Images
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Images.The International Journal of European Film, Performing Arts and Audiovisual Communication
Czasopismo „Images” jest kwartalnikiem naukowym. Ukazuje się drukiem od 2003 roku. Poszczególne numery pisma mają charakter monograficzny i poświęcone są najważniejszym zjawiskom współczesnej kultury audiowizualnej. Dotyczą polskiego i światowego kina, mass mediów, fotografii oraz szeroko rozumianej kultury popularnej. W skład komitetu redakcyjnego pisma wchodzą autorzy polscy i zagraniczni z prestiżowych ośrodków naukowych w Europie i Stanach Zjednoczonych. Część tekstów publikowana jest w języku angielskim i innych językach konferencyjnych. Czasopismo „Images” ukazuje się na Wydziale Filologii Polskiej i Klasycznej UAM w Poznaniu. Od 2011 jego współwydawcą jest Państwowa Wyższa Szkoła Filmowa, Telewizyjna i Teatralna w Łodzi.
(ang.) Images.The International Journal of European Film, Performing Arts and Audiovisual Communication
magazine is a scientific quarterly. The first issue was printed in 2003. Each issue is a monograph devoted to a selected subject representing most important phenomenon from the contemporary audiovisual culture. They are mainly about Polish and foreign cinema, mass media, photography and popular culture. The editorial advisory board of “Images” includes Polish and foreign authors from the prestigious scientific environment in Europe and USA. Texts are published in English and other conference languages. “Images” magazine is published at the Faculty of Polish and Classical Philology and the Adam Mickiewicz University in Poznań. The co-producer of “Images” has been the Polish National Film School in Łódź (PWSFTviT ) since 2011.
Redaktor naczelny: Prof. dr hab. Marek Hendrykowski
Kontakt: Katedra Filmu, Telewizji i nowych Mediów, Wydział Filologii Polskiej i KlasycznejCollegium Maiusul
ul. Fredry 10
61-701 Poznań
tel.:61-829-21-06, 61-829-21-08;
e-mail: Poznańmmhendry@neostrada.pl
strona www: www.filmoznawstwo.com
Nazwa wydawcy: Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi
ISSN 1731-450X
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Browsing Images by Author "Hendrykowska, Małgorzata"
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Item Ambiwalencja Melancholii(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Proszak, Monika; Żymełka, Anna; Hendrykowska, Małgorzata; Śliwińska, AnnaIn this essay, we attempt to convey Lars von Trier’s Melancholia in the light of Friedrich Nietzsche’s philosophy, i.e., the three metamorphoses of the spirit, contained in Thus Spoke Zarathustra. Three levels of existence (the camel, lion and child) are ascribed to the main character, Justine, whose evolution can be seen during the film. In the face of the film’s intended ambiguity, we suggest treating our essay as a voice in the discussions about Trier’s movie, which has provoked plenty of different interpretations.Item Analiza gatunkowo-estetyczna „Pomostu” Chrisa Markera. Interpretacja filmu jako przykładu „kina możliwego”(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Domalewski, Adam; Hendrykowska, Małgorzata; Śliwińska, AnnaThe paper discusses the French science fiction short film The Jetty (La Jetée) by Chris Marker. Made in 1962, the black and white film is constructed almost entirely from still photos. The author first gives a summary of the plot and then considers the genre and aesthetic syncretism of Marker’s work. Musical, rhythmical and visual aspects of the movie are also covered. Using Waldemar Frąc’s theory of “possible cinema”, whose main ideas are presented in the article, various possible ways of interpreting the film are shown.Item Celeberrimae urbes - celebres praedicatores. O medialnym znaczeniu mnichów żebrzących w średniowiecznym mieście(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Igielska, Anna; Hendrykowska, Małgorzata; Śliwińska, AnnaThis article deals with media studies and discusses a problem thoroughly examined by historians of the Medieval period concerning the expansion of mendicant orders and their ministry work in the flourishing European cities of the 13th century. The research perspective – which differs from a strictly historical and theological point of view – emphasizes the impact of mendicant orders on communication in the rapidly changing social conditions of the era. Therefore, it allows one to interpret confrontations with wandering heretical preachers in the 12th century not only as a religious conflict, but also a confrontation with a certain way of distributing ideas that contested the existing state of affairs. It also makes it possible to expose the enduring features of the media role of the preacher, which determined his popularity until the Reformation.Item Dark memories in the provincial words of Ingmar Bergman's Fanny and Alexander and Federico Fellini's Amarcord(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Marklund, Anders; Hendrykowska, Małgorzata; Śliwińska, AnnaThis article about Federico Fellini’s Amarcord (1973) and Ingmar Bergman’s Fanny and Alexander (1982) concerns one aspect of the directors’ childhood memories, namely how authoritarian institutions are used to disrupt otherwise fairly idyllic and nostalgic lives and worlds. The films blend detailed memories with playful fantasies, combine experiences of the directors’ alter egos, Titta and Alexander, with rituals of family and larger communities in the provincial cities of Rimini and Uppsala. In each film, bitter memories are given a central role. This article explores the similarities of these bitter memories, as they are imagined in the mature auteurs’ last exceptionally successful films.Item Filmowa Łódź w oczach studentów i profesorów PWSFTViT(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Hendrykowski, Marek; Hendrykowska, Małgorzata; Śliwińska, AnnaŁódź is often called “the capital of Polish film”. The cultural history of this town from the end of World War Two to the present day is closely connected with the movie industry. Marek Hendrykowski’s study on Łódź as a cinematic city offers the first comprehensive critical guide to the many films, interviews, published writings and individual memoirs of the Film School’s students and professors. This panoramic view presents the process of the historical transformation of cinematic images from Łódź between 1945 and 2013, as well as the profound influence this town had on many filmmakers. It serves as a reference work that will allow readers to navigate the subject’s wide range of examples: from Antoni Bohdziewicz, Jerzy Bossak, Kazimierz Kutz and Andrzej Wajda to Krzysztof Kieślowski, Wojciech Wiszniewski, Janusz Kijowski and Polish filmmakers of new generation.Item Fotograficzna enklawa. Nowy Jork i jego mieszkańcy w soczewce aparatu(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Sulejewska, Justyna; Hendrykowska, Małgorzata; Śliwińska, AnnaThe title phrase “photographic enclave” expresses the condition of projects that tell about a city using a photographic medium. The article discusses three audiovisual works that use photos to portray New York and its inhabitants: Smoke by Wayne Wang and Paul Auster, Stefan Nadelman’s Terminal Bar, and the multimedia project One in 8 Million. The works represent a variety of film models (drama, documentary, interactive media), and their authors use the formal and cognitive aspects of photography in a different ways. The aim of the article is to analyze the function of photography for portraying urban communities and to see if this treatment was successful.Item Historia zespołów filmowych z dzisiejszej perspektywy(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Hendrykowski, Marek; Hendrykowska, Małgorzata; Śliwińska, AnnaDirectors were central and outstanding figures in the creation of the postwar Polish film industry from the 1940s to the late 1980s. Educating young filmmakers, the Film School in Łódź fostered a documentary-realist style of narrative filmmaking, seen in the work of such talents as Munk, Wajda, Morgenstern, Polański, Zanussi, Skolimowski, Marczewski and Kieślowski. Since 1990, the producer system has replaced the traditional structure of Polish cinema connected with the director’s pursuits and primacy, and well as film units. Marek Hendrykowski’s critical study describes this process, covering selected historical, political and cultural events. The author discusses various aspects of this evolution and the idea of the creative producer, redefining its role for generations to come.Item Kolor w przestrzeni miejskiej „Siedem” Davida Finchera(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Choczaj, Małgorzata; Hendrykowska, Małgorzata; Śliwińska, AnnaThe city in Seven is full of dark and claustrophobic spaces, dominated by three colors: black, green and red. The significance of these colors is associated with sin: laziness (green), impurity (red) and pride (red, white). Desaturation of color and deep blacks throughout the film are the result of artistic treatments such as flyflashing and bleach-bypass. Color is complemented by light – sometimes minimal, other times quite blinding. The sound of thunder and rain complete the picture of the city as a place of moral decay, where two forces are fighting: light and darkness, purity and sin.Item Madryt malarski i filmowy(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Kozłowski, Krzysztof; Hendrykowska, Małgorzata; Śliwińska, AnnaIf Milos’s Forman target in Amadeus was to present Mozart’s music as dramatis personae, then in Goya’s Ghosts everything revolves around the paintings of Goya, which he perceives in a way that is not based on the artist’s biography. He was far from wanting to direct a movie about Goya, as he cared solely about picturing the demons that were haunting the artist. His point of view on the works of this great Spaniard was one of widely understood referentiality that stemmed from his being convinced of the documental understanding of historical facts. This is noticable both in reference to Los Caprichos (1797-1798) and to Los desastres de la Guerra (1810-1820), but mostly it evinces itself in paintings crafted for the court and paintings that were created to document Spanish protest against the French occupants who had occupied Goya’s fatherland. It helped to integrate paintings showing Madrid and its surroundings into a flow of movie pictures, which determined the notability of Forman’s film, but it also led to the non-recognition of the agenda of freedom inscribed in Goya’s creations; the consequences were that Forman misread the painter’s intentions and interpreted both of the oeuvres too realistically – Los Caprichos and Los desastres de la guerra, not excluding such works as historical paintings and portraits. The summary includes remarks about visible transfer from formal art to informal art, from manor painting to the intronisation of “liberalism in art”.Item Manhattan Woody'ego Allena. Poetyka Introdukcji(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Hendrykowski, Marek; Hendrykowska, Małgorzata; Śliwińska, AnnaMarek Hendrykowski’s innovative study on the four-minute opening sequence to Manhattan analyses one of the most beautiful introductions in the history of world cinema. Its subtle simultaneous construction based on European and American traditions and key canonical texts of 20th-century art: Walther Ruttmann’s Berlin: Symphony of the City, John Dos Passos’s Manhattan Transfer and George Gershwin’s Blue Rapsody. A semiotic apparatus has been included, along with deep explanatory commentaries and close-readings that identify step-by-step the details of its content, contradictory fiction-nonfiction relationships, and the roles of visual image, word and music, narrative, personal point of view, and stream of consciousness technique in the film. The suggestive film overture to Manhattan composed by Woody Allen represents continuities as well as disruptions, sustained between avant-garde artistic tradition and film art of the 1970s.Item Miasto i jego ukryty wymiar w sztuce(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Koniecko, Remigiusz; Hendrykowska, Małgorzata; Śliwińska, AnnaThe purpose of this article is to show the relationship between art, photography and architectural spaces that create new creative visions in these areas. The explored topic reveals a situation that affects the understanding of the current role of architecture, where previously there was no place for abstract concepts. Today this gap is complemented by artists as well as by architects, who often straddle architectural practice and a desire to be an artist. The penetration of these attitudes creates a situation in which the previously outlined boundaries of both disciplines are being crossed, in what might be called the transgression of art and architecture. As a result, a relationship between an artist and a given space is created. But what effect has this on the understanding of the relationship? What can we learn from these relationships?Item Miasto jako perpetuum mobile. Berlin. Symfonia wielkiego miasta (1927) Waltra Ruttmanna(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Hendrykowska, Małgorzata; Hendrykowska, Małgorzata; Śliwińska, AnnaThe atmosphere of a big city, as well as registering the motion of the city as a symbol of modern industrial civilization, fascinated the first directors of photography at the turn of the 20th century. Some years later, the subject of the metropolis was developed by avant-garde artists. Among early cinematic images of the city, the foremost place is held by Walter Ruttmann’s 1927 film Berlin: Symphony of a Metropolis. It was the first multifaceted and comprehensive documentary picture of the city. The city is shown without any anecdote or story, without an individual hero, distinct from theatre or literature. Ruttmann shows the diversity, complexity and co-dependence of the urban organism, which becomes something of a machine in perpetual motion. Ruttmann’s film unveils the uniformity of big-city life, the unification of the imagination, expectations, needs and dreams. The world of “Berlin” is created mainly by editing. Motion – the result of artistic endeavours, together with the rhythmic order of the images, determine the artistic vision of the film as a whole. Ruttmann’s rhythmic interpretation aims at breaking the boundaries between art and non-artistic reality.Item Miasto na ludzką miarę(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Huckova, Jadwiga; Hendrykowska, Małgorzata; Śliwińska, AnnaMiasto na ludzką miarę Film The Human Scale reż. Andreas M. Dalsgaard (Dania, 2012) omawiany jest w kontekście najnowszych filmów dokumentalnych o podobnej tematyce, które pojawiają się na festiwalach poświęconych problematyce praw człowieka. The Human Scale jest przede wszystkim doskonałym wykładem idei duńskiego architekta i urbanisty Jana Gehla. Zrównoważono w nim i połączono wartości poznawcze, narzędzia perswazji i środki artystyczne, aby przekonać widza do myśli Gehla.Item Miasto w Lailonii. Uwagi scenarzysty(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Zamojski, Jan; Hendrykowska, Małgorzata; Śliwińska, AnnaThe article discusses the role of the city in Tales from the Kingdom of Lailonia by the philosopher Leszek Kołakowski, and in the animated film series Fourteen Tales from the Kingdom of Lailonia by Leszek Kołakowski, which is an adaptation of the book. The article is written from the point of view of the originator of the adaptation and the screenwriter of all the films in the series. The author examines the historical and ideological context of L. Kołakowski’s writing the Tales … and analyzes the role of the city understood as the setting of the plot (topos) and the venue for an exchange of ideas (agora) and for the community (polis); he does so on three levels: that of the literary original, the screenplay adaptation, and the film. He also examines the role of the city in those senses for the drama of the individual films, the philosophical and esthetic premises of the role, and – in these contexts – the relations between the selected films and their screenplays.Item Między kulturą wysoką a kulturą popularną. O muzyce George'a Gershwina w „Manhattanie” Woody'ego Allena(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Pomostowski, Piotr; Hendrykowska, Małgorzata; Śliwińska, AnnaThe article focuses on the relationships between high culture and popular culture in relation to film music. To this end, the author conducted a thorough analysis of the works of George Gershwin used in Woody Allen’s film Manhattan. The article consists of two parts and a conclusion. In the first part, the author presents a brief history of the continuous grinding together of high and popular culture in music, resulting in symphonic jazz, which came about in the 1920s, and whose precursor was George Gershwin. The second part is a cinematic and musicological analysis of all the works of Gershwin appearing on the soundtrack of Manhattan, and an attempt to find associations between the director and composer. In conclusion, the author notes that the phenomenon of mixing of popular culture and mass culture (both on the music, as well as its use in the work of the film) is subordinated in both George Gershwin and Woody Allen’s work to attempts to find their own identity, and one of the sources of inspiration of both artists is the same New York City, which is a city-myth.Item Moskwa w bieli i czerni - trzy filmowe portrety miasta(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Czaja, Justyna; Hendrykowska, Małgorzata; Śliwińska, AnnaThis article presents the three different portraits of Moscow depicted in the Russian films Walking the Streets of Moscow by Georgy Danielija, Taxi Blues by Pavel Lungin and Moscow by Alexander Zeldovich. The times the films were made (the thaw period, the period after the collapse of the Soviet Union, and the decline during the 1990s) determine differences in the directors’ perceptions. The picture of the city becomes a reflection of both hope and of more contemporary fears and anxieties.Item „Od świtu do zmierzchu” – współczesne obrazy miasta w projektach dokumentalnych Maciej Drygasa i Mirosława Dembińskiego(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Mąka-Malatyńska, Katarzyna; Hendrykowska, Małgorzata; Śliwińska, AnnaThe text refers to two documentary projects that were created by well-known Polish documentary film directors: Maciej Drygas and Mirosław Dembiński. The first one, Łódź from Dawn till Dusk, was made as a part of the education program at the Polish National Film, Television and Theatre School in Łódź in 2007. For several years, students in the second year of the Directing Department made short films about Łódź, forming out of this mosaic, images of the city from dawn till dusk. After having been experienced in Łódź, the project led to the idea of using this method to describe various cities around the world. Finally, five films were made in five different cities under the auspices of the Adam Mickiewicz Institute. This article concentrates on the analysis of the structure of these films and the images of the cities that emerge out of them.Item Pamięć miasta i postulat autentyczności na przykładzie filmu „Życie na podsłuchu”(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Dobkiewicz, Magdalena; Hendrykowska, Małgorzata; Śliwińska, AnnaThis article is a reflection on the category of authenticity in cinema, based on Florian Henckel von Donnersmarck's movie The Lives of Others (German: Das Leben der Anderen). The action of the film takes place in the late 1980s in East Berlin. The film can be classified as belonging to the category of “coming to terms with the past” and may be treated as a representation of collective memory concerning Berlin, as it depicts Berlin and the former institutions of communist terror. However, it is also an important statement about German collective memory in general. The focal point in the debate on this film is the category of authenticity, which I attempt to trace in the topography of Berlin related to the communist past present in the movie. The main problem is the juxtaposition of materialized and authentic forms of remembering (e.g. buildings, the streets of Berlin) with a fictional story. In case of this movie, it turns out that the pursuit of authenticity to some extent violates taboos of German collective memory, as it conflicts with the canon of official memory, as well as, in some cases, the canon of the audience’s memory (many of whom can still recall the communist past).Item Pasjonujące praskie leporello. Praga, niespokojne serce Europy (1984) Very Chytilovej(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Hucko, Tomas; Hendrykowska, Małgorzata; Śliwińska, AnnaVěra Chytilova’s film was created during the culmination of processes related to the Czechoslovak normalization. Prague… is not only a highly stylized film essay that provides the viewer with a fascinating visual experience and deep emotions, but evokes the themes of a substantive philosophical debate in conjunction with the knowledge of Prague’s genius loci. Chytilova’s film considers the history and role of humans, taking as a starting point the history of Prague. Therefore, the film still inspires.Item Pod warszawskim adresem: wyobrażenia i realia. Dokumentalne opowieści o stolicy, jej mieszkańcach i prowincjonalnych „słoikach”(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Smoleń, Małgorzata; Hendrykowska, Małgorzata; Śliwińska, AnnaThe author of the article discusses in detail documentary films which provide images of Poland’s capital, its permanent residents and newcomers, called “provincial jars”. She compares prevalent imaginations about Warsaw with the realities of daily life in the capital. The analysis begins with examples from the “black series” of the Polish documentary. In the 1950s, directors like Hoffman, Skórzewski, Karabasz and Ślesicki initiated the trend of recording the “dark side of the city”, though most films from the times of the People’s Republic of Poland showed Warsaw as a wonderful, modern metropolis. In the 1990s, Warsaw became the symbolic center of a newly developing capitalism. Most of the phenomena associated with this socio-economic transformation can be seen on the streets in this city. Back then, directors like Titkow, Pałka, Sapija and Kędzierski aimed their cameras at central points in the city (the Palace of Culture and Science and the Stadium of the 10th Anniversary), asking residents of the capital, newcomers from the East, and those from the Polish provinces about their situation, views, plans for the future and opinions on Warsaw. The documentary film Warszawa do wzięcia, directed by Julia Ruszkiewcz and Karolina Bielawska, might be considered a perfect summary of the changes in the image of the Polish capital. In this picture, Warsaw is shown through the eyes of three young girls from a State Agricultural Farm somewhere in the Polish provinces, for whom a trip and work in the capital offered a chance for a change in their fate, but ended in failure.