Numer 26 (35) 2019
A Wander through the Themes

Redaktor: Andrzej Szpulak

Spis treści
Strony
Pobierz
Piotr Śmiałowski
Aleksander Scibor-Rylski w tandemach: z Kawalerowiczem, Kutzem i Hofmanem
DOI: https://doi.org/10.14746/i.2019.35.01
5 – 33
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Słowa kluczowe

adaptacja | Aleksander Ścibor-Rylski | Jerzy Kawalerowicz | Kazimierz Kutz | Jerzy Hoffman | scenariopisarstwo | niedokończony projekt

Streszczenie

Aleksander Ścibor-Rylski was one of the greatest Polish scriptwriters, who in addition to numerous films based on his texts, left behind a trove of abandoned scripts. This article introduces Ścibor-Rylski as a highly versatile author, as exemplified by three scripts he wrote: Wczasy pod lipą [Lime Tree Holiday], Zaułek św. Sebastiana [Saint Sebastian Alley] and Stara baśń [An Ancient Tale]. Each of these scripts was written in a different convention and each was ordered by a different director, hence the title of this article – Aleksander Ścibor-Rylski in tandem with Kawalerowicz, Kutz and Hoffman. Apart from an analysis of the three scripts, the article describes the way they evolved, Ścibor-Rylski’s favourite stylistic clues and the reasons they remained unfinished.

Małgorzata Hendrykowska
Ważyk – Ford – Starski. Historia pewnego scenariusza
DOI: https://doi.org/10.14746/i.2019.35.02
35 – 61
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Słowa kluczowe

Adam Ważyk | Aleksander Ford | Ludwik Starski | scenariusz | film krótkometrażowy | film wojenny | kino akcji

Streszczenie

The article presents the complicated story of a script, originally titled “ID Card”, was written in mid-1948 by Adam Ważyk. Had the script been approved for production, it would have been one of the first Polish post-war feature films. However, this did not happen. Apart from Adam Ważyk, Aleksander Ford, Jan Fethke and Ludwik Starski also worked on subsequent versions of the script. Due to complex political circumstances, none of the versions presented was approved by decision-makers. The author presents subsequent versions of the script which change along with social and political changes in Poland. The last version entitled “False Papers”, written by Ludwik Starski in 1968, contains clear elements of an action film. However, this was not a good time for this type of production. Over a period of 20 years, the script of “False Papers” underwent a peculiar metamorphosis: from a political pamphlet, to a didactic story, and finally, an action film with an unexplained mystery and war in the background. None of these versions became a film.


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Uniwersytet im. Adama Mickiewicza w Poznaniu

Maciej Pietrzak
Uśpiony temat. O (nie)obecności problemu Marca 1968 roku w kinie dokumentalnym okresu PRL
DOI: https://doi.org/10.14746/i.2019.35.03
63 – 75
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Słowa kluczowe

Marzec 1968 | polski fim dokumentalny | film i polityka | film i propaganda

Streszczenie

The vast majority of documentary films relevant to the events of March ‘68 and its consequences were created after 1989, when the abolition of censorship and the opening of previously hidden archives allowed Polish filmmakers to explore previously prohibited topics. The article focuses on the earlier period, and its main objective is to find echos of this political crisis in documentary films created before the collapse of the communist regime in Poland.


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Uniwersytet im. Adama Mickiewicza w Poznaniu

Roman Włodek
Joseph Green, producent polskich filmów jidyszowych
DOI: https://doi.org/10.14746/i.2019.35.04
77 – 101
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Słowa kluczowe

Joseph Green | Molly Picon | film jidyszowy

Streszczenie

Joseph Green (1900–1996), born Josef Chaim Grinberg in Łódź, was one of the most important producers of films in Yiddish. At the beginning of the sound era in the United States, he worked on dubbing in Yiddish for Jewish films, including Joseph in the Land of Egypt. He received a copy of the film as a royalty, which he then used with great success. The money helped him produce four Jewish films in Poland between 1936 and 1938: Yiddle with His Fiddle, The Jester, Little Mother and A Letter to Mother. Green left Poland in the spring of 1939. When the world of Shtetls – evoked by him – disappeared as a result of the Second World War, he ceased making films.


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Polska Akademia Nauk

Marek Hendrykowski
Na białym szlaku. Zapomniany film o wojnie
DOI: https://doi.org/10.14746/i.2019.35.05
103 – 115
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Słowa kluczowe

narracja | kino polskie | druga wojna światowa | gatunek | Jarosław Brzozowski | Andrzej Wróbel | film poetycki | produkcja filmowa


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Uniwersytet im. Adama Mickiewicza w Poznaniu
Andrzej Szpulak
Podwójne spojrzenie na pewne zdarzenie z przeszłości. O Szpitalu w Cichiniczach Melchiora Wańkowicza i Wrotach Europy Jerzego Wójcika
DOI: https://doi.org/10.14746/i.2019.35.06
117 – 127
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Słowa kluczowe

Melchior Wańkowicz | Jerzy Wójcik | reportaż wojenny | polski film historyczny

Streszczenie

This text confronts two images of a small episode from the First World War and the struggle of Poland to regain its independence. The literary image, Hospital in Cichinicze, is the story of Melchior Wańkowicz (1926), and the film picture is The Gateaway of Europe by Jerzy Wójcik (1999). The film work was an adaptation of literary material; however, the ways memory is created in the two cases are different. Wańkowicz created a somewhat reporter-like, realistic, non-stereotypical record of events, while Wójcik’s story was more universal and at the same time more rooted in national symbolism.


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Uniwersytet im. Adama Mickiewicza w Poznaniu

Andrzej Dębski
Kina na Dolnym Śląsku: rekonesans historyczny
DOI: https://doi.org/10.14746/i.2019.35.07
129 – 145
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Słowa kluczowe

historia kina | Dolny Śląsk | kino niemieckie

Streszczenie

The highest level of cinema attendance in Lower Silesia after World War II was recorded in 1957. It was higher than before the war and lower than during the war. In the years that followed it steadily declined, influenced by global processes, especially the popularity of television. This leads us to reflect on the continuity of historical and film processes, and to look at the period from the 1920s to the 1960s as the ‘classical’ period in the history of cinema, when it was the main branch of mass entertainment. The examples of three Lower Silesian cities of different size classes (Wroclaw, Jelenia Gora, Strzelin) show how before World War II the development from ‘the store cinema [or the kintopp] to the cinema palace’ proceeded. Attention is also drawn to the issue of the destruction of cinematic infrastructure and its post-war reconstruction. In 1958 the press commented that ‘if someone produced a map with the towns marked in which cinemas were located, the number would increase as one moved westwards’. This was due to Polish (post-war) and German (pre-war) cinema building. The discussion closes with a description of the Internet Historical Database of Cinemas in Lower Silesia, which collects data on cinemas that once operated or are now operating in the region.


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Uniwersytet Wrocławski

Mariusz Guzek
Filmowy Mińsk (1915–1918) – polskie doświadczenie podczas Wielkiej Wojny
DOI: https://doi.org/10.14746/i.2019.35.08
147 – 158
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Słowa kluczowe

film polski | Wielka Wojna | Mińsk

Streszczenie

Polish film life in the Eastern Borderlands of the former Republic of Poland is replete with numerous white spots. During World War One, however, activity was quite intense, as evidenced by book-length studies on Vilnius, Lviv and even Kiev. Minsk, the future capital of Belarus, also had its own film-related Polish culture. The article focuses on the functioning of Minsk cinemas and their repertoire, as well as the Polish accents associated with them, which repeatedly had a mobilizing and identitarian character around which the national community of this provincial city was organized. Minsk’s border status means its cinematographic ancestry can be claimed by various national cinematographies, including Russian and Belarusian, but the source query and resulting findings clearly indicate that in the years of the Great War, this center was most strongly associated with Polish culture.


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Uniwersytet Kazimierza Wielkiego w Bydgoszczy

Wojciech Otto
Filmowa franczyza. Od tematu do widowiska telewizyjnego (na podstawie cyklu „Prawdziwe Historie”)
DOI: https://doi.org/10.14746/i.2019.35.09
159 – 170
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Słowa kluczowe

kino popularne | fikcja filmowa | prawdziwe historie | franczyza

Streszczenie

The TV series True Stories (Prawdziwe Historie) is an example of contemporary commercial cinema. It is located on the border of documentary film and an attractive version of fictional cinema. In specific circumstances, it can be treated as a commercial product, but not only in the sense of film production and distribution, but more broadly, as a recognisable brand on the domestic cinema market, containing all the elements of industry know-how, as well as significant and commonly seen features of a film style that guarantees both turnout and financial success. In a sense, therefore, this phenomenon can be considered in terms of a film franchise which offers creators, most often beginners, a proven business patent in the form of a coherent television series, but also giving the possibility of a safe feature debut and the space for creative exploration.


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Uniwersytet im. Adama Mickiewicza w Poznaniu

Stanisław Bitka
Bunt i nostalgia. Filmy dokumentalne o festiwalu w Jarocinie
DOI: https://doi.org/10.14746/i.2019.35.10
171 – 181
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Słowa kluczowe

Jarocin | punk | film dokumentalny | festiwal

Streszczenie

The aim of the article is to present and attempt to classify documentary films about the Jarocin music festival. The films are conventionally divided into those shot during the 1980s editions and those created in our century, which describe them festival in retrospect. By analyzing selected works, the author draws attention to whether and how the approach to the subject and the form of the film change over the years.


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Uniwersytet im. Adama Mickiewicza w Poznaniu

ABB, Fotodziennik czyli piosenka o końcu świata
183 – 208
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Marek Hendrykowski
Ostensibly indirect narration in films and motion pictures
DOI: https://doi.org/10.14746/i.2019.35.11
209 – 218
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Słowa kluczowe

film | subjectivity | image | communication | narration | moving pictures | reality | fiction film|
documentary | objectivity | audiovisual culture

Streszczenie

The article proposes the hypothesis that on the basis of analytical and interpretative practices, when describing, analysing and interpretating moving images, a dichotomous, binary division into objective and subjective images is a highly questionable move: it does not lend itself to an absolutely unequivocal resolution. In film, as in the field of moving images as a whole, there is no objective narration, just as there is no subjective narration. What emerges is an ostensibly dependent narration (or ostensibly independent), blending and merging both of these aspirations in diverse ways.


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Uniwersytet im. Adama Mickiewicza w Poznaniu
Anna Śliwińska
A tragedy tailored to the spirit of the times – Romeo and Juliet as interpreted by Franco Zeffirelli and Baz Luhrmann
DOI: https://doi.org/10.14746/i.2019.35.12
219 – 229
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Słowa kluczowe

tragedy | Romeo and Juliet | William Shakespeare | film adaptation | Franco Zeffirelli | Baz Luhrmann

Streszczenie

This article discusses two film adaptations of Romeo and Juliet, i.e. one directed by Franco Zeffirelli and the other by Baz Luhrmann. It covers the following aspects: the structure of both the drama and its two film adaptations, the characters’ creation, the choice of setting and screen time, and the function of tragedy. Shakespeare’s language is characterised by unparalleled wit and powers of observation, and the final form of his plays is a clear indication of his ambivalent attitude towards tradition and the rigid structure of the drama. By breaking with convention, favouring an episodic structure, and blending tragedy with comedy, Shakespeare always takes risks, in a similar vain to the two directors who decided to make film adaptations based on his plays. Each technical device the adaptors selected could have turned out to be a wonderful novelty or a total disaster. The strength of both Zeffirelli’s and Luhrman’s adaptations is their emphasis on love and youth, which thanks to their directorial skill is perfectly in tune with the spirit of their respective times.


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Uniwersytet im. Adama Mickiewicza w Poznaniu

Robert Kuciński
Telewizja interaktywna w Polsce (na przykładzie kanału aMazing Multimedia Polska)
DOI: https://doi.org/10.14746/i.2019.35.13
230 – 238
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Słowa kluczowe

aMazingTV | interaktywność | telewizja interaktywna

Streszczenie

The article is an attempt to describe the essence of interactive television based on the example of aMazingTV – the first interactive channel in Poland, established by Multimedia Polska in September 2009. The author presents the development of interactivity in life, art and media and reflects on the future of one of the most important features of the so-called new media.


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Uniwersytet im. Adama Mickiewicza w Poznaniu
Uniwersytet im. Adama Mickiewicza w Poznaniu
MNiSW: 70
ISSN 1731-450X
Instytut Filmu, Mediów i Sztuk Audiowizualnych
IC 69,33