Twórczość filmowa Władysława Ślesickiego
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Date
2013-05-24
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Władysław Ślesicki’s Film Works
Abstract
Praca składa się z trzech rozdziałów (1 – Początki,
2 – Etap dokumentalny, 3 – Etap fabularny). Jej celem jest uchwycenie w porządku chronologicznym filmowej twórczości Władysława Ślesickiego, która zwłaszcza w swym aspekcie dokumentalny dążyła do (1) ograniczania komunikatu werbalnego, (2) koncentrowania się na obrazie. Perspektywa diachroniczna wydaje się w odmalowaniu tych procesów bardzo pomocna.
W pracy staram się również odpowiedzieć na pytanie, co sprawia, iż ogromna większość filmów Władysława Ślesickiego (z naciskiem na filmowy dokument) ciągle inspiruje do refleksji badawczej. One same nazywane były w bardzo różny sposób: film poetycki, dokument etnograficzny, dokumentalna ballada… I choć nie powstawały, rzecz jasna, w zupełnej izolacji od nurtów i poetyk kina dokumentalnego lat sześćdziesiątych, to w retrospekcji zdają się potwierdzać przede wszystkim oryginalność poczynań Władysława Ślesickiego. Twórcy, który dyskretnie inspirując się dziełami choćby Roberta Flaherty’ego (reżysera Nanuka z Północy [1922] czy Człowieka z Aran [1934]), ostatecznie – „mieszając” poetyckość z antropologią – zdołał wykształcić własny, unikalny styl opowiadania o rzeczywistości.
My thesis consists of three chapters (1 – The Beginnings; 2 – Time of a documentary; 3 – Time of a feature). My aim is to capture the entire filmography of Władysław Ślesicki in chronological order, but it is not only transparency, that stands behind this method. His style of filmmaking, especially in a documentary context, consecutively evolved – towards (1) the lack of any verbal message and (2) the emphasis on a visual image. A diachronic prospect appears helpful to depict this change in time. I also try to answer the question, what makes Władysław Ślesicki’s movies still worth watching and – writing about. They were dubbed in many ways: “poetic films”, “documentary ballads”, “ethnographical movies”… And although they were not made in isolation from what was going on in the world cinematography back then in the sixties, in retrospect they seem to prove, how strong Ślesicki’s artistic personality was. While he was clearly influenced by some of the greatest documentary filmmakers of all time (among whom were someone like Robert Flaherty, director of such significant and highly acclaimed movies as Nanook of the North [1922] or Man of Aran [1934]), he managed to develop within his filmography quite a unique blend of poetry and anthropology.
My thesis consists of three chapters (1 – The Beginnings; 2 – Time of a documentary; 3 – Time of a feature). My aim is to capture the entire filmography of Władysław Ślesicki in chronological order, but it is not only transparency, that stands behind this method. His style of filmmaking, especially in a documentary context, consecutively evolved – towards (1) the lack of any verbal message and (2) the emphasis on a visual image. A diachronic prospect appears helpful to depict this change in time. I also try to answer the question, what makes Władysław Ślesicki’s movies still worth watching and – writing about. They were dubbed in many ways: “poetic films”, “documentary ballads”, “ethnographical movies”… And although they were not made in isolation from what was going on in the world cinematography back then in the sixties, in retrospect they seem to prove, how strong Ślesicki’s artistic personality was. While he was clearly influenced by some of the greatest documentary filmmakers of all time (among whom were someone like Robert Flaherty, director of such significant and highly acclaimed movies as Nanook of the North [1922] or Man of Aran [1934]), he managed to develop within his filmography quite a unique blend of poetry and anthropology.
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Wydział Filologii Polskiej i Klasycznej: Katedra Filmu, Telewizji i Nowych Mediów
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Keywords
Etap dokumentalny, Etap fabularny, Etap poetycki, Styl, Przyroda, Documentary stage, Fictional stage, Poetic stage, Style, Nature