Wyniki wyszukiwania - Biblioteka Nauki

1

Krystaliczne kino Gilles Deleuze'a: system otwarty

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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.

2

Hasło rewolucji permanentnej, czyli gejowska fantazja na tematy narodowe

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Szymański W.

Panoptikum

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2008

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nr 7(14)

163-175

XX

This text is an attempt to describe gay and Marxist coalition in politics, art and humanities. By the analysis of the works of three artists: Felix Gonzales-Torres (“Untitled. Ross in L. A.”), Pedro Almodovar (“All about My Mother”) and Tony Kushner (“Angels in America”), the author seeks to find and define Marxist and queer basis of thinking of those artists and their works. The essay is also a critique of Polish gay and leftist movements that, according to the author, use trivialized aspects of Marxist thought. The idea of emancipation is possible only in art and thought experiments, such as those offered by Torres, Kushner and Almodovar – the great artists, whose projects of emancipation based on deep and profound analysis of Marx and, conscious or not, queer thinking are the most beautiful political utopias that the world has ever seen and created.

3

Postmodernistyczne kino fantastycznonaukowe a ekologia

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Brerenton P. , Szczubiałka M. , Gierczak J.

Panoptikum

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2010

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nr 9(16)

30-55

EN

Pat Brereton analyzes postmodernist science fiction films in order to explore the “myth” of posthuman cyborgs and demonstrate that although these apparently transgressive postmodernist expressions can be applied to an ecological utopian discourse. Despite the fact that some contemporary theoreticians are dismissing interest in real spaces and seem to lean towards the utopian unlimited possibilities offered by cyberspace Brereton intends to search for renewed sublime mode which affirms and produces a ‘positive’ form of ecological expression. To this end he scrutinizes, among others, films such as Dark City, The Terminator and Alien Resurrection, to show how the discourse of post-human agency overlaps with ethical and ecological dialogue.

4

Totalitaryzm w historii kina science fiction

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Patrzylas A.

In Gremium. Studia nad Historią, Kulturą i Polityką

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2016

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tom 10

191-201

EN

Science fiction genre has more than a hundred years of history. At this time, it has experienced a significant evolution, being divided into several subgenres along the way. The purpose of this article is to systematize, analyze and describe this extremely extensive genre, which is very important, both because of its artistic contribution to the history of cinema, as well as its content, including the characteristics of the population, eminent units and their types and exemplification. Science fiction cinema has also never avoided political references. The history of science fiction film has been introduced in chronological order. The timeframe of the analysis results from subjective and intuitive selection and the purpose of this is the fullest and most transparent presentation of the genre history. The article is about the whole science fiction, however, particular interest will be aimed at films referring to the issue of totalitarian regimes.

5

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

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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.

6

Wszystko pod kontrolą? (Post)panoptyczne dystopie Haruna Farockiego

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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.

7

Filmowy ślad środkowoeuropejskiej tożsamości. Uwagi o filmie Niepochowany Márthy Mészáros

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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.

8

What constitutes a cinematic event?

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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.

9

Wokół Choppersów Anny Okrasko

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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.

10

Kontestacja i kino – refleksje teoretyczne

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Klejsa K.

Panoptikum

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2008

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nr 7(14)

103-118

EN

Konrad Klejsa’ reflection in this text oscillates between the notions of cinema and dissent that are connected to the tern of 60’ and 70’. He formulates his doubts concerning the scope of those notions: can we talk about the cinematic dissent, or rather about the cinema of the decade of dissent? The author claims that it is impossible to establish any meaning of these notions without examination and identification of different modes of production and distribution of films created in those times, as well as without taking into account the dynamics of cultural processes. Cinema was only one of media in which the ideas of the “protest culture” were expressed. The films were accompanied by, and often preceded with, actions of the situationists (especially Guy Debord’s 1967 manifesto The Society of the Spectacle), as well as by critical discussions focusing on the ideological involvement of cinematic apparatus (connected primarily to French film theory and the strategy of exposing the ideological character of the mainstream cinema). The project of tracing the dissent in particular films must constantly be supplemented with the question of the actual scope of this notion: is it tantamount to the content or rather to the “progressive” form? Standpoints characteristic to the critique of dominant culture implied that the cinema of dissent not only documents the awareness of dissent but embodies it. If the mainstream cinema is not able to represent the dissenting groups and their aims, there is a need for independent media and distribution channels (i.e. funded by sources other than government). The author indicates new strategies of expression that realize theoretical assumptions of the dissent movement, focused around the formula of Brechtian cinema. The article is an excerpt of the book: Filmowe oblicza kontestacji. Kino Stanów Zjednoczonych i Europy Zachodniej wobec kultury protestu przełomu lat 60. i 70.

11

Assemblage Theory and Schizoanalysis

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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.

12

Kultura postkinowa, czyli widz w dobie multipleksów

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Żaglewski T.

Panoptikum

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2012

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nr 11(18)

26-40

EN

Where would Roland Barthes go nowadays after leaving cinema? Most probably not into the street covered with darkness, but rather into the nearest boutique or one of the many gastronomical points in the shopping mall. The question above is not, however, only an intellectual charade that is based on the famous essay of an extraordinary researcher. In the potential response there is a possibility of an important statement about the changes in the moviegoers’ customs and the role of the cinema as an institution for the modern culture. In Barthes’ original work movie theatre is not only a physical space described by the screen’s size, number of chairs or the type of film projector. Movie theatre becomes here almost transcendental experience – some kind of hypnosis with the movie theatre as a temple of the Tenth Muse. By making the leap to modern times we can see the dramatically different status of the movie theatre and its meaning to the smartphone/tablet-user generation. In the much competitive environment of the new media technologies the whole “mystic” feeling of the movie show, as it was described by Barthes himself, fades and is being replaced with a new type of experience. Nonetheless, multiplexes – these fallen churches of film’s mass consumption – are realizing as well the “bait” strategy (following the Barthes’ term) and seduce its theoretical customers just like the older “film palaces”. In my essay I concentrate on the analysis of moviegoer’s customs and explain the role of a modern shopping mall’s multiplexes in the process of creating a movie culture that is far away from the diagnosis proclaiming the death of the cinema as an important environment of a film experience.

13

Na wschód od fabuły, na zachód od dokumentu, czyli Na północ od Kalabrii

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Piepiórka M.

Panoptikum

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2012

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nr 11(18)

42-54

EN

Marcin Sauter’s film - ‘North of Calabria’ - was shown in Panorama section of Gdynia Film Festival (festival of fiction films) and in a documentary competition at Cracow Film Festival. In the light of this fact we should consider what factors affect the classification of films into a particular type or genre. Mirosław Przylipiak’s definition lists the features a film should possess in order to qualify as a documentary. However, today there are many fiction films that use the poetics of documentary. Viewers find it more and more difficult to unambiguously assign a film to a particular type. Moreover, the viewer would have to have a complete knowledge about film production process in order to verify the definitional features of a particular type or genre. Thus, the viewers can subjectively and arbitrarily determine on their own the type of watched film or they have to trust institutions. These institutions give labels to films. Analyzing the case of the ‘North of Calabria’ I examine how both viewers and institutions construct the types of films.

14

Smutny los automatów. Sztuczni ludzie w dystopijnej ikonografii science fiction

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Konefał S. J.

Panoptikum

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2010

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nr 9(16)

73-84

EN

A robot is an important figure in the patterns of dystopian literature and science fiction cinema. Over the years, artificial humans played the roles of victims or enemies rebelling and fighting with homo sapiens. This conflict was related to the genesis of the robot, that was at the beginning an imaginary character serving the role of mechanical slave. Another important theme developed in dystopian science fiction is the usage of robots in the plots inspired by some counterculture theses. Such inspirations are presented in the short stories and novels of Philip K. Dick who successfully re-interpreted the most popular conventions of the genre. The clichés connected with the iconography of artificial humans also became a significant element of the plots in comic books and cartoons where they are often used to deconstruct some significant stereotypes and indicate postmodern crisis of identity.

15

Rozwój i funkcjonowanie kin w Łodzi

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Litaszewska A. , Mordwa S.

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EN

This case study considers the development and functioning of the cinemas in Łódź as a complex process of decision making which several interests and concepts with one other. Contemporary cinemas network in the city is the result of different localization decisions in various periods of the history of the city. The paper concerns: the genesis of cinemas network, cinemas present situation and current functioning; the image of the Łódź's cinemas.

PL

Od początku swego powstania kino cieszyło się ogromną popularnością. W początkowej fazie rozwoju sieci kin nierzadko zdarzało się, że kina ze sobą sąsiadowały, a mimo to dobrze prosperowały. W latach 70-tych ubiegłego wieku, latach największego rozkwitu sieci łódzkich kin, wciąż powstawały nowe placówki. Później niestety nastąpił jednak regres. Wyniknął on głównie z utraty widzów na rzecz innych odbiorników audiowizualnych i form przekazu, oraz ze zmiany zachowań klientów i ich preferencji gospodarowania wolnym czasem. Swoje piętno na kinach odcisnęły również: kryzys społeczno-gospodarczy ostatnich dekad XX wieku, a następnie procesy transformacji. Obecnie w Łodzi obserwować można efekty ścierania się dwóch głównych tendencji w polskim kinie. Z jednej strony są wielo- i wielkosalowe sieci kin premierowych nastawione ze swoim produktem na widza popularnego. Stoją za nimi wielkie, nawet ponadnarodowe, koncerny dystrybucyjno-medialne. Alternatywę dla nich stanowią kameralne kina studyjne, preferujące niszowy, ambitny repertuar. Kina te nakierowane są na różnorodne formy kontaktów bezpośrednich z widzami, oferują wiele festiwali artystycznych i imprez okołofilmowych.

16

Jak zabija kapitalizm? Requiem dla snu Darrena Aronofsky’ego jako film radykalny

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Pietrzak J.

Panoptikum

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2008

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nr 7(14)

119-136

EN

The author mercilessly examines the neglected context of Darren Aronofsky’s film Requiem for a Dream – its radical and political significance. Pietrzak follows the film’s construction of the cinematic world and the way its postmodern form (editing full of redundancy, repetitions and chronological disorders, as well as other “non-transparent” devices, among which the physiological realism seems to be dominating) is almost entirely subordinated to its content (which, contrary to the empty variant of this kind of devices, that refer to nothing but themselves). Following Aronofsky, the author relates the postmodern interpretation of reality to its socio-economic dimension. Apart from interpretational movements of ideas, symbols and contexts, cinematic representation of the mechanisms of “structural, intentional and functional exclusion” become the most important issue. The author internalized the theoretical tools of Althusser, Adorno and Foucault, whereby he demonstrated the process of destruction of the culture appropriated by the capital.

17

18 FESTIWAL KINA LATYNOAMERYKAŃSKIEGO W LIMIE

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Kotarski J.

Ameryka Łacińska. Kwartalnik analityczno-informacyjny

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2014

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tom 22

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nr 3-4(85-86)

106-111

18

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

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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

Uwięzieni w środku Europy – dystopijne kino Béli Tarra

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Bartczak M.

Panoptikum

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2010

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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.

20

O sztukach mechanicznych oraz estetycznym i naukowym awansie anonimowych jednostek

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Rancière J.

Panoptikum

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2008

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nr 7(14)

15-21

EN

This essay is a representative excerpt from Jacques Rancière’s book Le Partage du sensible. Esthetique et politique (eng. The Politics of Aesthetics: The Distribution of the Sensible) – one of the most significant books concerning relations between art and politics, in which Rancière systematically and comprehensively formulates the basis of his aesthetic theory, from the definition of the main title notion, through account and analysis of the three main regimes of art, to the reflection on the relations between the artistic creation and labor (where he refers to young Marx). Taking into account the general profile of “Panoptikum” we decided to publish the fragment on mechanic arts.