Studia Filologiczne UJK Philological Studies, 2015
In this article I would like to outline a picture of the provincial cinema audience, which emerge... more In this article I would like to outline a picture of the provincial cinema audience, which emerges from the reviews and feature articles by Stefania Heymanowa-Majewska, published in the “Słowo Ludu” in the 50s and in the first half of the 60s of the 20th century, that is, when this excellent pre-war columnist was employed on a full-time basis in the Kielce newspaper. I am interested in finding answers to the questions: What was – according to Heymanowa – the specifics of the Kielce audience? And what was the role of a film critic in a medium-sized (although the provincial one) city in the province?
Chciałabym w niniejszym artykule nakreślić obraz prowincjonalnej publiczności kinowej, jaki wyłania się z recenzji i felietonów Stefanii Heymanowej--Majewskiej, publikowanych w „Słowie Ludu” w l. 50 i w pierwszej połowie l. 60 XX wieku, czyli wtedy, kiedy ta znakomita przedwojenna publicystka pracowała na etacie w kieleckiej gazecie. Interesuje mnie znalezienie odpowiedzi na pytania: Jaka była – wg Heymanowej – specyfika kieleckiej publiczności? I na czym polegała rola krytyka filmowego w średniej wielkości (choć wojewódzkim) mieście na prowincji?
Koziołek Matołek i inne bajkowe zwierzęta w tekstach literatury i , 2016
Koziołek Matołek i inne bajkowe zwierzęta w tekstach literatury i kultury to zbiór kilkunastu art... more Koziołek Matołek i inne bajkowe zwierzęta w tekstach literatury i kultury to zbiór kilkunastu artykułów autorstwa naukowców, doktorantów i studentów, który stanowi, mam taką nadzieję, niebagatelny głos przekonujący o uniwersalności postaci ze świata fauny w literaturze i innych tekstach kultury skierowanych do dzieci. Badacze dali tym samym dowód, że mają rozległe kompetencje naukowe, a ich wypowiedzi można określić jako oryginalne i ważne. Autorzy okazali się otwarci na nowe tytuły i twórców, chętni do analiz porównawczych, kreatywni w pomysły i postulaty, jak zachęcić najmłodszych do lektury w ogóle, a także jakich argumentów, technik i narzędzi użyć, aby zapoznać dzieci z klasyczną bajką, baśnią, komiksem, filmem oglądanym w kinie. Okazuje się bowiem, że w czasach komputera i sieci, wszechobecnych ekranów, niełatwo skłonić „milusińskich” do wyboru oferty kulturalnej z czasów… ich rodziców i dziadków. A jednak – na co wskazywali autorzy prac tu publikowanych – wciąż przemawia ona do wyobraźni dzieci, warto więc badać tę spuściznę, przypominać kanoniczne teksty literatury i kultury (jak np. Przygody Koziołka Matołka), zestawiać je z aktualnie powstającymi i czerpać różnorakie inspiracje i korzyści dla rozwoju dzieci.
Monika Bator (The Jan Kochanowski Uniwersity in Kielce)
Kielce cinemas in the interwar period
93
... more Monika Bator (The Jan Kochanowski Uniwersity in Kielce) Kielce cinemas in the interwar period 93 The present text is a continuation of the article entitled “The Beginnings of the Cinema in Kielce”. It presents the history of Kielce cinemas in the interwar period. The article is divided into various parts regarding problems connected with the establishment and use of the buildings and movie theatres, owners and tenants, legal and financial issues regarding opening and exploitation of cinemas (e.g. granting an operating licence, conflicts with local authorities over taxes), advertising, programmes and characteristic features of audiences. The main sources comprise historical archives from the State Archives in Kielce as well as articles from local press, mostly from “Gazeta Kielecka”.
Monika Bator (Kielce)
The beginnings of cinema in Kielce
From their beginnings, cinemas in provin... more Monika Bator (Kielce) The beginnings of cinema in Kielce From their beginnings, cinemas in provinces played a very important role. Whereas in large cities they competed with theatres, concerts, revues or circuses, in small and middle-size towns they became one of the most important forms of participation in culture as well as the source of education and entertainment. The present article discusses the beginnings of cinematography in Kielce (from the end of the 19th century to 1918): first film shows, first cinemas and their owners, legal and financial issues connected with opening new cinemas or film distribution. There are also Kielce cinema listings and cinema audiences presented. The source materials are archival documents of the State Archives in Kielce (including sections of the Files of the City of Kielce, UWK I, SPK I and RGK) as well as press materials (mostly from Gazeta Kielcecka and Kurier Kielecki daily papers). In 1909, three cinemas opened in Kielce: “Oaza” established by Walenty Smyczyński, “Merkury”, which belonged to Leonia and Józef Kamionkowie and “Phenomen” owned by Maks Ellencweig. The next Kielce cinema, called “Apollo”, was opened on August 13, 1910 and the last established before World War I was cinema “Corso”. Cinematograph was not only the source of information and knowledge but also facilitated “the participation of citizens in the most intriguing problems of modern times and finding one’s own place in the world”. In 2010, 463 new exhibits were acquired by the collection of the Kielce History Museum and entered into the Museum registers under the heading of “History” and “Culture”. Additionally, there were 2,015 new inventory items in the library collection. Among the most interesting acquisitions are the collections of documents and photographs connected with Sylwester Kowalczewski and Stefan Artwiński as well as a parchment with a prerogative granted in 1712 to Kielce guilds by Cracow Bishop Kazimierz Łubieński of Łubna. A collection of badges, occasional stamps and decorations connected with Polish Legions and Polish Army (including Kielce garrison) as well as social and political institutions and organizations were added to the Museum’s phaleristic collection. Additionally, there are also medals and plaques minted in the Białogon plant. The military collection obtained new uniforms and armament of the squads from the garrison that resided in Kielce before the war and also from military formations of the 3rd Reich and the USSR. A pre-war fireman uniform of Wincenty Wojdan, a fireman of Kielce Fire Brigade, was also added to the collection.
The article is an attempt at presenting the similarities and differences in contemporary imaging ... more The article is an attempt at presenting the similarities and differences in contemporary imaging of old age on the silver screen by using several examples of Polish and Czech (mostly) feature films from the 21st century. Special attention has been paid to the mechanisms of familiarising the taboo of passing away and old age in the cinematography of both countries.
The article is an attempt at presenting the similarities and differences in contemporary imaging ... more The article is an attempt at presenting the similarities and differences in contemporary imaging of old age on the silver screen by using several examples of Polish and Czech (mostly) feature films from the 21st century. Special attention has been paid to the mechanisms of familiarising the taboo of passing away and old age in the cinematography of both countries.
OUR SCREEN AND THE VIEWER. FILM REVIEW IN THE LITERARY AND CULTURAL MAGAZINE FROM THE POLISH PEOP... more OUR SCREEN AND THE VIEWER. FILM REVIEW IN THE LITERARY AND CULTURAL MAGAZINE FROM THE POLISH PEOPLE’S REPUBLIC PERIOD ON THE EXAMPLE OF “KAMENA”
The article concerns the place, character and function of a film review in a regional literary and cultural magazine from the Polish People`s Republic period on the example of “Kamena” – the Lublin literary and cultural magazine. This is an important literary magazine, created in the pre-war period, after the war it was transformed into a socio- -cultural-literary periodical published most of the time in the form of a bi-weekly. The film-related topic has become quite an important part of it, and it is unexamined as far as the research is concerned, as evidenced by the absence of this press source in the online database: a film in the Polish press. In this article I am primarily interested in the specificity of the film review column in a magazine from outside the film industry, devoted mainly to literature and culture.
Indians Summer or High Time to Die?
Mechanisms of familiarising old age in contemporary Polish a... more Indians Summer or High Time to Die? Mechanisms of familiarising old age in contemporary Polish and Czech cinematography
The article is an attempt at presenting the similarities and differences in contemporary imaging of old age on the silver screen by using several examples of Polish and Czech (mostly) feature films from the 21st century. Special attention has been paid to the mechanisms of familiarising the taboo of passing away and old age in the cinematography of both countries.
Keywords: old age, contemporary Polish cinema, contemporary Czech cinema
Studia Filologiczne UJK Philological Studies, 2015
In this article I would like to outline a picture of the provincial cinema audience, which emerge... more In this article I would like to outline a picture of the provincial cinema audience, which emerges from the reviews and feature articles by Stefania Heymanowa-Majewska, published in the “Słowo Ludu” in the 50s and in the first half of the 60s of the 20th century, that is, when this excellent pre-war columnist was employed on a full-time basis in the Kielce newspaper. I am interested in finding answers to the questions: What was – according to Heymanowa – the specifics of the Kielce audience? And what was the role of a film critic in a medium-sized (although the provincial one) city in the province?
Chciałabym w niniejszym artykule nakreślić obraz prowincjonalnej publiczności kinowej, jaki wyłania się z recenzji i felietonów Stefanii Heymanowej--Majewskiej, publikowanych w „Słowie Ludu” w l. 50 i w pierwszej połowie l. 60 XX wieku, czyli wtedy, kiedy ta znakomita przedwojenna publicystka pracowała na etacie w kieleckiej gazecie. Interesuje mnie znalezienie odpowiedzi na pytania: Jaka była – wg Heymanowej – specyfika kieleckiej publiczności? I na czym polegała rola krytyka filmowego w średniej wielkości (choć wojewódzkim) mieście na prowincji?
Koziołek Matołek i inne bajkowe zwierzęta w tekstach literatury i , 2016
Koziołek Matołek i inne bajkowe zwierzęta w tekstach literatury i kultury to zbiór kilkunastu art... more Koziołek Matołek i inne bajkowe zwierzęta w tekstach literatury i kultury to zbiór kilkunastu artykułów autorstwa naukowców, doktorantów i studentów, który stanowi, mam taką nadzieję, niebagatelny głos przekonujący o uniwersalności postaci ze świata fauny w literaturze i innych tekstach kultury skierowanych do dzieci. Badacze dali tym samym dowód, że mają rozległe kompetencje naukowe, a ich wypowiedzi można określić jako oryginalne i ważne. Autorzy okazali się otwarci na nowe tytuły i twórców, chętni do analiz porównawczych, kreatywni w pomysły i postulaty, jak zachęcić najmłodszych do lektury w ogóle, a także jakich argumentów, technik i narzędzi użyć, aby zapoznać dzieci z klasyczną bajką, baśnią, komiksem, filmem oglądanym w kinie. Okazuje się bowiem, że w czasach komputera i sieci, wszechobecnych ekranów, niełatwo skłonić „milusińskich” do wyboru oferty kulturalnej z czasów… ich rodziców i dziadków. A jednak – na co wskazywali autorzy prac tu publikowanych – wciąż przemawia ona do wyobraźni dzieci, warto więc badać tę spuściznę, przypominać kanoniczne teksty literatury i kultury (jak np. Przygody Koziołka Matołka), zestawiać je z aktualnie powstającymi i czerpać różnorakie inspiracje i korzyści dla rozwoju dzieci.
Monika Bator (The Jan Kochanowski Uniwersity in Kielce)
Kielce cinemas in the interwar period
93
... more Monika Bator (The Jan Kochanowski Uniwersity in Kielce) Kielce cinemas in the interwar period 93 The present text is a continuation of the article entitled “The Beginnings of the Cinema in Kielce”. It presents the history of Kielce cinemas in the interwar period. The article is divided into various parts regarding problems connected with the establishment and use of the buildings and movie theatres, owners and tenants, legal and financial issues regarding opening and exploitation of cinemas (e.g. granting an operating licence, conflicts with local authorities over taxes), advertising, programmes and characteristic features of audiences. The main sources comprise historical archives from the State Archives in Kielce as well as articles from local press, mostly from “Gazeta Kielecka”.
Monika Bator (Kielce)
The beginnings of cinema in Kielce
From their beginnings, cinemas in provin... more Monika Bator (Kielce) The beginnings of cinema in Kielce From their beginnings, cinemas in provinces played a very important role. Whereas in large cities they competed with theatres, concerts, revues or circuses, in small and middle-size towns they became one of the most important forms of participation in culture as well as the source of education and entertainment. The present article discusses the beginnings of cinematography in Kielce (from the end of the 19th century to 1918): first film shows, first cinemas and their owners, legal and financial issues connected with opening new cinemas or film distribution. There are also Kielce cinema listings and cinema audiences presented. The source materials are archival documents of the State Archives in Kielce (including sections of the Files of the City of Kielce, UWK I, SPK I and RGK) as well as press materials (mostly from Gazeta Kielcecka and Kurier Kielecki daily papers). In 1909, three cinemas opened in Kielce: “Oaza” established by Walenty Smyczyński, “Merkury”, which belonged to Leonia and Józef Kamionkowie and “Phenomen” owned by Maks Ellencweig. The next Kielce cinema, called “Apollo”, was opened on August 13, 1910 and the last established before World War I was cinema “Corso”. Cinematograph was not only the source of information and knowledge but also facilitated “the participation of citizens in the most intriguing problems of modern times and finding one’s own place in the world”. In 2010, 463 new exhibits were acquired by the collection of the Kielce History Museum and entered into the Museum registers under the heading of “History” and “Culture”. Additionally, there were 2,015 new inventory items in the library collection. Among the most interesting acquisitions are the collections of documents and photographs connected with Sylwester Kowalczewski and Stefan Artwiński as well as a parchment with a prerogative granted in 1712 to Kielce guilds by Cracow Bishop Kazimierz Łubieński of Łubna. A collection of badges, occasional stamps and decorations connected with Polish Legions and Polish Army (including Kielce garrison) as well as social and political institutions and organizations were added to the Museum’s phaleristic collection. Additionally, there are also medals and plaques minted in the Białogon plant. The military collection obtained new uniforms and armament of the squads from the garrison that resided in Kielce before the war and also from military formations of the 3rd Reich and the USSR. A pre-war fireman uniform of Wincenty Wojdan, a fireman of Kielce Fire Brigade, was also added to the collection.
The article is an attempt at presenting the similarities and differences in contemporary imaging ... more The article is an attempt at presenting the similarities and differences in contemporary imaging of old age on the silver screen by using several examples of Polish and Czech (mostly) feature films from the 21st century. Special attention has been paid to the mechanisms of familiarising the taboo of passing away and old age in the cinematography of both countries.
The article is an attempt at presenting the similarities and differences in contemporary imaging ... more The article is an attempt at presenting the similarities and differences in contemporary imaging of old age on the silver screen by using several examples of Polish and Czech (mostly) feature films from the 21st century. Special attention has been paid to the mechanisms of familiarising the taboo of passing away and old age in the cinematography of both countries.
OUR SCREEN AND THE VIEWER. FILM REVIEW IN THE LITERARY AND CULTURAL MAGAZINE FROM THE POLISH PEOP... more OUR SCREEN AND THE VIEWER. FILM REVIEW IN THE LITERARY AND CULTURAL MAGAZINE FROM THE POLISH PEOPLE’S REPUBLIC PERIOD ON THE EXAMPLE OF “KAMENA”
The article concerns the place, character and function of a film review in a regional literary and cultural magazine from the Polish People`s Republic period on the example of “Kamena” – the Lublin literary and cultural magazine. This is an important literary magazine, created in the pre-war period, after the war it was transformed into a socio- -cultural-literary periodical published most of the time in the form of a bi-weekly. The film-related topic has become quite an important part of it, and it is unexamined as far as the research is concerned, as evidenced by the absence of this press source in the online database: a film in the Polish press. In this article I am primarily interested in the specificity of the film review column in a magazine from outside the film industry, devoted mainly to literature and culture.
Indians Summer or High Time to Die?
Mechanisms of familiarising old age in contemporary Polish a... more Indians Summer or High Time to Die? Mechanisms of familiarising old age in contemporary Polish and Czech cinematography
The article is an attempt at presenting the similarities and differences in contemporary imaging of old age on the silver screen by using several examples of Polish and Czech (mostly) feature films from the 21st century. Special attention has been paid to the mechanisms of familiarising the taboo of passing away and old age in the cinematography of both countries.
Keywords: old age, contemporary Polish cinema, contemporary Czech cinema
Uploads
Papers by Monika Bator
Chciałabym w niniejszym artykule nakreślić obraz prowincjonalnej publiczności kinowej, jaki wyłania się z recenzji i felietonów Stefanii Heymanowej--Majewskiej, publikowanych w „Słowie Ludu” w l. 50 i w pierwszej połowie l. 60 XX wieku, czyli wtedy, kiedy ta znakomita przedwojenna publicystka pracowała na etacie w kieleckiej gazecie. Interesuje mnie znalezienie odpowiedzi na pytania: Jaka była – wg Heymanowej – specyfika kieleckiej publiczności? I na czym polegała rola krytyka filmowego w średniej wielkości (choć wojewódzkim) mieście na prowincji?
określić jako oryginalne i ważne. Autorzy okazali się otwarci na nowe tytuły i twórców, chętni do analiz porównawczych, kreatywni w pomysły i postulaty, jak zachęcić najmłodszych do lektury w ogóle, a także jakich argumentów, technik i narzędzi użyć, aby zapoznać dzieci z klasyczną bajką, baśnią, komiksem, filmem oglądanym w kinie.
Okazuje się bowiem, że w czasach komputera i sieci, wszechobecnych ekranów, niełatwo skłonić „milusińskich” do wyboru oferty kulturalnej z czasów… ich rodziców i dziadków. A jednak – na co wskazywali autorzy prac tu publikowanych – wciąż przemawia ona do wyobraźni dzieci, warto więc badać tę spuściznę, przypominać kanoniczne teksty literatury i kultury (jak np. Przygody Koziołka Matołka), zestawiać je z aktualnie powstającymi i czerpać różnorakie inspiracje i korzyści dla rozwoju dzieci.
Kielce cinemas in the interwar period
93
The present text is a continuation of the article entitled “The Beginnings
of the Cinema in Kielce”. It presents the history of Kielce cinemas in the interwar
period. The article is divided into various parts regarding problems connected
with the establishment and use of the buildings and movie theatres, owners and
tenants, legal and financial issues regarding opening and exploitation of cinemas
(e.g. granting an operating licence, conflicts with local authorities over taxes), advertising, programmes and characteristic features of audiences. The main sources
comprise historical archives from the State Archives in Kielce as well as articles
from local press, mostly from “Gazeta Kielecka”.
The beginnings of cinema in Kielce
From their beginnings, cinemas in provinces played a very important role. Whereas
in large cities they competed with theatres, concerts, revues or circuses, in small and
middle-size towns they became one of the most important forms of participation in culture as well as the source of education and entertainment. The present article discusses
the beginnings of cinematography in Kielce (from the end of the 19th century to 1918):
first film shows, first cinemas and their owners, legal and financial issues connected
with opening new cinemas or film distribution. There are also Kielce cinema listings
and cinema audiences presented. The source materials are archival documents of the
State Archives in Kielce (including sections of the Files of the City of Kielce, UWK I,
SPK I and RGK) as well as press materials (mostly from Gazeta Kielcecka and Kurier
Kielecki daily papers).
In 1909, three cinemas opened in Kielce: “Oaza” established by Walenty Smyczyński, “Merkury”, which belonged to Leonia and Józef Kamionkowie and “Phenomen”
owned by Maks Ellencweig. The next Kielce cinema, called “Apollo”, was opened on
August 13, 1910 and the last established before World War I was cinema “Corso”.
Cinematograph was not only the source of information and knowledge but also facilitated “the participation of citizens in the most intriguing problems of modern times
and finding one’s own place in the world”.
In 2010, 463 new exhibits were acquired by the collection of the Kielce History
Museum and entered into the Museum registers under the heading of “History” and
“Culture”. Additionally, there were 2,015 new inventory items in the library collection.
Among the most interesting acquisitions are the collections of documents and photographs connected with Sylwester Kowalczewski and Stefan Artwiński as well as a
parchment with a prerogative granted in 1712 to Kielce guilds by Cracow Bishop Kazimierz Łubieński of Łubna.
A collection of badges, occasional stamps and decorations connected with Polish
Legions and Polish Army (including Kielce garrison) as well as social and political
institutions and organizations were added to the Museum’s phaleristic collection. Additionally, there are also medals and plaques minted in the Białogon plant.
The military collection obtained new uniforms and armament of the squads from
the garrison that resided in Kielce before the war and also from military formations of
the 3rd Reich and the USSR. A pre-war fireman uniform of Wincenty Wojdan, a fireman
of Kielce Fire Brigade, was also added to the collection.
ON THE EXAMPLE OF “KAMENA”
The article concerns the place, character and function of a film review in a regional literary and cultural magazine from the Polish People`s Republic period on the example of “Kamena” – the Lublin literary and cultural magazine. This is an important literary magazine, created in the pre-war period, after the war it was transformed into a socio-
-cultural-literary periodical published most of the time in the form of a bi-weekly. The
film-related topic has become quite an important part of it, and it is unexamined as far as the research is concerned, as evidenced by the absence of this press source in the online
database: a film in the Polish press. In this article I am primarily interested in the specificity of the film review column in a magazine from outside the film industry, devoted mainly to literature and culture.
Mechanisms of familiarising old age in contemporary Polish and Czech cinematography
The article is an attempt at presenting the similarities and differences in contemporary imaging of old age on the silver screen by using several examples of Polish and Czech (mostly) feature films from the 21st century.
Special attention has been paid to the mechanisms of familiarising the taboo of passing away and old age in the
cinematography of both countries.
Keywords: old age, contemporary Polish cinema, contemporary Czech cinema
Chciałabym w niniejszym artykule nakreślić obraz prowincjonalnej publiczności kinowej, jaki wyłania się z recenzji i felietonów Stefanii Heymanowej--Majewskiej, publikowanych w „Słowie Ludu” w l. 50 i w pierwszej połowie l. 60 XX wieku, czyli wtedy, kiedy ta znakomita przedwojenna publicystka pracowała na etacie w kieleckiej gazecie. Interesuje mnie znalezienie odpowiedzi na pytania: Jaka była – wg Heymanowej – specyfika kieleckiej publiczności? I na czym polegała rola krytyka filmowego w średniej wielkości (choć wojewódzkim) mieście na prowincji?
określić jako oryginalne i ważne. Autorzy okazali się otwarci na nowe tytuły i twórców, chętni do analiz porównawczych, kreatywni w pomysły i postulaty, jak zachęcić najmłodszych do lektury w ogóle, a także jakich argumentów, technik i narzędzi użyć, aby zapoznać dzieci z klasyczną bajką, baśnią, komiksem, filmem oglądanym w kinie.
Okazuje się bowiem, że w czasach komputera i sieci, wszechobecnych ekranów, niełatwo skłonić „milusińskich” do wyboru oferty kulturalnej z czasów… ich rodziców i dziadków. A jednak – na co wskazywali autorzy prac tu publikowanych – wciąż przemawia ona do wyobraźni dzieci, warto więc badać tę spuściznę, przypominać kanoniczne teksty literatury i kultury (jak np. Przygody Koziołka Matołka), zestawiać je z aktualnie powstającymi i czerpać różnorakie inspiracje i korzyści dla rozwoju dzieci.
Kielce cinemas in the interwar period
93
The present text is a continuation of the article entitled “The Beginnings
of the Cinema in Kielce”. It presents the history of Kielce cinemas in the interwar
period. The article is divided into various parts regarding problems connected
with the establishment and use of the buildings and movie theatres, owners and
tenants, legal and financial issues regarding opening and exploitation of cinemas
(e.g. granting an operating licence, conflicts with local authorities over taxes), advertising, programmes and characteristic features of audiences. The main sources
comprise historical archives from the State Archives in Kielce as well as articles
from local press, mostly from “Gazeta Kielecka”.
The beginnings of cinema in Kielce
From their beginnings, cinemas in provinces played a very important role. Whereas
in large cities they competed with theatres, concerts, revues or circuses, in small and
middle-size towns they became one of the most important forms of participation in culture as well as the source of education and entertainment. The present article discusses
the beginnings of cinematography in Kielce (from the end of the 19th century to 1918):
first film shows, first cinemas and their owners, legal and financial issues connected
with opening new cinemas or film distribution. There are also Kielce cinema listings
and cinema audiences presented. The source materials are archival documents of the
State Archives in Kielce (including sections of the Files of the City of Kielce, UWK I,
SPK I and RGK) as well as press materials (mostly from Gazeta Kielcecka and Kurier
Kielecki daily papers).
In 1909, three cinemas opened in Kielce: “Oaza” established by Walenty Smyczyński, “Merkury”, which belonged to Leonia and Józef Kamionkowie and “Phenomen”
owned by Maks Ellencweig. The next Kielce cinema, called “Apollo”, was opened on
August 13, 1910 and the last established before World War I was cinema “Corso”.
Cinematograph was not only the source of information and knowledge but also facilitated “the participation of citizens in the most intriguing problems of modern times
and finding one’s own place in the world”.
In 2010, 463 new exhibits were acquired by the collection of the Kielce History
Museum and entered into the Museum registers under the heading of “History” and
“Culture”. Additionally, there were 2,015 new inventory items in the library collection.
Among the most interesting acquisitions are the collections of documents and photographs connected with Sylwester Kowalczewski and Stefan Artwiński as well as a
parchment with a prerogative granted in 1712 to Kielce guilds by Cracow Bishop Kazimierz Łubieński of Łubna.
A collection of badges, occasional stamps and decorations connected with Polish
Legions and Polish Army (including Kielce garrison) as well as social and political
institutions and organizations were added to the Museum’s phaleristic collection. Additionally, there are also medals and plaques minted in the Białogon plant.
The military collection obtained new uniforms and armament of the squads from
the garrison that resided in Kielce before the war and also from military formations of
the 3rd Reich and the USSR. A pre-war fireman uniform of Wincenty Wojdan, a fireman
of Kielce Fire Brigade, was also added to the collection.
ON THE EXAMPLE OF “KAMENA”
The article concerns the place, character and function of a film review in a regional literary and cultural magazine from the Polish People`s Republic period on the example of “Kamena” – the Lublin literary and cultural magazine. This is an important literary magazine, created in the pre-war period, after the war it was transformed into a socio-
-cultural-literary periodical published most of the time in the form of a bi-weekly. The
film-related topic has become quite an important part of it, and it is unexamined as far as the research is concerned, as evidenced by the absence of this press source in the online
database: a film in the Polish press. In this article I am primarily interested in the specificity of the film review column in a magazine from outside the film industry, devoted mainly to literature and culture.
Mechanisms of familiarising old age in contemporary Polish and Czech cinematography
The article is an attempt at presenting the similarities and differences in contemporary imaging of old age on the silver screen by using several examples of Polish and Czech (mostly) feature films from the 21st century.
Special attention has been paid to the mechanisms of familiarising the taboo of passing away and old age in the
cinematography of both countries.
Keywords: old age, contemporary Polish cinema, contemporary Czech cinema