Images, nr 21-22, 2013

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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, Anna
This 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).
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, Anna
The 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.
Reformator i statysta albo hulaka na metafizyczną skalę. O dwóch portretach cara Iwana Groźnego w kinie rosyjskim
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Szpulak, Andrzej; Hendrykowska, Małgorzata; Śliwińska, Anna
The text is an attempt to define the specificity of portraits of the first Russian Tsar, Ivan the Terrible, in the field of historiography and culture, including popular culture. This characteristic is referred then to the analysis of two films – S. Eisenstein's Ivan the Terrible (1944-1946) and P. Lungin’s Tsar (2009). These films depict two different interpretations of the historical figure presented above all in Russian discourse. On the one hand (Eisenstein), Ivan is seen as a prominent politician engaged in a state-building strategy; on the other (Lungin), he is above all a crazy criminal.
Polska produkcja filmowa po roku 2005 w perspektywie badań ilościowych
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Wróblewska, Anna; Adamczak, Marcin
The aim of the article is to present the contemporary Polish cinema as the integrated economic, cultural and legal system, to quote dispersed data and to present the data generated by the autohor, which is her own contribution into the development of the film science. Step by step, the author describes the process of achieving the results, problems with the methodology, the decisions about applying specified methods of calculating or presenting the data and the application of exceptions. The situation of the Polish cinema today is influenced and determined by the Law on Cinematography which was introduced in 2005. Its real effects were observed in 2007. The number of Polish feature films increased from 20-25 in 2000-2005 to 40-55 in 2007-2011. The auhor cites the metodology keys to estimate the number of the feature films in the defined year.
Miasto w Lailonii. Uwagi scenarzysty
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Zamojski, Jan; Hendrykowska, Małgorzata; Śliwińska, Anna
The 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.
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, Anna
The 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.
Film production between “global” and “local”: insights from Bosna and Herzegovina
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Zajec, Špela; Adamczak, Marcin
This article deals with the mechanisms that affect film production in a society with radically shifting socio-political, economic and cultural conditions, in conflictual socio-political context in Bosnia and Herzegovina (further Bosnia or BiH). Its focus is on the mechanisms that support, manage, regulate, and control creativity in film production, how they shape the conditions in which the films get made.
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, Anna
This 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.
Kolor w przestrzeni miejskiej „Siedem” Davida Finchera
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Choczaj, Małgorzata; Hendrykowska, Małgorzata; Śliwińska, Anna
The 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.
The City According to Mike Leigh
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Śliwińska, Anna; Hendrykowska, Małgorzata; Śliwińska, Anna
The key to the interpretation of the image of London presented in Mike Leigh’s films can be found in his own words: “I actually do think London is a hidden city the way New York isn’t.” and “You can get the hang of New York, but London is a collection of villages. It takes a long time to get under its skin.” London in Mike Leigh’s films perfectly matches the director’s creative thought, exposing social differences and the lack of communication in the family. However, the director releases his characters from the dark corners and hideous streets, and lets more light and nature into their lives. Thanks to this, as he has said, the city becomes a collection of small villages, which for him is the greatest value of the place where he lives and makes his films.
Podwodne, kosmiczne, duchowe. Miasta rosyjskie a sfera publiczna w filmach skandynawskich dokumentalistów
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Mrozewicz, Anna Estera; Hendrykowska, Małgorzata
The article discusses three documentaries made since 2000 by Scandinavian filmmakers: the Finnish director Marja Pensala’s The Eclipse of the Soul (2000) and two films by Danish authors: Boris Bertram’s Tankograd (2010) and Ada Bligaard Søby’s The Naked of Saint Petersburg (2010). All the films are portraits of Russian cities and their residents. In my study, I draw on concepts such as the “Russian soul”, private/public and bytie (the spiritual being)/byt (the daily grind), which, as I argue, are important aspects of all three films, and at the same time, useful tools for their analysis. Common to these documentaries is the fact that the authors direct their attention to the asymmetrical relation between the state’s position of power and its largely powerless citizens. The constitutive element of a city as such – being a public space, i.e. a space to which all people should have equal access and rights – appears largely distorted. As a consequence, the residents escape from their stark reality to create alternative, imaginary spaces – be it a lost paradise, like the underwater city of Mologa in Pensala’s film, a cosmic heterotopia, like the space of art in Bertram’s Tankograd, or a spiritual universe, like in Søby’s short documentary. In all these films, the directors’ point of reference – their cultural perspective – is emphasized as a filter, through which the Russian reality is perceived.
The (Restored) Practice of DEFA Co-productions with the “Normalized” Czechoslovak Film Studio in the 1970s
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Skopal, Pavel; Adamczak, Marcin
After four co-productions which the East German and Czech studios made from 1957 to 1965, a five-year hiatus in DEFA-Barrandov co-productions took place. During the Czechoslovak New Wave era, the Czech filmmakers gave DEFA the cold shoulder. But the process of “normalisation” that took place after the August 1968 Warsaw Pact invasion of Czechoslovakia put both the regimes and the film industry structures back in sync. While the end of independent production groups at DEFA and Barrandov damaged the creative environment and the quality of productions as a whole, it also had an unforeseeable effect: the revival of DEFA-Barrandov co-productions. On the German side, DEFA was interested in help from experienced practitioners, especially scriptwriters. On the Czech side, Barrandov´s filmmakers—now isolated from previous contact with western partners and under strict ideological control—strove to shape the DEFA projects they were offered according to their own criteria. There was thus a harmonization of goals and tools, which worked especially well in the sphere of children movies. This was not only because this type of production rarely crashed against divergent interpretations of the past by the two partners. There were two more important reasons as well: namely, that the dramaturge group for children’s movies was under looser ideological control by Barrandov management; and that the personal continuity with the pre-normalization era was stronger in this group than was the case for other groups. In the 1970s, both studios were motivated to find an effective mode of co-operation.
Poznańskie Studio Filmów Animowanych w naszej narracji autorefleksyjnej
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Sobolewska, Ewa; Zamojski, Jan; Adamczak, Marcin
The article relates to the studio both as an institution which has operated for three decades in different economic systems and various legal and organisations forms and as a creative team that has made films. The authors are: Ewa Sobolewska, a film producer associated with the Studio since the very beginning, its president for over ten years to date, and Jan Zamojski, an academic and script writer cooperating with the Studio as the author of adaptations and scripts for the films of the series Fourteen Tales from the Kingdom of Lailonia by Leszek Kołakowski. The article adopts a perspective of Production Culture studies initiated by J.T. Caldwell, with the use of the so-called emic perspective and a narrative interview. It is composed of a methodological part and authors’ comments to the questions they posed to each other. The narratives provide impressions from the period of developing the concept of the film and from the film set itself. They also contain more general self-reflections on the role of the script writer and the role of the producer in the creation of a film and reflections on the role of the Poznań Studio of Animation Films for the culture of film, including its local aspect.
Warszawa – miasto, które nie istnieje
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Czaja, Justyna; Hendrykowska, Małgorzata; Śliwińska, Anna
The subject of the article is attempts in cinema and comics to reconstruct the image of pre-war Warsaw. The use of archival photographs of the capital, old postcards, and computer reconstructions using 3D technology increase the realism of the presentation, and provide the effect of intuition, intimacy, and directness. A Warsaw non-existent today comes to life again on the screen and in the pages of the comic book.
Madryt malarski i filmowy
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Kozłowski, Krzysztof; Hendrykowska, Małgorzata; Śliwińska, Anna
If 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”.
„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, Anna
The 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.
Miasto na ludzką miarę
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Huckova, Jadwiga; Hendrykowska, Małgorzata; Śliwińska, Anna
Miasto 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.
Filmowa Łódź w oczach studentów i profesorów PWSFTViT
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Hendrykowski, Marek; Hendrykowska, Małgorzata; Śliwińska, Anna
Łódź 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.
Miasto i jego ukryty wymiar w sztuce
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Koniecko, Remigiusz; Hendrykowska, Małgorzata; Śliwińska, Anna
The 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?
Między poetyką kulturową a kulturą produkcji. Społeczny kontekst realizacji pierwszych filmów Andrzeja Wajdy
(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Adamczak, Marcin; Adamczak, Marcin
The article is an attempt to examining again the three first movies of Andrzej Wajda: Generation, Canal and Diamonds and Ashes, regarding archival protocols and production issues more then stict artistic or auteur factors. The inspiration was both production culture persepctive and New Historicism of Stephen Greenblatt. The text show how many additional factors played decisive role in realising those classical movies and how much the movies were connected with plays for cultural power and dominance in those historical reality. In effect we can observe specific kind of dispersive authorship in which film authors hasn’t full control on the final effacts of the movie, for example its social impact and audience recepton.

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