Images, nr 21-22, 2013
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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 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 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 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.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 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 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 Magic, emotions and film producers: unlocking the “black-box” of film production(Wydawnictwo Naukowe UAM w Poznaniu; Wydawnictwo PWSFTViT w Łodzi, 2013) Ostrowska, Dorota; Adamczak, MarcinThe starting point in the article is production culture research. Dorota Ostrowska points that – contradictiory to promises – this approach still failed to provide analisis showing connection between production culture and textual characteristic of particular films. She mentions a few successful research endevours aimed to highlight that connection such as Wisconsin researches classical Hollywood cinema examining. Then Ostrowska proposes Flusser’s reflections and Action-Network Theory as promising theoretical backgrounds for production culture research. In conclusion she points also the persepctive originated in organisational science (subdivision of management studies) as a worthy tool to aplication in film production studies. This approaches is based on close examining of organization also in emotional and sensual terms. Ostrowska argues that emotional dimension of cinema, which is traditionally highlightened, could be also connected with production process and work of film crews.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 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, MarcinThe 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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