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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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Item A Brief History of Communism. "Rabbit à la Berlin" by Bartosz Konopka(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2012-06) Czaja, JustynaThe documentary film Rabbit à la Berlin (Królik po berlińsku), directed by Bartosz Konopka, tells the story of the Berlin Wall. The story is presented from an unusual perspective – that of the wild rabbits inhabiting the zone in the middle of the wall separating East and West Berlin, thus making reference to animal fables and the conventions of the nature film. The filmmakers also use known archival materials in an interesting way by placing them in new, surprising contexts. The story of animals told in Rabbit á la Berlin is parallel to that of people. The film combines these analogies in order to construct a powerful metaphor. The creators of Rabbit á la Berlin not only tell the story of the Germans, of East Germans separated from the western world, the story of the Berlin Wall, but also the story of Eastern European people living behind the Iron Curtain.Item A Study of the Film Adaptations of Marek Hłasko's Prose by the Students of the Film School in Łódź(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2012-04) Bucknall-Hołyńska, JustynaThe works of Marek Hłasko have proved a reliable source of content and inspiration in Polish culture from the time of their writing to the current day, and this is demonstrated by the number of film adaptations of his literature. This article will look at Hłasko’s short stories that were written while the author lived in Poland and are collected in the book The First Step in the Clouds published in 1956. It will consider the subject matter and themes of the text, overview some examples of adaptations made by the students of the celebrated Łódź Film School, reflect as to how these have remained faithful or deviated from Hłasko’s original works, before concluding as to the reasons why the students may have been drawn to this particular source.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 Angelologiczny traktat filmowy pomiędzy sztukami. O "Niebie nad Berlinem" Wima Wendersa(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2010) Lisiecka, KatarzynaThe study titled Angelologic treatise between the arts. On “The Wings of Desire” by Wim Wenders undertakes to analyze aesthetic and cultural contexts which have impinged on the overall significance of the film. Commencing with the presentation of the angelic motifs and the relations they bear to the angelologic tradition of Western culture, the author identifies some thematic and formal elements which influenced the original concept of spiritual reality depicted in Wenders’s film. Due to its consistent fictional and artistic vision, the picture has been dubbed “the angelologic film treatise”. The second part of the article focuses on the analysis of the visual and musical aspects of the film. The most significant interpretative framework revolves around the concept of visual games and the topos of musical harmony (musica mundana, humana and instrumentalis). The issues under consideration demonstrate the great significance all the formal devices, both in terms of presented images and music, have in constructing deep layers of meaning. A particular importance should be assigned to these audio-visual elements that underscore the relevance of spiritual and existential aspects, constituting the substance of Wenders’s film.Item Artysta w l'univers concentrationnaire. "Kornblumenblau" Leszka Wosiewicza jako traktat o sztuce(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2010) Mąka-Malatyńska, KatarzynaThe author of the essay considers Leszek Wosiewicz’s Kornblumenblau as a film about art and focuses on the self reflexive elements present in the film, particularly those referring to film conventions. This analysis examines the film in the context of the reflections about the meaning of art in totalitarian systems and situation of the artist in the reality of the concentration camp. Kornblumenblau depicts degenerated art as depriving of freedom and rescue, becoming another tool of oppression. Dehumanizing power of this art points at the final decay of man in the epoch of gas chambers.Item Automatyzm ludzkiej egzystencji w filmie "Dom" Jana Lenicy i Waleriana Borowczyka(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2012-04) Prusinowski, PiotrThe aim of this article is interpretation of the short film directed in 1958 by Jan Lenica and Walerian Borowczyk and regarded as one of the most interesting works of Polish experimental animation. Author looked upon synopsis of House as the introduction to analysis of the world portrayed in film, all its elements, symbols and their meaning. The most important question concerns condition of depersonalized human jailed in the trap of automatically repeated activities and supressing his own sexuality in his subconscious. Author also paid attention to automatism as Lenica's and Borowczyk's artistic method derived from surrealism. In this context the special usage of photography and stop motion technique of animation in House is emphasized as very important in creative process. On the basis of interpretation of the characters and objects appeared in film author drew a conclusion of the eponymous house as a metaphor of our modern world where people as the collectivity divest themselves of individual features.Item Autor filmowy według przepisów prawa w systemach droit d`auteur i copyright. Zarys problematyki(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Racięski, Bolesław; Adamczak, MarcinThe aim of the article is to outline the key issues surrounding legal notions of film authorship. For scholars interested in studying the process of production it is extremely important to analyze the status and scope of power of its participants as well as their position in the hierarchy – one of the main sources of priveleges is the fact of being recognized by the law as the author of the work produced. The article depicts the benefits of such situation, but its main aim is to descibe the legal rules of granting the status of the author. Outlined are the issues emerged from the two radically different legal system – european droit d`auteur tradition and american copyright. The first one honours the artists while the other focuses mostly on providing the certainty of the economics, so the actual authors of the work are not that important. The paper points to the fact that – especially in the case of american copyright – the actual (determined by law) situation of a creator may differ significantly from the character of their contribution to the process of producing a film. Analysis of the rules and principles of the law is essential to the understanding of the structural determinants of film production and deserves no less attention than social, political and economic factors.Item Broken images. "Auschwitz", nostalgia and modernity. The reception of the Holocaust in popular culture(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2011) Kaźmierczak, MarekThe reception of the Holocaust in popular culture is like a set of the broken images of the past. There are fluent differences between fiction and reality, beetween texts and facts, between knowledge and ignorance. This article concerns the forms of the influence of poplar culture on the representations of the Holocaust. Broken image can reveal a part of same event, the same fact. There are intellectual and axiological challenges between revealing and abusing the “Auschwitz” in the contemporary texts of culture. There are three main parts of the article: The contexts of the terms, Opened arguments and How instrumentally where are described the mechanisms of reduction, instrumentalization and mediatization of the reception of the Holocaust.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 Co to jest medium?(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2011) Kozłowski, KrzysztofAt the beginning the author expresses his opinion that there is a national confusion which nowadays prevails about the nation of medium. His explications, in which he reminds his readers about the indirectness of media communication, are of historical character and expose numerous examples of notional abuse. One of the these states that without defining, in the broadest possible way, the notion of medium, which is a crucial one for media studies, it appears tha any systematic scientific reflection is impossible. As a remedy for the notional confusion, acceptance of the realistic definition of medium which was worked out by Werner Faulstich and based on the theoretical concept of Urlich Saxer („media are systems which solve problems”) is suggested. Therefore, that definition, four dimensions of which define the bases of empirical media studies, means the symbolic „patricide” of the main founder of modern media studies Marshall McLuhan and makes empirical, functional history and theory of the media possible.Item Confronting the Past. Trauma, History and Memory in Wajda’s film(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2012-06) Bondebjerg, IbHistorical films are important carriers of collective memory, and as a genre historical films can activate both strong feelings and strong debate. Historical fiction films often tell very accurate and almost documentary stories, but fictional films have the freedom to make historical reality in quite another way than factual historical films. This article deals with some of the most important historical film genres and uses a general theory of genres, emotions, memory and history to analyse the historical films of Polish film director Andrzej Wajda, especially those made post 1989. Dealing with both his heritage drama Pan Tadeusz (1999) and critical historical drama Katyń (2007), the article analyses the ways in which Wajda uses historical narratives to comment on both history and contemporary society, and how this strategy is reflected in all his historical films. The article argues that the traumatic and contrast-filled history of Poland makes historical films especially important and interesting as a critical part of public debate and the reframing and reinterpretation of the past.Item "Czeski błąd" i polski "Kret". O różnych filmowych obliczach lustracji(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2012-06) Pomostowski, PiotrThe issue of settling accounts with modern history is a topic often taken up in contemporary Polish cinematography. The delicate and intriguing problems of lustration, memory, guilt, and forgiveness are, however, not only a Polish concern. In 2009, Kawasaki’s Rose, directed by Jan Hřebejku, was presented during the Berlinale. Almost a year later, Rafael Lewandowski’s debut film The Mole was released in Polish cinemas. Both the Czech and the Polish productions constitute attempts at facing the embarrassing problem faced by Poles and Czechs in terms of the problems mentioned above. A closer look at the phenomenon, viewed from two different perspectives (Polish in The Mole and Czech in Kawasaki’s Rose), provides a particularly interesting angle for analyzing this subject. In the article, the works of Rafael Lewandowski and Jan Hřebejk are compared in an effort to answer the question of what image of society emerges from these films. How do different historical and cultural conditions influence the process of shaping people’s attitudes in the face of similar problems. The author performs a film study analysis on these works, based on interviews with their authors and important reviews of them. Literary works that are topically connected with them, including Revised Edition by Péter Esterházy and The Curtain by Milan Kundera, constitute an essential context.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 Decorum "Kardenia". O szalonym z "mad songu" Henry'ego Purcella(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2010) Igielska, AnnaThe central topic of the article Cardenio’s Decorum is the depiction of madness in words and music. The character of Cardenio, the betrayed and lovesick Andalusian nobleman of Miguel Cervantes Saavedra’s Don Quixote, represents one of many theatrical madmen who could be seen on the English stage during the Restoration period (1660–1700) and at the same time one of those who used to present their unusual mental condition in the frame of a stage song, the so-called ‘mad song’. The function of music consists here in the transfer of affection and vivid images: bound together with unreal visions, the music generates a kind of ‘mad’ dramaturgy, in which the images appear as an analogue for the character’s inner state and decide how the musical action is to develop.Item "Dr House" - gra i semiologia(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2012-04) Kloch, ZbigniewThe paper describes how the characters of House, M.D. interact and relate to each other; it also discusses the role played by specific, semantically charged means of constructing narration. On one hand, the show largely maintains the model of a conventional medical drama, on the other, it deconstructs many of the characteristics inherent in the genre. The paper also attempts to explain the show’s huge popularity (for a certain time in the United States alone it reached 27 million viewers) achieved in spite of going beyond what an average viewer would expect, primarily by the show’s construction and by evoking ideas outside a classic medical drama.Item England in a Miniature in Mike Leigh's "The Short and Curlies"(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2012-04) Śliwińska, AnnaMike Leigh’s films are known for having kept the same tone and having played out the same melody for years. It is noteworthy that all the themes which Mike Leigh developed in his subsequent films, appeared in The Short and Curlies. Short scenes from the life of the English in The Short and Curlies can be seen in each scene of the film. From details such as a street with a perfectly straight terrace of houses with small gardens to social questions that are constant in the British culture. This ordinary, everyday observation gave rise to the plot of The Short and Curlies, revolving around a love affair of Joy (Sylvestra Le Touzel), a young woman working at a chemist’s and Clive (David Thewlis), a man who communicates with her only by means of his humourless jokes. Another story in the film is a complicated relationship of an eccentric hairdresser Betty (Alison Steadman), who is more interested in the life of the pharmacist than in the life of her own daughter Charlene (Wendy Nottingham). As Ewa Mazierska says: “Mike Leigh was once called the painter of miniatures – his films and TV productions for which he is equally praised and admired, concentrate on life of «small people with small gardens»”. Mike Leigh knows that his strengths are well written dialogues and this extraordinary skill to become a fictional character possessed by the actors he chooses.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 dramat. "Śmierć i dziewczyna" Romana Polańskiego(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2010) Choczaj, MałgorzataDeath and the Maiden by Roman Polański is an example of an experimental transposition of Ariel Dorman’s drama into the visual language of film. The merging of words and pictures in the film is compared to Bachtin’s dialogisation which permeates the element of the European novel. The meaning and motivation of the words in the characters’ dialogues influences the development of the action, form and rhythm of the takes as well as their juxtaposition with the characters and props. Polański does not limit himself only to a single-track effect. As dialogisation influences the forms of visualization, so images broaden the meanings of the dialogues, creating new contexts. The film is not only an attempt to prove that the alleged or real rapist was guilty, but also a study of the dishonoured woman’s fight for a right to live without traumatic reminiscences.Item Film production between “global” and “local”: insights from Bosna and Herzegovina(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Zajec, Špela; Adamczak, MarcinThis 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.