Browsing by Author "Nowakowski, Jacek"
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Item Dialog z tradycją malarską w literackiej i filmowej twórczości Lecha Majewskiego(Wydawnictwo Naukowe UAM, 2008) Nowakowski, JacekThis article presents Lech Majewski's works in the context of the intersemiotic translation: how the world painting functions in the literature and films of this author. Majewski attempts to make dreams of the modern synthesis of arts come true and in this he reminds of the activities of his Renaissance master, Leonardo da Vinci. This Polish artist by means of the painting tradition (both works as well as fragments of painters' biographies), set in the context of other media (literature, theatre, film) wants to create a modern, intermediate garden of arts whose central topic is the vision of paradise. It can be understood as a place of existence of heroes of his works and - metaphorically - the language of art which the art uses freely uses various materials and media.Item Gombrowicz a polski film fabularny(Wydawnictwo Naukowe UAM, 2013) Nowakowski, JacekThis article presents the influence that Witold Gombrowicz’s work has had on Polish cinema. It covers several generations of directors, for example, Andrzej Munk (born in the 1920s), Roman Polański and Jerzy Skolimowski (born in the 1930) as well as Agnieszka Holland, Piotr Szulkin and Marek Koterski (born in the 1940s and 1950s), and discusses the topic of film adaptations of his books (Jerzy Skolimowski’s Ferdydurke and Jan Jakub Kolski’s Pornografia [Pornography]). The article shows that Polish cinema uses Gombrowicz’s works most of all by taking up the issue of life’s authenticity and inauthenticity as well as to demythologize Polish tradition and history. As for esthetics, it employs Gombrowicz’s favorite style, i.e. the grotesque.Item Od teatru okrucieństwa do Grand Guignolu. Śmierć w kinie Andrzeja Żuławskiego(Wydawnictwo Naukowe UAM, 2005) Nowakowski, JacekThis essay shows the motif of death in the film works of Andrzej Żuławski in the perspective of the theatre of horror. Starting with Trzecia część nocy (The Third Part of the Night) (1971) until his late work Szamanka (The Shaman Woman) (1996), this film work is shown as evolving from the patronage of the conception of art of Antonin Artaud, serving the transformation of man up to its peculiar autoparody, which is closer to Grand Guignol. The author proves that escalation of cruelty in his works gradually loses its artistic pretext (justification) ceases to be artistically justified (no longer find artistic justification).