Мирот и немирот како провокација, како траење или завршување
Кон турскиот филм „Годишни времиња“ на Нури Билге Чејлан во главната програма на 59. Кански филмски фестивал, добитник на Наградата на критиката „Фипресци“
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Кон турскиот филм „Годишни времиња“ на Нури Билге Чејлан во главната програма на 59. Кански филмски фестивал, добитник на Наградата на критиката „Фипресци“
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Film noir which achieved the peak of its popularity in the 1940s and 1950s in the United Stated was a very American phenomenon, born from the American experience and space – sense of being lost in a big, anonymous, unfriendly metropolis serving as a metaphor for the sense of being lost in a labyrinth of post-war existence. In the same time, from the very beginning of the 1940s, film noir was an international phenomenon, successfully lasting in forthcoming decades not only in America, but also elsewhere – it became defining for cinema and television of both France and Scandinavia. Indeed, most famous Scandinavian books, films and TV series are made in a neo-noir manner, with an addition of some significant local qualities. Nordic noir, unlike neo-noir in e.g. the contemporary USA, does not consist of postmodern stylization and intertextuality, but focuses on problems that define modern societies – social conflicts and controversies like racism, homophobia, patriarchy, violence against women and children, hatred towards immigrants and institutional inability to make them fit, challenges of ecology and so on. The article focuses on these aspects of Nordic noir as shown in two highly popular and critically acclaimed TV shows – The Killing (Forbrydelsen, 2007-2012) and The Bridge (Bron/Broen, 2011-2017).
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The 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.
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In his documentary Declaration of Immortality, Marcin Koszałka intentionally refers to the style of Wojciech Wiszniewski. Visual creativity is strongly exposed here, both in the style of filming and the presentation of the hero. The main character in the film, Piotr Korczak, reminds of the monument-like heroes from Wiszniewski’s films, like protagonist from Wanda Gościmińska. A Weaver Koszałka filmed the scenes in the Potocki Palace in Krzeszowice in the manner of Wiszniewski’s long tracking shots. Visual creativity in Koszałka’s and Wiszniewski’s films encompasses the staging, precise frame composition, and their intentional artificiality, which does not nullify the documentary their nature. Form in the works of the directors of Primer (Wiszniewski) and Declaration of Immortality (Koszałka) interacts more or less with the spirit of Stanisław Witkiewicz’s art. Koszałka, like Wiszniewski, ‘dismantles’ reality, exposing the illusion of cinema to present a guru of mountain climbing (Korczak) as a ‘hostage of immortality’. The lonely hero from Wiszniewski-like staged scenes in Declaration of Immortality is presented as an ‘outgoing star’ whose fame has passed, giving way to alienation or a sense of failure. The tension from Declaration of Immortality emerges from the contrast between the way of filming (heroic style), and the meaning of particular scenes. The cinema of Wojciech Wiszniewski includes symbols, metaphors, and allegories. Th is artistic conception goes well with Marcin Koszałka’s concept of cinema, which – since the making of Existence (2007) – has become more and more symbolic, incorporating Baroque-like formal ideas based on strong contrasts to evoke ‘cognitive discomfort’ in the viewer.
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The aim of the article is the analysis of the rise of music documentaries and defining the source of the film language employed by its creators. The subject of research are both traditional film documentaries, the so called rockumentaries, and film recordings of concerts and festivals. Through examining the genesis of the musical fact based cinema, the author devotes special attention to technological aspects, as well as their impact on the shape and aesthetics of the works of art belonging to this genre. The considerations revolve around classic titles created in the spirit of direct cinema, because it is direct cinema that Kicka defines as the source of the most distinctive features of contemporary music documentary.
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The 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.
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I regard a warning put on the film cans with The man with a golden arm by Otto Premingera (1955), „Projectionists, pull curtain before titles” as a symbolic beginning of a visibility, legibility and individuation of a title sequence. This particular recommendation was to change the movie audience practice and combine cognitive openness with the first metres of a screening film. It set in motion a long-term reflection motivated by different circulations of knowledge and cognitive needs. The promotion of the title sequence translated directly into the bottom-up movement of obtaining a place (and prestige) by a previously anonymous occupational group. At the same time the opening sequence became a centre of an artistic and proto-film expression from a visual culture perspective. A title sequence can be located between iconic message, typography, advertising, packaging, neon sign, vignette and poster. An opening sequence would be then nested in various forms (and media) of the management of human surroundings, in this particular example negotiated thanks to the perceptual activity of the viewer, in the wider meaning – recipient based on different culture competences and in the widest meaning – user. The contemporary direction of participation in an audiovisual culture heritage and commonness of an access to the “primeval movie version” result in a diverse offer of short multi- and post-medial forms and let the intercepted and emancipated title sequence accommodate on a map of ahistorical practices belonging to the remix culture.
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Der Beitrag setzt sich mit Bertolt Brechts filmischem Schaffen auseinander und beleuchtet den Werdegang des Drehbuchautors, Filmtheoretikers und Filmkritikers Bertolt Brecht beginnend im Berlin der Zwanziger Jahre und endend im amerikanischen Exil. Es werden darin Bertolt Brechts erfolglose Bemühungen analysiert, einen neuen Filmdiskurs durchzusetzen, der den kommerziellen Prinzipien der bürgerlichen Filmindustrie trotzt. Zugleich wird darin auf Bertolt Brechts Hollywood-Welterfolg – den Film Hangmen also Die – in der Regie Fritz Langs eingegangen.
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In this paper I will analyze Serbian documentary films about guest workers dating from the last decade of the 20th and the first decade of the 21st century, using the perspective of visual anthropology. I question the popular cultural notions about guest workers in films Весеље у Ждрелу (A Celebration in Zdrelo) by author Kamenko Katic, Звона позне јесени (The Bells of Late Autumn) by author Zoran Milenovic, Кад је Милорад удавао ћерку (When Milorad Gave His Daughter in Marriage) by author Vladimir Milisavljevic, Странац тамо, странац овде (A Foreigner There, a Foreigner Here) by author Sandra Mandic and 242 метра живота (242 Meters of Life) by author Novica Savic. The films deal with a number of issues: the economic aspects of guest workers’ lives, their liminal character, the issues of the second and third generations of guest workers, going away "temporarily" to work, and religious rituals. Even though the films were made recently, they all follow the lives of Vlach and Serbian, or rather Yugoslav guest workers who left to find temporary work abroad in Western Europe in the 1960’s and 1970’s. This serves the purpose of avoiding to deal with contemporary reasons for emigrating from Serbia and thus the possible critiques of current regimes or policies in power at the time the films were made.
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The author presents the film directed by Paweł Łoziński, Place of Birth (Miejsce Urodzenia,1992), in the categories of a multidimensional memory place, which, as a sort of workdone on the material of the past, can be characterized by definition as an object in action,a performative. She describes the movie using the concepts of affect, trauma culture andcollaborative authorship. The movie is presented as: a comparative place of memory, anarchive, trauma experience catalyst, trauma translator, a performative shaping a non-memoryplace into a mnemotopos – depending on the perspective/status of the author instance.
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The leading female characters in film noir can be included in 2 main categories. Determining their types, characterising feminine figures and the analysis of the role of dramaturgy of action can be approached from the point of view of their relation with the male character.
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The film is one of few examples of political documentaries produced in Poland after 1989. It is not limited to merely outlining the political argument over General Jaruzelski’s decision to impose martial law. Although it concerns events in Polish history, it is not a historical documentary, as it brings forth present-day political conflicts that have arisen around historical events. Trying to reconstruct this current political argument, Zmarz-Koczanowicz reaches for a method developed in the 1970s by the so-called “Kraków School” led by Krzysztof Kieślowski. ^e “talking heads” method was meant to help documentary filmmakers in the Polish People’s Republic reach what the person in the street actually thought and avoid the distortions of propaganda. For Kieślowski, however, the overriding aim was conciliation and an attempt to understand both sides of the political barricade - the authorities and the vox populi. His attitude, according to the terminology suggested by Chantal Mouffe, was a post-political one striving for an agreement through a rational dialogue. Zmarz-Koczanowicz’s aim, however, is different: she is intent on showing a clash of different hegemonies that do not strive for consensus. Their agonistic argument, played out in the political register, rather than a moral one, is a guarantee, according to this Belgian philosopher of politics, that democracy will continue to exist.
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The author traces the phenomenon of disco polo music and analyses the video clips of popular musicians from the 90’s (Shazza and Boys), comparing them with modern visual representations (Mig and Niecik), following the idea that what made and still makes this music genre popular is the specific tension between familiarity and wordliness.
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The article analyzes the theme of photography in Ari Folman’s Waltz with Bashir (2008). It shows the relation between photography and narration as well as similarities between the way the photographic medium functions and the mechanisms of trauma. The author points out that Folman’s documentary film uses the theme of photography as a metaphor for the characters’ emotional distance to what they experience.
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Thanks to legal and economic reasons the British market of pornographic films seems like a very interesting material for a case study, since fully legal distribution of adult films lasted only about a decade before it was wiped out by the Internet. The main aim of the article is to reconstruct the mechanisms of production and distribution of pornography in the UK before the Internet era and confront methods used by adult movie producers with those used by the makers of traditional movies. Most of the information is based on an interview conducted by the author with a former employee of Private Media Group, one of the biggest providers of pornography in Europe.
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The article shows how the postmodern cinema uses the tradition of a genre in order to construct the discourse of contemporary America. The author hypothesized that “True Grit” by Coen brothers, a western entangled in a web of intertextual references (both literary as an adaptation of the novel by Ch. Portis and film based, as a remake of H. Hathaway’s film), has the potential of creating representations not based on text. The present article is a polemic against the most common research stand, which negates the possibility of generating by the postmodern aesthetic meanings beyond the text. The author defends the thesis that the film by Coen brothers is a text which lends itself well to interpretation as a reflection of social attitudes, anxieties and desires. The author also discusses the question of demythologization and polemics of the Western tradition and the matter of approaching the western as a source of historical meanings.
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Film culture research involves observing and analysing complex production, economic and market contexts as well as film set issues and the film preparation process, team work realities, customs, and self-reflective narratives of crew members, which usually fall beyond the scope of the film studies. The film production culture research, though innovative a few years ago, is now becoming more and more popular in Poland. Therefore, it appears to be the right moment to define both the state of research and the latest achievements in the production studies in Poland. The aim of this paper is to present an outline of the Polish film culture research on film production in Poland, make an attempt to systematise it as well as specify the areas that have not been examined thoroughly.
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The paper concentrates on two feature films based upon Henryk Sienkiewicz’s novel about ancient Rome – "Quo Vadis?" (dir. Enrico Guazzoni [1913]) and "Quo Vadis?" (dir. Gabriellino D’Annunzio, Georg Jacoby [1925]). Both films belong to the peplum genre, popular during the era of silent cinema. The paper reconstructs production circumstances of both films as well as their historical reception. It is argued that both films can be seen through the prism of socio-political contexts, including the colonial ambitions of the Italian state.
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Një trashëgimi e pasur kombëtare që ka bërë historinë e kinemasë europiane dhe botërore, dhe një shirit i grisur 35 milimetërsh që rrëshqet nën mëngë, ky është identiteti kinematografik i regjisorit italian, Paolo Sorrentino
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Marek Hendrykowski’s essay presents the importance of Janusz Morgenstern’s early short film Radishes made after Stalin’s death, in 1954 as a student work produced by Film School in Łódź. The main character, old worker Gruliński loses his clear hopes and human illusions. The pessimistic conclusion is closed further by the simultaneous description of the hero’s social image within a discourse of origins and the sacred which evacuates analysis of class conflict and sociological approach in the narrative of an “ordinary good man” brutally disturbed in his desires and works by the irruption and power of an omnipotent destructive Stalinist “red tape” bureaucracy. The poetics of Radishes is deeply influenced by the style of an Italian neorealism, first of all by its famous masterpiece, Vittorio De Sica’s Umberto D. (1952).
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