the genre: documentaries and creative works. Th e f irst category includes biographies and documentations of the artistic process. An example of this would be Interpretacje, directed by Jarosław Brzozowski. Th e second category utilizes symbols, fantasy, and dramatization. The artist often appears also as an actor. Several components, such as a subjective narration, unique cinematography, use of light, poetic text, and use of montage help establish the charm of the masterpiece. Less used biographical motifs of ten attempt to create a new quality to the genre. Th e best example of such an approach is the ‘f ilm-painting’ of the portrait of Tadeusz Brzozowski in the work Brzuch as directed by Andrzej Papuziński.

13

The Moving Image: Expanded Documentary Practice in Contemporary Art

63%

Raczynski A.

Sztuka i Dokumentacja

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2013

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nr 9

125-133

EN

The shifting styles and approaches to documentary make the definition of documentary practice increasingly problematic. The term ‘expanded’ refers to the flexible role and evolving definition of documentary in the artistic context and digital age, in which the merging of documentary with other art forms such as video or art intervention results in an entirely new form of documentary practice. The expanding nature of documentary art, as emphasised by several scholars and practitioners, lies in the very ambiguity of the term “documentary”. The boundaries between reality and fiction are often ambiguous. The abundance of ambiguities that surround the domain of documentary creates vast scope for theoretical debate and practical experimentation, and the complexities and problems that arise as a result of documentary’s uncertainty serve as one of the most appealing aspects for artists. It is the interplay of these opposing elements in the genre of documentary that create innovative contributions to the field of contemporary art, and demand closer analysis. Documentary practice has begun to be positioned entirely differently within the art context. This article makes reference to several documentary artists (namely Peter Watkins, Patrick Keiller and Phil Collins), as well as documentary discourse, referencing in particular the analysis of Hito Steyerl, who has explored extensively the role of documentary in the context of contemporary art.

14

Percepcja reportażu radiowego

63%

Czarnek P. , Łódzki U.

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tom 20

PL

Reportaż radiowy to gatunek ksenochtoniczny, przeniesiony z gruntu literatury, przystosowany do możliwości medium audialnego. Wielokrotnie szereg dyskusji budziła kwestia jego statusu i pogranicznego charakteru. Badacze próbowali rozstrzygnąć, czy reportaż jest tworem czysto dziennikarskim, publicystycznym, czy też należałoby go zaliczyć do dzieł sztuki. Podejmuje on bowiem najczęściej ważne społecznie kwestie, ale niejednokrotnie przedstawia je z wykorzystaniem środków artystycznego wyrazu. Artykuł stanowi próbę zabrania głosu w tej sprawie ‒ uwzględnia nie tylko stanowiska badaczy, lecz także opinie odbiorców. Pokazuje historyczne, społeczne i kulturowe aspekty ewolucji tego gatunku, a także wyniki badań ankietowych, przeprowadzonych na reprezentatywnej grupie słuchaczy, dotyczące procesu percepcji reportaży radiowych – jego przebiegu i skutków oraz wpływu na kształtowanie kompetencji kulturowych, społecznych czy komunikacyjnych.

EN

The documentary is originally a literary genre. It has been adapted to the possibilities and the specificity of the acoustic media. Frequently, it has evocated discussions connected with its status and the character of its boundaries. Researchers tried to decide if it is a typically journalistic or artistic creation. The documentary usually takes up socially important issues but often shows them using artistic ways of presentation. This article points at different aspects of this case using researchers‟ opinions and radio listeners as well as the historic, social and cultural background of the development of this genre. The perception of radio documentaries is also mentioned in order to show its influence on cultural, social and communicative competence.

15

"The Family of Man" po latach. Wokół krytyki i recepcji wystawy

44%

Leśniak K.

Roczniki Humanistyczne

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2013

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tom 61

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nr 4: Historia Sztuki

205-240

EN

The photographic exhibition The Family of Man created by Edward Steichen was for the first time opened in the halls of the Museum of Modern Art in New York in 1955. It was a great commercial success and in the next less than ten years it was shown in 68 countries the world over. In the years 1959-1960 it also came to Poland and owing to its favorable reception became one of the most important turning points in the history of the Polish post-war photography, both artistic and documentary. During the next years the exhibition The Family of Man was also subjected to harsh criticism. The starting point for the present paper is the image of the exhibition that emerges from the Polish writing. The literature of the subject is modest, it consists mainly of small contributions; moreover, there are several works, in which thoughts taken from a few famous critical texts devoted to the exhibition, among others from the texts by Roland Barthes, Susan Sontag, Allan Sekula, are cited without any reflections. Only some Polish researchers interpret these important critical opinions with respect to the specific political and artistic situation that existed in Poland of the 1950s and 1960s (among others socialist realism, Gomuła’s thaw). The present article aims at indicating the profits from a reinterpretation of the exhibition on the ground of the history of Polish photography, and also of Polish culture of the post-war decades. The author tries to indicate the basis for studying Polish reception of the Steichen project. The reflections contained in the present paper are mainly focused on several subjects that are important for the exhibition, like the war, the American politics in the era of the cold war, the family. Moreover, the discussion also points to some aspects of the origin of the exhibition and to the conception of photography that is contained in it.