Browsing by Author "Hendrykowski, Marek"
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Item Adaptacja jako przekład intersemiotyczny(Wydawnictwo Naukowe UAM, 2013) Hendrykowski, MarekFilm adaptation is carried out by means of montage. This process is based on adjusting the obtained material and piecing together fragments which will be used once again and which an adapter has taken from the original work. It is montage, i.e. a selection and combination of moving pictures, which constitutes a new textual whole which is equivalent to the prototype, that forms a semiotic basis for and the essence of the adaptation process. The term “translation” can only be used in reference to film adaptation when we do not deal with full identicalness, but rather with functional similarity which does not allow one to fully equate a linguistic translation with screen adaptation.Item Ekran i kadr(Wydawnictwo Naukowe UAM, 2002) Hendrykowski, MarekAmong the contemporary media through which to communicate images, human consciousness is still the most important manner of viewing reality. As it is no technology will replace perception of the world by means of the senses. Consciousness is a peculiar screen, because like any other screens, known for a long time (rock paintings, cinema and TV screens and the like) it always performs the separating function. An important problem is the distinction of a screen from a frame. The screen is the object of perception, and the frame is an imagined object - a conventional framework of a message. The space beyond the frame is an imaginary space which is external to what is perceived by the viewer. In this space a visual plan may be accompanied by an audial plan (e.g. monologue or dialogue "off" the frame). One should always remember (particularly at the time of modern technologies of the media) about the danger of obliterating the border which separates the (audio)visual screen message from reality.Item Etiudy Agnieszki Osieckiej(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2012-06) Hendrykowski, MarekIn 1957, the famous young Polish poet and song lyrics writer Agnieszka Osiecka (1936-1998) began studying in the Film School in Łódź. She studied film directing in 1957-1961. After graduating in film arts, she decided not to pursue a professional career in cinema. This analytical essay charts the history of the Film School in Łódź in the 1950s, the student works of Osiecka, and the inspiring confluence of audiovisual culture and film. The essay also explores in detail a wide spectrum of Polish film art of that period, providing original interpretations of eight études made by the young and talented artist during her film directing studies in Łódź.Item FILM I JĘZYK FILMU W EPOCE EKSPANSJI TECHNOTRONICZNEJ(Wydawnictwo Naukowe UAM w Poznaniu, 1996) Hendrykowski, MarekThe following article takes up a reflection over the evolutionary processes taking place in the contemporary world of film, under the influence of developing modern technetronic media. Analyzing the above issue, the author assumes that new technological problems, as well as informational, communication, aesthetic, social, and others, which we are presently facing, and which existed before, however, in a different form and scale, and at different times. In the past the film was discovering its own creative potentialities, which made it different from other form of arts. Nowadays, the on-screen performance of the technetronic era again discovers and develops a wide range of creative abilities, specific means of expression in the system of signs, called the cinematic language.Item Filmografia – nauka pomocnicza filmoznawstwa(Wydawnictwo Naukowe UAM, 2013) Hendrykowski, MarekIs filmography a personal hobby of archivists or an integral part of film history? Based on the analysis of the achievements in this field from the last two decades, Marek Hendrykowski interprets filmography as an important part of contemporary film studies. Filmographic research shows at a glance what was precisely happening in the film world. This kind of knowledge and important information based on various authentic sources is something absolutely necessary in the scientific procedures of film research. Film history needs authentic facts as its basis and source of constant inspiration. This is why catalogues, registers, indexes and books including filmographic information are called indispensable companions in archival film research and standard works of reference in the world’s film archives and all film libraries.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 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 Holocaust Survivors. A Study on the Poetics of Documentary Films(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2011) Hendrykowski, MarekThe essential study written by Marek Hendrykowski is a compact and straightforward guide aimed at anyone coming to the subject for the first time or just looking to improve their knowledge about documentaries relating to Holocaust. The paper offers both skimming and in-depth analysis of seven outstanding works made in the period 1993-2008 focused on key-problems of their distinctly different poetics. Author assembles evidence from the documentary film production of the time to describe the structure of message exposed in its narration, particular catches and figures, methods of lighting, framing, and editing as well as the collective feelings and emotions generated by these films. Hendrykowski considers the basic difference and fundamental conflict between two ways of thinking about manipulation in moving pictures language which establishes viewers’s approach to using (or over-using) of various stylistic catches, patterns of composition and narrative figures in this kind of documentary and generally in movies. Marek Hendrykowski’s provocative and open-minded study brings methodological revision of this important question. It will appeal to a large readership of filmmakers, cinemagoers, students and research workers interested in documentary film.Item Intertekst w adaptacji filmowej(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Hendrykowski, Marek; Adamczak, MarcinThere are problems with discussing and interpreting film adaptation in the socio-cultural framework that is used for the semiotic, structural and aesthetic analysis of text. Even cinema as art often gives in to habit of talking about film “oeuvres” attributed to or identified in terms of an “author” and author’s cinema. It may be misleading to give too much weight and attention to the concept of “fidelity” of film adaptation, and it may be better to look at both – adapted piece of literature and its screen adaptation - as variously connected texts of culture confronting each other and participating in specific discourse. Marek Hendrykowski’s paper raises these questions, examines theoretical background of adaptation as form of communication, and reflects on the modelling linguistic aspects of intertextual analyses of film adaptation as a form of cultural translation.Item Kinemy w Kabarecie(Wydawnictwo Naukowe UAM w Poznaniu, 2012) Hendrykowski, MarekThere’s more to discover about Bob Fosse’s masterpiece Cabaret (1972) through these two inspiring shots. Marek Hendrykowski’s comprehensive study including detailed in-depth analysis of the opening and last shot of Berlin 1931 story enlarges the scope of understanding of film poetics used in Cabaret. It also demonstrates the crucial importance of the outstanding direction, filming and editing to that unique film.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 Marlboro Man. Studium dla niepalących(Wydawnictwo Naukowe UAM, 2014) Hendrykowski, MarekThe long history of the “Marlboro Country” and “Marlboro Man” advertising campaigns (1954- 1989) represents the renewability of a certain image which was perfectly designed and meticulously thought out. This history constitutes a well-developed “syntagma” which consists of not one but many different, individual versions of a message. What is important is that the administrators and creators of these advertisements succeeded in keeping a semiotic balance between the personal characteristics of a particular model and the image schema which this model was to maintain. Each of these versions sustained the image that had once been created (stability of a cliché) and at the same time featured different representatives of this image and presented them in ever new ways that refreshed the previously achieved expression (dynamics of innovation). This was a multi-stage project which had been planned to “last long”. The “shape” of the Marlboro Man’s model face is a kind of personal testimony to the excellence of the product offered. The representatives of this image kept changing, but its matrix, which made these representatives similar to one another and instantly recognizable as part of a well-known stereotype, turned out to be surprisingly stable and unchanging over several decades.Item Muzy w intymnym świetle. O przemianach w sztuce Odwilży i Października(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2010) Hendrykowski, MarekThe study assesses the changing nature of the Polish art in the period of liberalization after Stalin’s death. It includes detailed analysis of various (social, political, philosophical and especially aesthetic) implications for important issues such as: poetry, drama, cinema, peinture, sculpture, song, popular culture etc. Marek Hendrykowski provides case studies that lead to alternative ways of viewing current conceptual frameworks of aesthetics and its consequences for interdisciplinary reflexion on arts.Item Obraz filmowy jako dzieło sztuki(Wydawnictwo Naukowe UAM, 2003) Hendrykowski, MarekThe language of film art, or the artistic language of cinematography, is not a separate kind of language of moving images. It is only its specific kind whose basic function consists in looking for the ever newer layers of cinematographic expression in film, TV spectacle, video-art, "light, music and sound" performance and the like. The work of art of the moving image appears to be an utterance constructed in a peculiar manner. Signs used in it become signs of signs, images shown are images of images. Such a work, due to the specificity of its formation is characterised by information capability which is considerably higher than that of an ordinary non-artistic communication. The model of reality contained in it is richer, which results from a much deeper combination of elements co-creating its structure and its characteristic expression. Many meanings as a semantic principle and as an element of the art of moving images which is of main importance, distinguishes the work of this art from all the other kinds of cinematographic communications, which generally avoid the effect of many meanings.Item Produkcja filmowa jako kultura. O pisarstwie filmowym Edwarda Zajička(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Hendrykowski, Marek; Adamczak, MarcinMarek Hendrykowski’s paper is devoted to the unique volume and its outstanding author. The book entitled “Beyond the Screen. Polish Cinematography 1896-2005” written by Edward Zajiček, Professor of Film School in Łódź, is the standard work in the field, unquestionably the most comprehensive and complete book on the history of Polish film production as a specific form of state and individual activity. This newly revised and expanded up-to-date monograph covering every important information about Polish film industry is the ideal introduction to everything the interested reader needs to know about it: from the fundamentals of film production to close-reading analyses of hundreds of classic examples.Item Proksemika. Studia z semiotyki i antropologii kultury(Wydawnictwo Naukowe UAM, 2016) Hendrykowski, MarekTematem monografii i przedmiotem zawartych w niej studiów jest semiotyka interpersonalnych relacji proksemicznych w dzisiejszym świecie. Studiując to zagadnienie, autor stawia trzy hipotezy badawcze. Po pierwsze, relacje interpersonalne odnoszące się do przestrzeni społecznej stanowią nie odległy margines, lecz bardzo istotny wyznacznik charakterystyki każdego systemu kultury. Po drugie, tradycyjne sposoby definiowania proksemiki akcentujące istnienie barier międzyludzkich ujmują złożoną problematykę tej dziedziny nauki o znakach i znaczeniu zbyt wąsko i z reguły schematycznie. I po trzecie, głębokie przemiany relacji proksemicznych, jakie dokonują się w makrosystemie kultury współczesnej, wywierają zasadniczy wpływ na funkcjonowanie samej kultury i sposób uczestnictwa w niej jednostek, grup oraz zbiorowości. Ekosystem kultury – rozpatrywany w kategoriach proksemiki relacji interpersonalnych – nie jest abstrakcyjnym modelem, lecz złożonym systemem operacyjnym organizującym codzienne warunki egzystencji jednostek, grup i zbiorowości.Item „Rejs" jako gatunek(Wydawnictwo Naukowe UAM, 2004) Hendrykowski, MarekMarek Piwowski's film „Rejs" (The Cruise) made in 1969 and the premiere of which was on 10 October 1970 at „Bajka" cinema in Warsaw, rightly (deserves) to be one of the most popular Polish films of all time. This study attempts to offer a more complete characterisation of the feature of the genre of this unusual work of film art. It is commonly thought that „Rejs" is a comedy. Against the background of the model of comedy of the 60s of the 20th century, however, it is a comedy of a very special kind. The author does not doubt the comedic character of Piwowski's film, but points to different possible from those used until now ways of interpreting this film (a holiday comedy, anti-production film, social satire, pamphlet, psychodrama, sociodrama), starting from the assumption that the genre instruction written into this work contains a much richer repertoire of possible interpretations.Item "Rzodkiewki" Janusza Morgensterna(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2012-04) Hendrykowski, MarekMarek Hendrykowski’s essay presents the importance of Janusz Morgenstern’s early short film Radishes made after Stalin’s death, in 1954 as a student work produced by Film School in Łódź. The main character, old worker Gruliński loses his clear hopes and human illusions. The pesimistic conclusion is closed further by the simultaneous description of the hero’s social image within a discourse of origins and the sacred which evacuates analysis of class conflict and sociological approach in the narrative of an “ordinary good man” brutally disturbed in his desires and works by the irruption and power of an omnipotent destructive stalinist “red tape” bureaucracy. The poetics of Radishes is deeply influenced by the style of an Italian neorealism, first of all by its famous masterpiece, Vittorio De Sica’s Umberto D. (1952).Item Scenariusz filmowy i jego odmiany: Studium przedmiotu.(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2012-06) Hendrykowski, MarekScreenplay is a phenomenon located between two different worlds, spheres and cultures: literature and cinema. In his study, Marek Hendrykowski examines the meaning and functions of all crucial terms connected with film script and screenplay, among them: concept, log line, story, synopsis, treatment, draft, first draft, storyboard, director’s draft, final script and shooting script. The author sketches step by step each of these various forms of scenario in detail, explains what they are about and why they are necessary. He also stresses the importance of rewriting and script development in the process of film creation as a means of taking the achievement to a higher level.Item Scenariusz filmowy. Teoria i praktyka(Wydawnictwo Naukowe UAM) Hendrykowski, MarekMonografia ukazująca teorię i praktykę scenariopisarstwa w ujęciu kulturowym. Opracowanie alternatywne względem książki Macieja Karpińskiego „Niedoskonałe odbicie” (Warszawa 2007). W książce znalazły się rozważania z zakresu genologii scenariusza filmowego, metodologii scenariopisarstwa oraz liczne analizy poszczególnych odmian gatunkowych i specjalizacji występujących w tej dziedzinie twórczości (dramaturgia, dialogi, dokumentacja, scenariusz filmu fabularnego, dokumentalnego, montażowego, animowanego etc.). Całość zamyka rozległy rejestr wielojęzycznej – zarówno klasycznej, jak i najnowszej – literatury przedmiotu dotyczącej scenariusza i scenariopisarstwa.