Authors of the series use various scenario techniques, creating the aesthetics of a black retro-c... more Authors of the series use various scenario techniques, creating the aesthetics of a black retro-crime with consciously developed allusions to the end of the communist era in Poland. They concern: space-time, dramaturgy, props, characters and the audio sphere. Their message is, on the one hand, an expression of a certain nostalgia for the lost time, and on the other, a kind of resentment with historically deepened criticism of the reality of the time. Solving a criminal mystery becomes at the same time uncovering the mystery of a double murder and a double suicide, it also refers to a mystery from many years ago, connected by the thread of romance.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication, 2019
The TV series True Stories (Prawdziwe Historie) is an example of contemporary commercial cinema. ... more 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.
Marek Lis, Kieślowski, the mysteries of screens and God. “Images” vol. XXIV, no. , Poznań .... more Marek Lis, Kieślowski, the mysteries of screens and God. “Images” vol. XXIV, no. , Poznań . Adam Mickiewicz University Press. Pp. –. ISSN -X. DOI ./i.... The computer seems like a privileged personage in Decalogue 1 (Dekalog, jeden, /, prem. , dir. K. Kieślowski): it is used by Paweł and his father to solve mathematical questions about Miss Piggy, to calculate the durability of the ice on the pond, to know what Mum is doing, and to control domestic devices. For Kieślowski the computer is not just a gadget: Krzysztof ’s lecture describes its potential and its possible autonomy. Independent from man (the computer switches itself on), it becomes his rival: Kieślowski proposes a critical interpretation of the computer as a new idol, promising unlimited memory and knowledge. A similar preoccupation can be found in the Black Mirror series, where new technologies, existing or as yet still fantastic, are becoming more and more intrusive in the lives ...
Disability in Polish films is not a marginal issue. As a film topic, it has been explored in many... more Disability in Polish films is not a marginal issue. As a film topic, it has been explored in many different ways and contexts due to a nexus of diverse relations, trends and social phenomena. All of which have revealed the degree of intensity of the phenomenon as well as its historic changeability. On the one hand, such images have been a reflection of the filmmakers’ interests and, on the other, a source of knowledge on disability and a kind of catalyst for socio-moral transformation shaping the attitudes and behaviour of society towards the disabled. The problem is presented by,, images of disabled film characters, which are widely used in Polish cinematography and often built on socialstereotypes, as well as by the communicative strategies used by filmmakers in their works on disability. In this context, films about disability have played an opinion-forming role, contributing greatly to an enhanced image of disabled people in society and widening their area of activity. The sexua...
Otto Wojciech, Filmowa franczyza. Od tematu do widowiska telewizyjnego (na podstawie cyklu „Prawd... more Otto Wojciech, Filmowa franczyza. Od tematu do widowiska telewizyjnego (na podstawie cyklu „Prawdziwe Historie”) [Film franchise. From the theme to the TV show (based on the True Stories [Prawdziwe Historie] series)]. „Images” vol. XXVI, no . Poznań . Adam Mickiewicz University Press. Pp. –. ISSN -X. DOI ./i.... +e TV series True Stories (Prawdziwe Historie) is an example of contemporary commercial cinema. It is located on the border of documentary ,lm and an attractive version of ,ctional cinema. In speci,c circumstances, it can be treated as a commercial product, but not only in the sense of ,lm 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 signi,cant and commonly seen features of a ,lm style that guarantees both turnout and ,nancial success. In a sense, therefore, this phenomenon can be considered in terms of a ,lm franchise which ...
Podstawą przeprowadzonej refleksji jest świadomość istnienia wyraźnych korespondencji, powinowact... more Podstawą przeprowadzonej refleksji jest świadomość istnienia wyraźnych korespondencji, powinowactw i paraleli pomiędzy literaturą a filmem. Dokonane ustalenia teoretyczne z wprowadzoną egzemplifikacją umożliwiają precyzyjną identyfikację tzw. punktów stycznych pomiędzy sztuką słowa a sztuką ekranu oraz rozpoznanie charakteru owych interakcji. Związki między filmem a literaturą mają dwutorowy, czyli paralelny charakter, a ich wzajemne relacje są różnorodne i wielopłaszczyznowe. Filmowość literatury może być rozpatrywana jako nawiązania pośrednie (wspólnota i homologia struktur) i bezpośrednie (filmowość właściwa) do filmu. Podczas analizy strukturalnej poszczególnych dzieł literackich należy uwzględnić również perspektywę socjokulturową, zawężoną do określonej formacji społeczno-kulturowej, w tym przypadku ograniczonej cezurami roku 1918 i 1939. Inspiracje literatury sztuką filmową można rozpatrywać na płaszczyźnie fabularnej, narracyjnej i genologicznej.
Wojciech Otto, Krzysztof Kieślowski’s "lm props in the triptych “#ree Colours”. “Images” vol... more Wojciech Otto, Krzysztof Kieślowski’s "lm props in the triptych “#ree Colours”. “Images” vol. XXIV, no. , Poznań . Adam Mickiewicz University Press. Pp. –. ISSN –X. DOI ./i.... Krzysztof Kieślowski employed ,lm properties in a creative way in his #ree Colours (Trois couleurs, –) trilogy. .ey play various roles in Blue (Bleu, ), White (Blanc, ) and Red (Rogue, ): they make the presented world more probable, co-create images of heroes, build dramaturgy and convey symbolic content. Such a treatment of ,lm props is shaped by the director’s ,lm style and creates a speci,c cinematic atmosphere.
The present paper stems from an awareness of clear correspondences, relations, and parallels betw... more The present paper stems from an awareness of clear correspondences, relations, and parallels between literature and film. The theoretical findings and exemplifications presented in it allow one to precisely identify the so-called points of contact between film and literature, as well as the character of these interactions. Relationships between literature and film are of a parallel character, and their mutual relations are varied and multi-faceted. The cinematicity of literature can include both indirect (community, homology) and direct (proper film-like character) references to film. A structural analysis of individual works of literature should also account for socio-cultural perspectives, limited here to the period between 1918 and 1939. Film inspirations in literature can be considered from the perspective of plot, narration, and genology. literature
Authors of the series use various scenario techniques, creating the aesthetics of a black retro-c... more Authors of the series use various scenario techniques, creating the aesthetics of a black retro-crime with consciously developed allusions to the end of the communist era in Poland. They concern: space-time, dramaturgy, props, characters and the audio sphere. Their message is, on the one hand, an expression of a certain nostalgia for the lost time, and on the other, a kind of resentment with historically deepened criticism of the reality of the time. Solving a criminal mystery becomes at the same time uncovering the mystery of a double murder and a double suicide, it also refers to a mystery from many years ago, connected by the thread of romance.
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication, 2019
The TV series True Stories (Prawdziwe Historie) is an example of contemporary commercial cinema. ... more 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.
Marek Lis, Kieślowski, the mysteries of screens and God. “Images” vol. XXIV, no. , Poznań .... more Marek Lis, Kieślowski, the mysteries of screens and God. “Images” vol. XXIV, no. , Poznań . Adam Mickiewicz University Press. Pp. –. ISSN -X. DOI ./i.... The computer seems like a privileged personage in Decalogue 1 (Dekalog, jeden, /, prem. , dir. K. Kieślowski): it is used by Paweł and his father to solve mathematical questions about Miss Piggy, to calculate the durability of the ice on the pond, to know what Mum is doing, and to control domestic devices. For Kieślowski the computer is not just a gadget: Krzysztof ’s lecture describes its potential and its possible autonomy. Independent from man (the computer switches itself on), it becomes his rival: Kieślowski proposes a critical interpretation of the computer as a new idol, promising unlimited memory and knowledge. A similar preoccupation can be found in the Black Mirror series, where new technologies, existing or as yet still fantastic, are becoming more and more intrusive in the lives ...
Disability in Polish films is not a marginal issue. As a film topic, it has been explored in many... more Disability in Polish films is not a marginal issue. As a film topic, it has been explored in many different ways and contexts due to a nexus of diverse relations, trends and social phenomena. All of which have revealed the degree of intensity of the phenomenon as well as its historic changeability. On the one hand, such images have been a reflection of the filmmakers’ interests and, on the other, a source of knowledge on disability and a kind of catalyst for socio-moral transformation shaping the attitudes and behaviour of society towards the disabled. The problem is presented by,, images of disabled film characters, which are widely used in Polish cinematography and often built on socialstereotypes, as well as by the communicative strategies used by filmmakers in their works on disability. In this context, films about disability have played an opinion-forming role, contributing greatly to an enhanced image of disabled people in society and widening their area of activity. The sexua...
Otto Wojciech, Filmowa franczyza. Od tematu do widowiska telewizyjnego (na podstawie cyklu „Prawd... more Otto Wojciech, Filmowa franczyza. Od tematu do widowiska telewizyjnego (na podstawie cyklu „Prawdziwe Historie”) [Film franchise. From the theme to the TV show (based on the True Stories [Prawdziwe Historie] series)]. „Images” vol. XXVI, no . Poznań . Adam Mickiewicz University Press. Pp. –. ISSN -X. DOI ./i.... +e TV series True Stories (Prawdziwe Historie) is an example of contemporary commercial cinema. It is located on the border of documentary ,lm and an attractive version of ,ctional cinema. In speci,c circumstances, it can be treated as a commercial product, but not only in the sense of ,lm 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 signi,cant and commonly seen features of a ,lm style that guarantees both turnout and ,nancial success. In a sense, therefore, this phenomenon can be considered in terms of a ,lm franchise which ...
Podstawą przeprowadzonej refleksji jest świadomość istnienia wyraźnych korespondencji, powinowact... more Podstawą przeprowadzonej refleksji jest świadomość istnienia wyraźnych korespondencji, powinowactw i paraleli pomiędzy literaturą a filmem. Dokonane ustalenia teoretyczne z wprowadzoną egzemplifikacją umożliwiają precyzyjną identyfikację tzw. punktów stycznych pomiędzy sztuką słowa a sztuką ekranu oraz rozpoznanie charakteru owych interakcji. Związki między filmem a literaturą mają dwutorowy, czyli paralelny charakter, a ich wzajemne relacje są różnorodne i wielopłaszczyznowe. Filmowość literatury może być rozpatrywana jako nawiązania pośrednie (wspólnota i homologia struktur) i bezpośrednie (filmowość właściwa) do filmu. Podczas analizy strukturalnej poszczególnych dzieł literackich należy uwzględnić również perspektywę socjokulturową, zawężoną do określonej formacji społeczno-kulturowej, w tym przypadku ograniczonej cezurami roku 1918 i 1939. Inspiracje literatury sztuką filmową można rozpatrywać na płaszczyźnie fabularnej, narracyjnej i genologicznej.
Wojciech Otto, Krzysztof Kieślowski’s "lm props in the triptych “#ree Colours”. “Images” vol... more Wojciech Otto, Krzysztof Kieślowski’s "lm props in the triptych “#ree Colours”. “Images” vol. XXIV, no. , Poznań . Adam Mickiewicz University Press. Pp. –. ISSN –X. DOI ./i.... Krzysztof Kieślowski employed ,lm properties in a creative way in his #ree Colours (Trois couleurs, –) trilogy. .ey play various roles in Blue (Bleu, ), White (Blanc, ) and Red (Rogue, ): they make the presented world more probable, co-create images of heroes, build dramaturgy and convey symbolic content. Such a treatment of ,lm props is shaped by the director’s ,lm style and creates a speci,c cinematic atmosphere.
The present paper stems from an awareness of clear correspondences, relations, and parallels betw... more The present paper stems from an awareness of clear correspondences, relations, and parallels between literature and film. The theoretical findings and exemplifications presented in it allow one to precisely identify the so-called points of contact between film and literature, as well as the character of these interactions. Relationships between literature and film are of a parallel character, and their mutual relations are varied and multi-faceted. The cinematicity of literature can include both indirect (community, homology) and direct (proper film-like character) references to film. A structural analysis of individual works of literature should also account for socio-cultural perspectives, limited here to the period between 1918 and 1939. Film inspirations in literature can be considered from the perspective of plot, narration, and genology. literature
Uploads