„Sąsiedzi” i filmowa Bydgoszcz

Author(s): Andrzej Gwóźdź / Language(s): Polish / Issue: 110/2020

Although researching film history through the history of one film is not a new concept, it is rather rarely used. Piotr Zwierzchowski and Mariusz Guzek’s monograph “'Sąsiedzi'. Film o bydgoskim wrześniu 1939" [“'The Neighbours'. A Film about September 1939 in Bydgoszcz"] (2019) is devoted to the eponymous 1969 film by Aleksander Ścibor-Rylski and, simultaneously, to the city of Bydgoszcz in film. Both narratives are situated in the space of tension between national cinema and the history of cinema in the city which itself was often a place of film locations. The monograph follows the convention of an investigation conducted by the insightful and inquisitive film scholars and historians intrigued by their city’s past, who are equipped with an arsenal of tools and research measures providing an effective cognitive result. Zwierzchowski and Guzek do not intend to revise history, nor do they write the history of cinema anew. The undoubted beauty of the book is its cognitively fruitful and at the same time attractive style, in which the perspective of a witness to history (including the history of cinema) is fortuitously complemented by the perspective of a film consumer of from the past decades. In Piotr Zwierzchowski and Mariusz Guzek’s approach, the perplexities of Ścibor-Rylski’s ‘Bydgoszcz film’ turned out to be a fascinating adventure of cinema in the city which was made a film-city by historical circumstances.

„Strasznie lubię cię, piosenko”. Szkice o tekstach Wojciecha Młynarskiego. Tom jubileuszowy dedykowany Profesor Barbarze Kudrze

Author(s): / Language(s): Polish

The volume comprises texts analysing the oeuvre of one of the greatest Polish song poets, Wojciech Młynarski. Although the majority of the 22 papers are scientific reviews, there are also some popular science texts. The monograph consists of an introduction, the profile of Professor Barbara Kudra, the bibliography of her works. The five chapters dedicated to the work of Wojciech Młynarski comprise diverse texts written from the perspective of language, literature and cultural studies.

„Sunt mici revoluții care ar putea fi făcute care ne-ar ajuta pe toți să nu rămânem în negura timpului.” – Interviu cu regizorul Andrei Măjeri

Author(s): Ironița Coruți / Language(s): English,Romanian / Issue: 2(21)/2020

„Sztandar wolności” Ryszarda Ordyńskiego jako filmowy pomnik Józefa Piłsudskiego

Author(s): Grzegorz Rogowski / Language(s): Polish / Issue: 112/2020

The author reconstructs the history of the production and distribution of one of the most important documentary films of the interwar period: "Sztandar wolności" ('Banner of Freedom", 1935) by Ryszard Ordyński. By examining the intricate production process, he seeks to determine who produced the picture, for what purposes, and in what political circumstances, what was its perception in Poland and abroad, and finally how the mechanisms of its export worked. The research is based on press articles and on previously unexplored materials from the Archiwum Akt Nowych (Central Archives of Modern Records in Warsaw) and the New York State Archive in Albany.

„Ta wojna trwa permanentnie, ona się nigdy nie kończy”… O ‘Wszystkich wojnach świata’ Tomasza Szerszenia

Author(s): Wiesław Szpilka,Tomasz Szerszeń,Zbigniew Benedyktowicz / Language(s): Polish / Issue: 4/2021

A block of discussions on Tomasz Szerszeń’s book Wszystkie wojny świata (słowo/obraz terytoria – Instytut Sztuki PAN 2021). How is one to decipher from today’s perspective the recurring images of catastrophes or traces of historical events observed from a distance? Can the ancient skill of “spodomancy” be of use in this attempt at archaeology of contemporaneity? From Hiroshima and Chernobyl, the Near East and Algeria, Auschwitz and Fukushima, all the way to the 2015 terrorist attacks in Paris and other contemporary conflicts and crises the author creates a by definition incomplete planetary cartography of destruction: he takes a closer look at photographs and texts concerning vestiges of catastrophes and wars seen from afar, and follows their tracks so as to attempt to decolonise their images and latent impact upon us. Wszystkie wojny świata is a multitiered lavishly illustrated essay situated on the crossroads of anthropology, literature, and reflections on photography. At the same time, it is the outcome of years-long studies, a register of travels, and an attempt at regaining certain childhood images in order to better understand oneself and one’s place in relation to history.

„Teatrul online nu există. (...) Teatrul presupune schimb de energie face-to-face.” Interviu cu regizorul Alexandru Iureş

Author(s): Ironița Coruți / Language(s): Romanian / Issue: 1/2020

„Ten sobie mówi, a ten sobie mówi”. Ballady Adama Mickiewicza... – literatura czy partytura

Author(s): Małgorzata Litwinowicz-Droździel / Language(s): Polish / Publication Year: 0

Development and concretisation of the original perspective concerning the word anthropology, which was formed at the Institute of Polish Culture at Warsaw University and used in language practice research. The perspective is considered the best method to perceive the language as cultural phenomenon. An extensive theoretical introduction justifies this approach and puts the undertaken research into the context of contemporary changes in cultural studies. The volume contains twelve articles which present study cases of language practice seen as cultural practice in historical context: from antiquity to modern times, from the forms of word art to swearing and searching the web.

„The Cherry Orchard” - Notes from the Theatrical Performance Lab

Author(s): Aurel PALADE / Language(s): English / Issue: 1/2021

This article is a conceptual analysis of a selective biography regarding the performance based on Chekhov’s The Cherry Orchard. Its purpose is to emphasize the importance of this play through the performance’s creators, trying to come up with original elements to unveil hidden meanings of this text. Comparing different representations of this play, we can notice that each of them attempts to unfold obscure meanings within Chekhov texts. In this respect, besides having a brief analysis of the most important and famous performances of this play, I participated in this study with my own representation, brought out at Ariel Municipal Theater from Râmnicu Vâlcea.

„Them call we gypsy”

Author(s): Nina Kennel / Language(s): Polish / Issue: 1-2/2020

The topic of this study is Invernomuto: Negus, a documentary film made by an Italian duo of artists – an example of applying the cinema as a non-historical method of conducting historical studies. A juxtaposition of research shown in the film concerning the Italian colonial war waged in Ethiopia with the contents of lectures constituting sequences makes it possible to assume that the interlocutor not only participates in the film but also negotiates his appearance in front of the camera, using it for the purpose of realising his intentions. Co-dependencies between the makers of the film and those who appear in it allow us to regard the latter as “users” (Michel de Certeau) of the cinema.

„To jest twój człowiek – idź z nim”. O zakłóconej identyfikacji w filmach Alana Clarke’a

Author(s): Karolina Kosińska / Language(s): Polish / Issue: 114/2021

Alan Clarke’s later films – like Made in Britain (1983), Christine (1987), Elephant (1989) – reveal a fully crystalized, mature creative strategy of the director. This strategy is defined by extreme reduction and repetitiveness of the narrative, emphasis on the compulsiveness of the characters’ actions, concentration on behavioural aspects combined with a radical rejection of psychology. It is realized primarily through long “walking” shots, and it results in a corporeal, trans-like experience of the film, in a specific relationship of the viewer with the characters and also, consequently, with the body of the film itself. Clarke forces on the viewer the constant contact with the human figure on the screen, while methodically depriving him or her of the possibility of identification. The author problematizes this disturbed identification by analyzing Alan Clarke’s films and by situating them in the context of Robert Bresson’s Notes on Cinematography, which in a way anticipate Clarke’s style, and also in relation to the theoretical concepts of bodily perception of the cinema developed by Jennifer M. Barker.

„Toată viața m-am abătut de la șoseaua principală” – Interviu cu regizorul Radu Afrim

Author(s): Călin Ciobotari / Language(s): English,Romanian / Issue: 2(21)/2020

„Totus Tuus” św. Jana Pawła II. Od teologicznej głębi po ikonograficzną mistyfikację

Author(s): Andrzej Witko / Language(s): Polish / Issue: 4S/2020

The life motto of Karol Wojtyła – of the Pope St John Paul II – was contained in two words: Totus Tuus. They were derived from the work dating back to the 18th century and published in 1843: Treatise on True Devotion to the Blessed Virgin Mary by St Louis Marie Grignion de Montfort. The choice of such a life’s motto was expressing the total and limitless offering of the exceptional follower to the Mother of God, also being an expression of his living, concrete, overwhelming and all-encompassing faith. This very motto has inspired Izabela Delekta-Wicińska, a Cracovian artist, to paint – in the year 1984 – a unique picture Totus Tuus, which gained enormous popularity in the whole world, thus becoming an object of fraud in respect of piety. Even though the artist held that she was inspired by an exceptional embrace of John Paul II and Cardinal Stefan Wyszyński on the day of inauguration of the pontifi of the Polish Pope, a photograph of the Totus Tuus painting was circulated in the entire Christian world as a miraculous picture of Pope John Paul II that was taken accidentally. In the early 1990s one of the then most pre-eminent mariologists, Rev. René Laurentin, was interested in the matter. Even as late as in the 2018 the www.infovaticana.com website explained that the Totus Tuus depiction is not a miraculous photography of the St. John Paul II but a painterly vision of the Cracovian artist, Izabela Delekta-Wicińska.

„Tovább él. Mert halhatatlan...” – beszélgetés Kovács Levente rendezővel, egyetemi tanárral

Author(s): Éva Patkó / Language(s): Hungarian / Issue: 4/2020

The theatrical work of Levente Kovács encompasses the domains of creation, theory, teaching and cultural institution management. He has been for years the dean of the Hungarian department of the University of Arts from Marosvásárhely/Târgu-Mureș, the director of the Tompa Miklós Company of the National Theatre of Târgu-Mureş, of the Apollo 4 Pocket Theatre and the Thalia Laboratory, as well as the principal director of the Szigligeti Theatre. His experiences gained from fulfilling such diverse roles – theatre and institution director, teacher, writer – are reflected in this interview through the lens of contemporary theatrical events such as the changes brought about by the current pandemic or the blockade of the students of the University of Theatre and Film Arts from Budapest. Éva Patkó has asked “Professor Kovács” – as she respectfully refers to him in this dialogue – about all these issues and about his activities outside the theatre.

„Tu nie będzie rewolucji”, ale tańczmy!

Z Aśką Grochulską rozmawia Łucja Iwanczewska

Author(s): Łucja Iwanczewska,Aśka Grochulska / Language(s): Polish / Issue: 163-164/2021

„Tylko nie dres, bo się źle kojarzy”. Rola wizerunków ciała w kształtowaniu podmiotowości w klasie ludowej

Author(s): Dorota Olko / Language(s): Polish / Issue: 30/2021

Przedmiotem artykułu jest znaczenie uklasowionych reprezentacji w kształtowaniu stosunku do ciała i konstruowaniu własnej podmiotowości przez osoby z klasy ludowej. Tekst opiera się na jakościowej analizie kilkudziesięciu wywiadów pogłębionych z kobietami i mężczyznami, a także programów typu reality show z udziałem klasy ludowej: Projekt Lady i Warsaw Shore. Wbrew wcześniejszym badaniom (Skeggs 1997) w świetle przeprowadzonych analiz klasowe reprezentacje są negatywnym punktem odniesienia nie tylko dla kobiet, lecz także dla większości dorosłych mężczyzn z klasy ludowej. Badanie pokazuje, że o ile trudno zrekonstruować wzorzec atrakcyjnego ciała, który byłby obiektem pożądania i aspiracji badanej grupy (bo średnioklasowe wzorce dbałości o ciało nie są przez nią przyjmowane bezkrytycznie), o tyle kluczowe w procesie budowania podmiotowości jest dążenie do odróżnienia się od reprezentacji klasy ludowej funkcjonujących w kulturze popularnej (figura dresiarza i dresiary) oraz od osób będących najniżej w strukturze społecznej (bezdomni i menele).

„Utrwalam się w przekonaniu, że człowiek zawsze jest w drodze…”

Author(s): Danuta Benedyktowicz / Language(s): Polish / Issue: 4/2021

In the private and editorial archive of Aleksander Jackowski, containing manuscripts, research notes and photographs extremely valuable for Polish cultural heritage, great historical and cultural significance belongs to documents associated with forgotten non-professional artists. Frequently, such documents constitute the sole preserved trace of artworks. Upon the basis of preserved material the presented article demonstrates the emotional relation linking A. Jackowski and the sculptor Józef Lurka.

„Viharos” karanténhangulat elfojtott érzelmekkel

Author(s): Réka Bartha / Language(s): Hungarian / Issue: 818/2021

„W Gugle wpisuję swoje nazwisko...”. Społeczne i kulturowe funkcje praktyki wyszukiwania w sieci

Author(s): Jerzy Stachowicz / Language(s): Polish / Publication Year: 0

Development and concretisation of the original perspective concerning the word anthropology, which was formed at the Institute of Polish Culture at Warsaw University and used in language practice research. The perspective is considered the best method to perceive the language as cultural phenomenon. An extensive theoretical introduction justifies this approach and puts the undertaken research into the context of contemporary changes in cultural studies. The volume contains twelve articles which present study cases of language practice seen as cultural practice in historical context: from antiquity to modern times, from the forms of word art to swearing and searching the web.

„We are making cyber-history.” Az online színház nem ma született

Author(s): Ágnes Karolina Bakk / Language(s): Hungarian / Issue: 2/2020

Ágnes Karolina Bakk’s article offers a short overview of theatrical performances and experiments that took place in the online space since the start of the internet-era. In this paper she analyses and contextualizes shortly the listed production based on their characteristics such as co-presence and liveness.

„Widzieć jasno w zachwyceniu”

Author(s): Tadeusz Szczepański / Language(s): Polish / Issue: 113/2021

A Memory of Professor Wiesław Juszczak (1932-2021).