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À propos realizmu

100%

Helman A.

Kwartalnik Filmowy

2011

nr 75-76

30–49

The author argues that in the history of film studies there are few concepts so loaded with ambiguity, confusion, contradiction and controversy as “realism”. This term refers to various phenomena: artistic stance, means of expression, the on-screen effect, and the attitude of the audience. Realism is a term that is both theoretical and an element of the language of film criticism, it is also a common word used in everyday expressions. Any reflection on realism in cinema has been based on the belief in the “natural” or “innate” realism in film art, and refers to notions of naïve or common sense realism. The author proposes that the subject of the discussion be not realism tout court, but historically different variables of the “realistic” formation. Usually it is easy to show their direct relationship with the theoretical concepts of realism, though the relationship is not always unambiguous. It is sufficient to refer to examples to demonstrate that the collective, unifying approach to the definition of “realism” is not really possible.

Wpływ transformacji ustrojowej na estetykę i funkcje Polskiej Kroniki Filmowej na przykładzie sekwencji dotyczących wydarzeń z Marca ’68, Grudnia ’70 i Sierpnia ’80

75%

Hekert A. , Łysakowska-Trzos A.

nr 3 (327)

249-264

The aim of the article is to observe the changes that have taken place in the aesthetics and functions of the Polish Film Chronicle after 1989. To capture the transformation in the message of the PFC, documents on the months-symbols of the Polish People’s Republic period were analysed. The research problem is the analysis of six sequences: three produced during communism [Party Position (12B/68) Gdańsk and Gdynia – after the December events (50B/70) and the end of the strike (36A/80)], and three sequences broadcast after 1989 [That August 35/90, Three Decembers 51/90 and March Days (11/90). The individual documents are analysed using a classic method of study of the chronicle, proposed by Siegfried Kracauer in his work „From Caligari to Hitler”. The analysis includes the following elements: image, words, music, and sound, and – an element added by the authors of the present study — sequences adjacent to this sequence. The film study analysis is complemented by non-source-based knowledge of the period in question. After 1989, the Polish Film Chronicle changed its character, using in its message previously unpublished materials and reducing the emphasis on role of the off-screen reader. Despite renouncing its status as a „propaganda tube”, it did not lose its impressive function. The PFC newsreels are described chronologically, according to the events told, which allows to capture both the changes that took place in the chronicles after 1989, but also the modifications that took place in newsreels broadcast during the Polish People’s Republic period.

Wesele Andrzeja Wajdy jako mandala

51%

Kuśmierczyk S.

nr 79

6–21

The author calls on the concept of the mandala by C. G. Jung as ideogram expressing the content of the mental state in the current stage of the development of the inner man. The interpretation of Wedding as a mandala presents the location of the action as a quadrilateral inscribed in a circle. The analysis reveals the three sequences comprising the film, the fractal triadic structure of the whole work, the metamorphosis of the characters, and its close relationship with changing time and space and the importance of vision scenes. The author discusses the mythic-initiation structures and the rite of passage structure using the interpretative framework of Arnold van Gennep. He analyzes the unity of the visual and audio layers of the film, interpreted in the light of Paul Florensky’s ideas on golden highlighting in Russian orthodox icons. He discusses the colour scheme of the film, which is judged to be a remarkable achievement by Witold Sobociński cinematography. He shows the symbolic meaning of the colours that refer to color semantics in Polish folk culture and their relationship with the symbolism of the mandala form and the metamorphosis of the characters.