Wyniki wyszukiwania - Biblioteka Nauki

1

Film jako ikona

100%

Legan M.

Sympozjum

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2016

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nr 1(30)

111-122

EN

The image itself, especially the icon, represent material source of religious experience and theological reflection. It is important to prove that a similar role, the role of inspiration to pray can provide also film. Article take this very issues.

2

Kino i teatr – kulturowa kolizja mediów (1895-1914)

71%

Hendrykowski M.

Kwartalnik Filmowy

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2014

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nr 87-88

6-31

PL

Autor skupia się na metodologicznych problemach badania zależności między teatrem i filmem na przełomie XIX i XX w. Tezą wyjściową jest twierdzenie, że w przypadku związków teatru i filmu w najwcześniejszym okresie rozwoju kinematografii mamy do czynienia nie z prostym stykiem dwu zbliżonych do siebie dziedzin, lecz z intrygującym i bardzo złożonym zjawiskiem kulturowym. Związki między teatrem a filmem na ogół były w przeszłości traktowane jako coś oczywistego, dając z jednej strony sposobność do wywyższania teatralnego Olimpu ponad pogardzaną plebejską rozrywkę, jaką stanowiły ruchome obrazy (nieprzypadkowo zwane pogardliwie flickers, czyli „migotkami”). Z drugiej strony długo pokutowało przekonanie wywyższające kino jako dziedzinę twórczości, która stała się sobą dopiero wówczas, gdy rzekomo zerwała więzy teatralnego uwikłania. Autor dowodzi, że teatralno-filmowym powinowactwom z przełomu XIX i XX w. daleko do jednoznacznej oczywistości. Wprost przeciwnie, okazują się one bardzo złożone. Aby je rozpoznać, należy uwzględnić kilka perspektyw badawczych: filmoznawczą, teatrologiczną, medioznawczą, kulturoznawczą oraz komparatystyczną. Kino „spotykało” się w tamtym czasie nie tylko z teatrem, lecz również z innymi dziedzinami kultury: literaturą, malarstwem czy muzyką. Jednak żadne z tych spotkań nie było tak dramatyczne, pełne napięcia i zarazem owocne dla przyszłości ruchomych obrazów, jak właśnie wczesna ewolucja ich relacji ze światem teatru.

EN

The author focuses on the methodological problems of studying the relationship between theatre and film in the late 19 th and early 20 th century. His starting point is the claim that in the case of relations between theatre and film in the earliest stages of the development of the cinema, we are not dealing with a simple junction between domains similar to each other, but an intriguing and very complex cultural phenomenon. Relationships between theatre and film in general have in the past been treated as a matter of course, on the one hand giving one the opportunity to exalt the theatrical Olympus as opposed to the plebeian and despised entertainment of moving pictures (they were not contemptuously called flickers by mistake). On the other hand, a belief lingered exalting the cinema as a field of creativity, which only became itself when it allegedly broke all the bonds with the theatre. The author argues that the affinities between theatre and film of the late 19 th and early 20 th century are not obvious. On the contrary, they prove to be very complex. In order to recognise them, one needs to consider several research perspectives: film studies, theatre studies, media studies, cultural studies and the comparative perspective. The cinema of the time, touched on not only theatre, but other forms of culture such as literature, painting or music. However, none of these relationships was as dramatic, tense and fruitful for future moving images, as the early evolution of the relationship with the world of theatre.

3

O WARTOŚCIACH I WARTOŚCIOWANIU W KINIEO WARTOŚCIACH I WARTOŚCIOWANIU W KINIE

54%

Citko K.

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nr 5

49-60

EN

Talking about the axiological rule in relation to the art of film, should be taking into account the fact that the values appearing in the film can be seen on several different levels. The film is a work of art, and so realizes and embodies the values artistic and aes-thetic. At the same time its plot carries a variety of moral values. There are in the movie, mixed with each other, values associated with the pleasures of the spectators, the values of vital, spiritual, values ethic and aesthetic, as well as the values of sacrum and pro-fanum. In this case, it should be noted that the values occurring in the world of the screen, and represented by the team of filmmakers and the viewers, can generally distin-guish. Because the films also have the value of commercial objects, it is better talking about values in the cinema than in the film; such approach allows for the inclusion in the discussion of issues related to the film as a work of art, with film production, distribution and the processes of its reception. The article discusses the various types of values oc-curring in the cinema, as well as concrete examples of their corresponding films.

4

Historie równoległe, zbieżne, przeciwstawne. Teatr dramatyczny w filmie jako alternatywa i dopełnienie fabuły

54%

Dobrowolski P.

Kwartalnik Filmowy

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2014

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nr 87-88

32-43

PL

Równoległe, zbieżne i przeciwstawne widzenie opowieści filmowej i teatralnej, która stanowi jej cześć, to trzy wersje – zawsze dialogicznej – intertekstualności typu „teatr w filmie”. Często samo wspomnienie tytułu, cytat czy fragment sceny wprowadzają ważny ładunek znaczeniowy, który przez dyfuzję sensów modyfikuje i uzupełnia treść pierwszoplanowej akcji w świecie przedstawionym na ekranie. Spektakl teatralny, włączany w film jako „wyrażenie cudzysłowowe”, uruchamia – zależnie od kompetencji odbiorcy – całość swoich znaczeń. Osadzone w konkretnych kontekstach fabuły filmowe, w których pojawiają się inscenizacje Szekspira, Goethego czy Wyspiańskiego, dowodzą aktualności klasycznych tekstów kultury, wariantywnie konfrontując ich wymowę z rzeczywistością polityczną i społeczną. Obserwacja ta okazuje się szczególnie interesująca w połączeniu z historycznymi realiami opresyjnej władzy i cenzury PRL, w których powstała większość filmów stanowiących materiał źródłowy tego tekstu.

EN

Parallel, convergent and opposing vision of the story in theatre and the story in film, which forms its part, are the three, always dialogical versions, of intertextuality of the kind “theatre in film”. Often, the mere mention of the title, a quote or excerpt introduce an important semantic load, which through the diffusion of the senses modifies and complements the meaning of the main action on the screen. A theatrical spectacle, that is included in the film as a “quoted expression”, brings about – depending on the competences of the viewer – a full set of its meaning. Embedded in specific contexts, movie plots in which there are productions of Shakespeare, Goethe or Wyspiański, show how current are the classic texts in our culture, and their message is confronted with the political and social reality. This observation is particularly interesting in conjunction with the historical realities of oppressive power and censorship of the communist period during which most of the films constituting the source material of this text was made.

5

Filmy aktorskie o przygodach Asteriksa i Obeliksa jako przejaw obecności antyku we współczesnej kulturze audiowizualnej

51%

Stawiski M. , Uniwersytet im. Mikołaja Kopernika , Maciej Stawiski was born in 1994 in Żuromin. He became a student of the Faculty of Humanities of Nicolaus Copernicus University in Torun in 2013. He is studying history and protection of cultural heritage within Interdisciplinary Individual Humanistic and Social Studies. He is interested in the medieval and an- cient history e. i. t. h. o. G. s. s. t. t. W. R. E.

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2015

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tom Numer specjalny

EN

The films with actors about the adventures of Asterix and Obelix are an important part of the contemporary popular culture. The plot of these film is located in antiquity therefore ancient motives are common in them. It is very important to check if these motives are showed in the way which is consistent with historical truth. And it is very important to know how big their influence on popular perception on antiquity is. This article is a first step to answer these questions. It shows that some motives are showed correctly but some are presented incorrectly. It suggests also that some people may see druids through the prism of these films.

6

Medialna rzeczywistość w „Truman Show” (1998) Petera Weira w perspektywie myśli gnostyckiej

51%

Kwiatkowski F. , Jagielloński U. , Fryderyk Kwiatkowski – he graduated with a Masterʼs Degree in Film Stu- dies at the Institute of the Audio-visual Arts of the Jagiellonian University in Kra- ków. He is currently a Ph.D. candidate at the Institute of Philosophy of the same university. He prepares his dissertation about gnostic motifs in contemporary pop culture. He is interested in philosophy of film W. e. i. t. c. o. h. o. r.

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2015

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tom Numer specjalny

EN

In the author’s opinion the story depicted in "The Truman Show" (1998) by Peter Weir comprises a reinterpretation of a Gnostic myth about the liberation of a „divine spark” from the material world. In spite of the fact that the director did not know about Gnosticism before he started to make the film, the author of the article presents that many motifs in his work can be viewed through the ideas expressed in various Gnostic systems. The Gnostic notions were reinterpreted in "The Truman Show" on a fundamental level of the world being presented in as well as in the narrative structure of the movie.

7

Krystaliczne kino Gilles Deleuze'a: system otwarty

51%

Jakubowska M.

Panoptikum

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2014

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nr 13(20)

54-69

EN

The paper's aim is to introduce Gilles Deleuze's Cinema as a theoretical and philosophical open system of thinking about classical, modern and postmodern movies.

8

The Digital Secret of the Moving Image

51%

Terrone E.

Estetika: The Central European Journal of Aesthetics

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2014

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tom 51

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nr 1

21-42

EN

This article addresses the definition of cinema by focusing on the related ontological question of which basic category circumscribes cinematic works. According to Noël Carroll, the definition of cinema consists both of ontological conditions that treat the moving image as a type and of other conditions that treat it as a display. But following Carroll’s ontological conditions, the digital encoding of a moving image enigmatically ends up being both a type and a token. Solving such a puzzle by clarifying the relation between the cinematic type and the digital type leads us to define the moving image in general as a type that specifies a spatiotemporal distribution of pixels.

9

O braku utopii. Przestrzeń i bohaterowie w filmie Opowieści o zwyczajnym szaleństwie Petra Zelenki

51%

Ciszewska E.

Panoptikum

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2010

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nr 9(16)

206-219

EN

An article explores possibility of applying Michel Foulcaut’s heterotopies and Marc Augé’s non-places discourses to the movie Tales of Ordinary Madness (Příběhy obyčejného šílenství, 2005) by probably most acclaimed contamporary Czech director Petr Zelenka. This text bears the assumption that space (in this particular case mise-en-scène) can visualise some contemporary social and psychological issues: it can reflect or underline conflicts and problems that characters are dealing with. As author suggests, in this particlular movie, the way the film space is designed and its dramatical role has a great influence on how Peter, movie‘s main character, is being perceived. What‘s probably the most interesting, film hero settled in space that can be described as supermodernity, seems to have a lot in common with traditional „little Czech man“ personality model.

10

Wszystko pod kontrolą? (Post)panoptyczne dystopie Haruna Farockiego

51%

Zając B.

Panoptikum

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2010

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nr 9(16)

193-205

EN

The author discusses the dystopian vision of contemporary world that gradually limits the freedom of individual using as illustration cinematic works of German documentary filmmaker and media theorist Harun Farocki. In the context of phenomena such as simulations, usage of innovative techniques of invigilation outside the gates of contemporary panopticons, functions of technical images and apparatus creating them, the author searches through Farocki’s works in order to find and answer to the question of where to find a space that would enable the strategies of resistance.

11

Filmowy ślad środkowoeuropejskiej tożsamości. Uwagi o filmie Niepochowany Márthy Mészáros

51%

Miller A.

Panoptikum

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2008

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nr 7(14)

331-334

EN

In her essay the author examines A Temetetlen halott by Márta Mészàros – a Hungarian director and screenwriter usually associated with feminist cinema. Due to the use of the quasidocumentary narrative strategy, A Temetetlen halott seems to fit the contemporary paradigm of telling (about) history. Produced in 2004, the film is a reconstruction of the last two years in the life of Imre Nagy, the legendary prime minister of the revolutionary Hungarian government in 1956, thus creating a perfect opportunity for the investigation of the so called Central European identity. A Temetetlen halott – a Polish-Slovak-Hungarian co-production – points to the close historical bonds between Poland and Hungary; the protest in Budapest was after all a sign of support for the changes taking place in Poland at that time (therefore one has to keep in mind that the revolt in Poznan in 1956 creates the historical context for these events). Built upon biographical experiences of real witnesses of the 1956 October revolution, the film shows the urgent need for an effort to keep the past alive, as it forms the basis of the collective identity.

12

What constitutes a cinematic event?

51%

Brown W.

Panoptikum

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2014

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nr 13(20)

118-125

PL

Autor stawia pytanie o status wydarzenia filmowego, odwołując się do różnych koncepcji pojęcia wydarzenia wyprowadzonych z dyskusji Alaina Badiou z myślą Deleuze'a.

13

Wokół Choppersów Anny Okrasko

51%

Łazar A.

Panoptikum

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2008

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nr 7(14)

335-337

EN

The text Around Anna Okrasko “Choppers”, concerns Anna Okrasko exhibition in Okna Gallery (06.08 -26.08.2007) that was devoted to a visit to Saigon museums. Comments about Polish reception of Vietnam War during cold war period and about construing present day historical politics using museums are an introduction to the problematic of the exhibition. The analysis of Choppers is built through developing the context or asking about it. Key figure of the interpretation is Tourist’s view formed by American films on Vietnam.

14

Srebrny ekran i paryski bruk. Filmowe portrety polskich emigrantów w produkcjach zagranicznych i międzynarodowych (1976–2011)

51%

Van Heuckelom K.

Postscriptum Polonistyczne

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2016

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nr 2(18)

157-168

EN

The article looks into the changing on-screen treatment of Polish immigrant characters living on ‘the Paris pavement’. The corpus of film productions under discussion includes Roman Polański’s The Tenant (1976), Peter Kassovitz’s Mariage blanc (1986), Costa Gavras’s La petite apocalypse (1993), Krzysztof Kieślowski’s Trois couleurs: Blanc (1994), Paweł Pawlikowski’s The Woman in the Fifth (2011) and Małgorzata Szumowska’s Elles (2011). As a comparative analysis of the films involved indicates, both the immigrant characters and the urban space associated with them are subject to gradual changes (although some remarkable spatial motifs, such as the balcony and the roof, make their appearance both in the older and the newer productions). If the earlier films tend to focus on the – often geopolitically connoted – marginalization and degradation of male (anti)heroes in the city’s historical center (or its immediate vicinity), then the more recent films shift focus to the urban periphery, where the Polish characters become part of what Dina Iordanova has called the ‘metropolitan multicultural margins’, along with other, economically underprivileged newcomers from various parts of the (postcolonial and post-Communist) world.

15

Projekt mechanizmu analizy i indeksowania informacji multimedialnej dla środowiska Oracle Video Server.

51%

Głomb P.

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2000

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tom Vol. 21, nr 1

275-286

PL

Praca prezentuje projekt rozszerzenia środowiska sieciowego OVS, umożliwiającego automatyczne generowanie opisu dołączonych do bazy danych filmów. Przedstawiono jego ideę działania i schemat funkcjonalny, oraz używane w nim metody analizy i klasyfikacji strumieni wideo.

EN

This work presents a project of extending the Oracle Video Server with a module that performs automatic generation of description for films added to the server database. A description of the module is presented, together with overview of the analysis and classification methods that form the base of it.

16

Assemblage Theory and Schizoanalysis

51%

Buchanan I.

Panoptikum

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2014

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nr 13(20)

126-134

PL

Autor artykułu proponuje rozważenie koncepcji asamblażu autorstwa Deleuze'a i Guatarriego w izolacji od licznych wcześniejszych przykładów przywłaszczania, które zdaniem autora jedynie podszywały się pod nią, w zamian skutkując interesującym, ale w jakimś przynajmniej stopniu umniejszającym lub też redukującym użyciem.

17

Oko, którego nie możemy zamknąć

51%

Pindera A.

Panoptikum

|

2008

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nr 7(14)

42-49

EN

The relationship between photography and death dates back to the birth of the former. In About Looking John Berger asks about the consequences of publishing pictures of human suffering. Photography can surprise and shock. The question is: How long will it continue to do that? Shock can also be familiar, because people have the ability to adapt quickly. As Mathew Brady, a photographer during the American Civil War (1861-65), used to say: “Camera is the eye of history”. The aim of his photos was to show the horror of war and its real face. But the general practice was different. For photographers composition meant everything and they had no scruples about arranging images as they saw fit. Using photography for propaganda reasons and pictorial manipulations has a long tradition. At first, the Nazis started using photography as propaganda, but then they noticed the danger of documentary materials. Photography can be considered an atypical history lesson, as Geert van Kesteren shows us in the Why Mister, Why? Exhibition, a report from his journey to Baghdad in April 2003. His photographs show reality as it is: often blurred and vague, sometimes ridiculous, often fearfully brutal. The Why Mister, Why? is a travelling exhibition, with multimedia projections, which transfer on-line information from Iraq, and an exhaustive publication. This is a political history in practice. Van Kesteren and the exhibition producers take into consideration Iraq’s contemporary history.

18

I tak oto kończy się świat...: Jubileusz, The Last of England i współczesność jako Apokalipsa

51%

Rode D.

Panoptikum

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2010

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nr 9(16)

120-132

EN

The article interprets the apocalyptic visions of the future in two films of British filmmaker Derek Jarman. Both Jubilee and The Last of England contrast Arcadian images of the past (Elizabethan period in first case, director’s childhood in the second) with the contemporary/future world of chaos and destruction to make a clear political commentary. Jubilee seems to concentrate on the influence of mass media on society and the possibility of resistance. The Last of England, edited after Jarman was diagnosed HIV-positive, refers to politics of Thatcher’s government, but also reveals a deep personal crisis.

19

Walka o prawa ludności murzyńskiej w USA w optyce kina bezpośredniego. Przypadek The Children Were Watching

51%

Przylipiak M.

Panoptikum

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2008

|

nr 7(14)

147-162

EN

The author analyzes in detail one of the films of the American direct cinema movement - Richard Leacock’s The Children Were Watching, concerning integration of primary schools in New Orleans. Using this particular film as a case study, Przylipiak verifies the basic assumption of film-makers of this movement: the assumption that the cinematic medium has the ability to present reality objectively. The author qualifies their belief that the radical version of mimesis can be controlled by the use of cinematic devices. The problem became especially apparent in the context of their strategy of engaging into social discourse. The act of engagement was to be neutral and based on “pure” observation, free from valuation, using the aesthetics of transparency. Each of those alleged aspects of cinematic record was enabled by technological developments, such as silent camera synchronized with portable sound recorder, high-speed film stock. The central focus of the film analyzed in this text is the issue of racial segregation, the long-lasting problem of American society. The author sets the issue in the American socio-political context, outlining in historical terms the public debate around it, revealing finally the obvious bias of the film-makers of direct cinema movement. Contrary to their declared priority of objectivity, they produced images filtered through propaganda techniques, preceded not only with recording but with intentional use of editing and verbal narration as well.

20

Uwięzieni w środku Europy – dystopijne kino Béli Tarra

51%

Bartczak M.

Panoptikum

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2010

|

nr 9(16)

180-192

EN

The article explores the theme of dystopia in the cinema of Béla Tarr. The interpretations offered here focus on his three works: Damnation (1989), Sátántangó (1994) and Werckmeister Harmonies (2000). The Hungarian director is a neomodernist, who refers to the style of Andriej Tarkowski, but makes cinema subversive towards tradition of transcendental style. Tarr degrades religious symbols to the rank of elements of the ordinary, material reality, which is slowly falling apart. Dystopian character of his movies is strongly connected with the style of this cinema, which is based on minimalism, slowness and contemplation. Dystopian vision of the world in Tarr’s cinema has three fundamental dimensions and the following parts of this essay consists on these three principal contexts in which the topic of dystopia can be analyzed.