Trzykrotny „półkownik” III RP. Rzecz o współczesnej cenzurze na przykładzie filmu Witajcie w życiu Henryka Dederki

The 1990s in Poland were mainly a period of change caused by system transformation. The consequences of the new system were impoverishment, unemployment and exclusion. In the film context, an important result was that the Main Office for the Control of the Press, Publications and Performances was put into liquidation, thus abolishing official censorship. This difficult time for Poles was reflected in domestic cinematography. One of the most famous documentary films was Witajcie w życiu (Welcome to Life, 1997) by Henryk Dederko, portraying the society of the time intoxicated by the luminous vision of the future offered by the American corporation Amway. The article attempts to reconstruct the production and distribution adventures of Dederko’s film. The aim is to clarify cases concerning the numerous lawsuits brought against the filmmakers by Amway Polska and Network Twenty-One. The work is based on a reception and distribution study as well as a textual analysis. It also employs interviews with the director and producer, mentions in the press and articles, and, importantly, court documents from the Jacek Gwizdała Archive.The 1990s in Poland were mainly a period of change caused by system transformation. The consequences of the new system were impoverishment, unemployment and exclusion. In the film context, an important result was that the Main Office for the Control of the Press, Publications and Performances was put into liquidation, thus abolishing official censorship. This difficult time for Poles was reflected in domestic cinematography. One of the most famous documentary films was Witajcie w życiu (Welcome to Life, 1997) by Henryk Dederko, portraying the society of the time intoxicated by the luminous vision of the future offered by the American corporation Amway. The article attempts to reconstruct the production and distribution adventures of Dederko’s film. The aim is to clarify cases concerning the numerous lawsuits brought against the filmmakers by Amway Polska and Network Twenty-One. The work is based on a reception and distribution study as well as a textual analysis. It also employs interviews with the director and producer, mentions in the press and articles, and, importantly, court documents from the Jacek Gwizdała Archive

Platformy streamingowe i ich wpływ na lokalny rynek audiowizualny

The article focuses on outlining the potential direction of research on the Polish audiovisual market in the face of its platformization. The aim is to analyze and problematize the contexts of cooperation between an independent, local production company and a global platform in the film production process. It is an attempt to capture the characteristics of this cooperation by juxtaposing general industry practices with work culture, standards and rules specific to selected platforms and the long-term effect in the form of a potential impact on the diversification of production and its content. The outlined issues will be analyzed on the basis of industrial reflexivity based on cooperation with Netflix and HBO Max, collected using the method of partially structured in-depth interviews.The article focuses on outlining the potential direction of research on the Polish audiovisual market in the face of its platformization. The aim is to analyze and problematize the contexts of cooperation between an independent, local production company and a global platform in the film production process. It is an attempt to capture the characteristics of this cooperation by juxtaposing general industry practices with work culture, standards and rules specific to selected platforms and the long-term effect in the form of a potential impact on the diversification of production and its content. The outlined issues will be analyzed on the basis of industrial reflexivity based on cooperation with Netflix and HBO Max, collected using the method of partially structured in-depth interviews

Imagining the Nation on the Screen: The Poetics of Palestinian Cinema’s Fourth Period

This article explores Palestinian cinema’s fourth period of activity that began around 1980. During this time, the world did not acknowledge the existence of the Palestinian people and their territory. Palestinian cinema thus emerged as a tool to create a national identity and voice, and to establish a continuous time and space that defined their history and territory. The films projected a collective consciousness that united the dispersed Palestinian community, creating a shared community. To achieve these goals, Palestinian cinema employed unique and complex artistic means, with its national purpose remaining consistent with its complex cinematic poetics. This bird’s-eye-view article highlights the shared spirit of the films and emphasizes the commonality beyond the differences. It offers an insight into the cinematic language that characterized this period and the principles that made Palestinian cinema a unique voice on the global stage.This article explores Palestinian cinema’s fourth period of activity that began around 1980. During this time, the world did not acknowledge the existence of the Palestinian people and their territory. Palestinian cinema thus emerged as a tool to create a national identity and voice, and to establish a continuous time and space that defined their history and territory. The films projected a collective consciousness that united the dispersed Palestinian community, creating a shared community. To achieve these goals, Palestinian cinema employed unique and complex artistic means, with its national purpose remaining consistent with its complex cinematic poetics. This bird’s-eye-view article highlights the shared spirit of the films and emphasizes the commonality beyond the differences. It offers an insight into the cinematic language that characterized this period and the principles that made Palestinian cinema a unique voice on the global stage

Pod upadającym nadzorem. Cenzura filmów polskich w latach 1986–1989

The article reconstructs the final three years of film censorship activities in the Polish People’s Republic. The author understands the term “censorship” not only as the activities of the Main Office for the Control of the Press, Publications and Performances but also of state cinema institutions. Therefore, the subject is both censorship interference in films and the programming policy of Polish People’s Republic-era cinema in relation to politically controversial films (documentaries and live-action films). The author situates his analysis in the political context (10th Congress of the Polish United Workers’ Party in 1986), institutional context (Cinema Act issued in 1987), and social context (the first elections in the Eastern Bloc that resulted in the communist government losing power, June 4, 1989).The article reconstructs the final three years of film censorship activities in the Polish People’s Republic. The author understands the term “censorship” not only as the activities of the Main Office for the Control of the Press, Publications and Performances but also of state cinema institutions. Therefore, the subject is both censorship interference in films and the programming policy of Polish People’s Republic-era cinema in relation to politically controversial films (documentaries and live-action films). The author situates his analysis in the political context (10th Congress of the Polish United Workers’ Party in 1986), institutional context (Cinema Act issued in 1987), and social context (the first elections in the Eastern Bloc that resulted in the communist government losing power, June 4, 1989)

Instagram as a Communication Space for Painters

Instagram is a social network platform intended for communication between the creator of information and its recipients, as well as between the recipients themselves. The driving force of Instagram has been recognised by many artists that decided to promote their creative work on this platform. This social network is also used to fulfil advertising contracts that the artists have concluded with companies. The question therefore is whether the number of followers is mainly affected by the artistic achievements of their authors or by out-of-art marketing activities? Instagram contains many profiles of people involved in other branches of art, including painting. It seems that due to the field of art they deal with, the private life of an artist painting pictures is not as interesting as the life of popular actors or singers. As a result, their profiles are mainly concentrated on presenting artistic achievements using a platform that helps them reach a broad spectrum of viewers. This article provides a selective review of popular profiles of artists, taking into consideration the way in which they present their art on the Internet and how the artist communicates with users, as well as how the communication between users themselves looks.Instagram is a social network platform intended for communication between the creator of information and its recipients, as well as between the recipients themselves. The driving force of Instagram has been recognised by many artists that decided to promote their creative work on this platform. This social network is also used to fulfil advertising contracts that the artists have concluded with companies. The question therefore is whether the number of followers is mainly affected by the artistic achievements of their authors or by out-of-art marketing activities? Instagram contains many profiles of people involved in other branches of art, including painting. It seems that due to the field of art they deal with, the private life of an artist painting pictures is not as interesting as the life of popular actors or singers. As a result, their profiles are mainly concentrated on presenting artistic achievements using a platform that helps them reach a broad spectrum of viewers. This article provides a selective review of popular profiles of artists, taking into consideration the way in which they present their art on the Internet and how the artist communicates with users, as well as how the communication between users themselves looks

Shadows of Kurdistan. A Photographic Research of a Cultural Identity

We are all born somewhere in this world. The nature around us is the first element to shape us, with all of the unique characteristics of that particular place. Then we give names to these characteristics and meanings to these places – names that come from within ourselves and are part of our culture. This project is part of my life story, which I have tried to tell through photography. It was a way for me to discover my culture as I turned back to myself and my identity. I was searching for the stories behind the lives of the Kurdish people with images. At times, it was difficult to truly see and document people in my home region because the political situation and the civil war had closed them off. People became afraid to share their lives and ideas and their identity. And so it took time for me to be allowed to enter their lives. But when I did, it was truly rewarding to see and understand them. As the walls between us fell, I realized how close I was – and yet, still so far from my culture and to the people who enrich it.We are all born somewhere in this world. The nature around us is the first element to shape us, with all of the unique characteristics of that particular place. Then we give names to these characteristics and meanings to these places – names that come from within ourselves and are part of our culture. This project is part of my life story, which I have tried to tell through photography. It was a way for me to discover my culture as I turned back to myself and my identity. I was searching for the stories behind the lives of the Kurdish people with images. At times, it was difficult to truly see and document people in my home region because the political situation and the civil war had closed them off. People became afraid to share their lives and ideas and their identity. And so it took time for me to be allowed to enter their lives. But when I did, it was truly rewarding to see and understand them. As the walls between us fell, I realized how close I was – and yet, still so far from my culture and to the people who enrich it

Krajobraz miasta w narracji filmów dokumentalnych o Lublinie

The article is an attempt at a critical original analysis of documentary films in relation to the documentary and narrative function of the landscape. The author treats the film space as a ‘world picture’ as understood by Martin Heidegger, and in this context, she presents her own model of seeing and understanding the world present in her own documentary work. The landscape here is saturated with meanings, especially emptiness, lack and post-memory, which speaks the most in a metaphorical way about the non-existent world. The author also refers to Walter Benjamin’s concept of the city as a book, and reads the history of multicultural Lublin, a kind of ghost town, form this perspective. The article is therefore an original attempt to discover the mental layer of the film, which is usually beyond the reach of its recipient.The article is an attempt at a critical original analysis of documentary films in relation to the documentary and narrative function of the landscape. The author treats the film space as a ‘world picture’ as understood by Martin Heidegger, and in this context, she presents her own model of seeing and understanding the world present in her own documentary work. The landscape here is saturated with meanings, especially emptiness, lack and post-memory, which speaks the most in a metaphorical way about the non-existent world. The author also refers to Walter Benjamin’s concept of the city as a book, and reads the history of multicultural Lublin, a kind of ghost town, form this perspective. The article is therefore an original attempt to discover the mental layer of the film, which is usually beyond the reach of its recipient

„Ku nowym czynom, ukochany mężu...” O Stukasach Karla Rittera

Karl Ritter’s film Stukas has been the subject of numerous analyses centred on issues such as propaganda (Rother), Nazi films about aviators (Gwóźdź), war and music (Vaget). This article situates itself within the general discussion of art and politics in the Third Reich (Mungen, Pyta, Vaget, Werr). It starts from Goebbels’ speech on February, 15 1941 at the Reichsfilmkammer and attempts to look at Ritter’s film from the perspective of Richard Wagner’s music and the Bayreuth festival theatre as an important cultural and intermedial symbol of Nazi Germany. Further, it aims to juxtapose the film plot with the meaning of the instrumental prelude ‘Siegfrieds Rheinfahrt’ that precedes Act I of Twilight of the Gods, showing that the theatrical experience of the apathetic Lieutenant Vide allows him to discover dormant layers of his own heroism. Driven by this discovery, he is able – like Siegfried alongside his pillar Brünnhilde – to undertake therefore new challenges and conquer England with his fellow pilots. It shall be argued that the Third Reich propaganda concept of Bayreuth and the Festspielhaus locks in with this thesis. It is here, with the support of the hospital sisters, that soldiers can recover fully. Nevertheless, it is by no means medications and systematic therapies that play the part of Asclepius, but the power of Wagner’s music (rooted in mythology).Karl Ritter’s film Stukas has been the subject of numerous analyses centred on issues such as propaganda (Rother), Nazi films about aviators (Gwóźdź), war and music (Vaget). This article situates itself within the general discussion of art and politics in the Third Reich (Mungen, Pyta, Vaget, Werr). It starts from Goebbels’ speech on February, 15 1941 at the Reichsfilmkammer and attempts to look at Ritter’s film from the perspective of Richard Wagner’s music and the Bayreuth festival theatre as an important cultural and intermedial symbol of Nazi Germany. Further, it aims to juxtapose the film plot with the meaning of the instrumental prelude ‘Siegfrieds Rheinfahrt’ that precedes Act I of Twilight of the Gods, showing that the theatrical experience of the apathetic Lieutenant Vide allows him to discover dormant layers of his own heroism. Driven by this discovery, he is able – like Siegfried alongside his pillar Brünnhilde – to undertake therefore new challenges and conquer England with his fellow pilots. It shall be argued that the Third Reich propaganda concept of Bayreuth and the Festspielhaus locks in with this thesis. It is here, with the support of the hospital sisters, that soldiers can recover fully. Nevertheless, it is by no means medications and systematic therapies that play the part of Asclepius, but the power of Wagner’s music (rooted in mythology)

Nowe kino saudyjskie. O twórczości Meshala Al Jasera

The author analyzes two films by the young Saudi director Meshal Al Jaser: Is Sumiyati Going to Hell? (2016) and Can I Go Out? (2017), in which she focuses on the situation of two social groups – women and migrant workers. The analysis is preceded by a short introduction to the social and cultural situation in Saudi Arabia, together with a description of the conditions that have only recently enabled the emergence of filmmaking in this country and shaped its specificity. The author focuses on the content of the films analyzed, interpreting them in the context of Saudi reality, as well as on the director’s characteristic style, which often employs the convention of grotesque. This text tries to show how the artistic choices made by Al Jaser allow him to portray the chosen social phenomena in their depth and complexity.The author analyzes two films by the young Saudi director Meshal Al Jaser: Is Sumiyati Going to Hell? (2016) and Can I Go Out? (2017), in which she focuses on the situation of two social groups – women and migrant workers. The analysis is preceded by a short introduction to the social and cultural situation in Saudi Arabia, together with a description of the conditions that have only recently enabled the emergence of filmmaking in this country and shaped its specificity. The author focuses on the content of the films analyzed, interpreting them in the context of Saudi reality, as well as on the director’s characteristic style, which often employs the convention of grotesque. This text tries to show how the artistic choices made by Al Jaser allow him to portray the chosen social phenomena in their depth and complexity

Przekształcenia w zakresie cenzury filmowej w Japonii do końca II wojny światowej

The article discusses the transformations in film censorship and film policy in Japan until the end of World War II. Its first part outlines the general trend of these changes – gradual centralization of film censorship and increased scope of state control over film. The next sections are devoted to film regulations from 1917, 1925 and 1939 and other tools of government influence over cinema in Japan. The main conclusion of the article is that the censorship criteria in each of the regulations discussed were formulated in general terms which could be interpreted in accordance with the immediate interests of the authorities and state bureaucracy.The article discusses the transformations in film censorship and film policy in Japan until the end of World War II. Its first part outlines the general trend of these changes – gradual centralization of film censorship and increased scope of state control over film. The next sections are devoted to film regulations from 1917, 1925 and 1939 and other tools of government influence over cinema in Japan. The main conclusion of the article is that the censorship criteria in each of the regulations discussed were formulated in general terms which could be interpreted in accordance with the immediate interests of the authorities and state bureaucracy