A Study of the Film Adaptations of Marek Hłasko's Prose by the Students of the Film School in Łódź

A Study of the Film Adaptations of Marek Hłasko's Prose by the Students of the Film School in ŁódźThe works of Marek Hłasko have proved a reliable source of content and inspiration in Polish culture from the time of their writing to the current day, and this is demonstrated by the number of film adaptations of his literature. This article will look at Hłasko’s short stories that were written while the author lived in Poland and are collected in the book The First Step in the Clouds published in 1956. It will consider the subject matter and themes of the text, overview some examples of adaptations made by the students of the celebrated Łódź Film School, reflect as to how these have remained faithful or deviated from Hłasko’s original works, before concluding as to the reasons why the students may have been drawn to this particular source

Dark memories in the provincial words of Ingmar Bergman's Fanny and Alexander and Federico Fellini's Amarcord

Dark memories in the provincial words of Ingmar Bergman's Fanny and Alexander and Federico Fellini's AmarcordThis article about Federico Fellini’s Amarcord (1973) and Ingmar Bergman’s Fanny and Alexander (1982) concerns one aspect of the directors’ childhood memories, namely how authoritarian institutions are used to disrupt otherwise fairly idyllic and nostalgic lives and worlds. The films blend detailed memories with playful fantasies, combine experiences of the directors’ alter egos, Titta and Alexander, with rituals of family and larger communities in the provincial cities of Rimini and Uppsala. In each film, bitter memories are given a central role. This article explores the similarities of these bitter memories, as they are imagined in the mature auteurs’ last exceptionally successful films

Synagogue paintings as indicating a!developing conception of national redemption

Abstract. Orgad Zvi, Synagogue paintings as indicating a developing conception of national redemption. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 15–27. ISSN 1731-450X. DOI 10.14746/i.2019.34.01. This article compares the interior paintings in the ‘Ades and Ohel Moshe synagogues, both of which are non-Ashkenazi, in the Naḥlaot neighborhood in Jerusalem. Although the synagogues were decorated 50 years apart, there are similarities in the painted motifs and drawing schemes, but also some differences. I suggest that these differences reflect the development of a Jewish concept of national redemption during the 50 years that elapsed between the adornment of the two synagogues.Abstract. Orgad Zvi, Synagogue paintings as indicating a developing conception of national redemption. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 15–27. ISSN 1731-450X. DOI 10.14746/i.2019.34.01. This article compares the interior paintings in the ‘Ades and Ohel Moshe synagogues, both of which are non-Ashkenazi, in the Naḥlaot neighborhood in Jerusalem. Although the synagogues were decorated 50 years apart, there are similarities in the painted motifs and drawing schemes, but also some differences. I suggest that these differences reflect the development of a Jewish concept of national redemption during the 50 years that elapsed between the adornment of the two synagogues

Art as a laboratory – Guy Ben-Ary’s work

Szykowna Sylwia, Art as a laboratory – Guy Ben-Ary’s work. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 115–124. ISSN 1731-450X. DOI 10.14746/i.2019.34.07. The present paper deals with the work of an Israeli artist, Guy Ben-Ary. His work is a prime example of artistic practice in the field of bio art. Bio art provokes critical thinking about the place and role of people in today’s world. The main purpose of the article is to describe changes in contemporary artistic practices within the framework of art as a laboratory, the aim of which is to study reality.  Szykowna Sylwia, Art as a laboratory – Guy Ben-Ary’s work. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 115–124. ISSN 1731-450X. DOI 10.14746/i.2019.34.07. The present paper deals with the work of an Israeli artist, Guy Ben-Ary. His work is a prime example of artistic practice in the field of bio art. Bio art provokes critical thinking about the place and role of people in today’s world. The main purpose of the article is to describe changes in contemporary artistic practices within the framework of art as a laboratory, the aim of which is to study reality

Design and development of TP ACK template: planning effective blended courses

The need for a quality planning of online learning is crucial. When planning for face to face environment and online environment, it is required to clarifY when learning will take place online and which pedagogy and technology will be used. Thus, in this paper, we introduce TPACK lesson plan template. This template is designed to facilitate and accelerate the process of planning blended online courses in social science's field. It includes a list of learning activities, types of activities and mode of activities. Choosing the most suitable activity is left up to the instructors' point of view after examining the nature of behavioral objectives and the learning context. Using such a template may contribute to understanding the relation between pedagogy, technology and content as well as reducing the planning time to teach online

Moving Ahead into the Past: Historical Contexts in Recent Polish Cinema

Moving Ahead into the Past: Historical Contexts in Recent Polish CinemaThe article looks at treatments of Poland’s 20th-century history in Polish films made over the last several years. Since 2007, Polish cinema has seen an explosion of films dealing in various ways with the history of the last century. These include mega-productions by directors known for making historically themed films, like Wajda’s Katyń or Hoffman’s 1920. Battle of Warsaw, and traditional historical dramas dealing with iconic personalities (Rafał Wieczyński’s Popiełuszko. Freedom Is Within Us) and moments in time (Antoni Krauze’s Black Thursday. Janek Wiśniewski Fell). However, a number of other works make use of historical settings from the last century in new and innovative ways. Most choose smaller-scale, less grand approaches to the past, though without abandoning an ambition to accurately depict the times they portray. Films focused on issues related to family and personal relationships, such as Jan Kidawa-Błoński’s Little Rose or Borys Lankosz’s Reverse, likewise speak about life during communism, but attempt to do so without repeating clichéd images by engaging new problems or returning to familiar ones using new techniques. Lastly, memory often plays an important role as a source of knowledge about the past, and as a filter for mediating experiences of it. This can be best seen in Rafael Lewandowski’s The Mole, Władysław Pasikowski’s Consequences (Pokłosie), and Wojciech Smarzowski’s Dark House. Archival evidence, memories of relatives, and the camera itself are used in the films to pose questions about the subjectivity inherent to film as a means of learning about the past

Memory grids: Forgetting East Berlin in Krass Clement’s Photobook Venten på i går. Auf Gestern warten (2012)

Memory grids: Forgetting East Berlin in Krass Clement’s Photobook Venten på i går. Auf Gestern warten (2012)In the article, I argue that by means of qualities intrinsic to the medium of the photobook, the renowned Danish photographer Krass Clement (b. 1946) constructs a complex narration, which, on the one hand, seeksmeta-refl ection on the relationships between photography, memory, and the perception of reality, and, on the other, explores the post-GDR condition of Berlin and Germany. Venten på i går. Auf Gestern warten (Danish and German for “Waiting for yesterday”) includes both old and contemporary images, in both colour and black-and-white, but the book is neither (n)ostalgic nor documentary. Rather, I insist that Clement’s project epitomizes memory work and that its guiding principle can be understood through Rosalind Krauss’ concept of the grid. Th e grid is here inseparable from photography’s relation to memory and reality. I explore how the dialectics between remembering and forgetting, inherent to photography, is enacted by the book, and how it foregrounds the opaqueness rather than the transparency of the medium and perception. I also present how the universe constructed by Clement unfolds within the three temporal dimensions suggested in the title of the book: a present (post-ideological) suspension between the future and the past

Fiancées and widows: women’s encounters with death in the silent films of Fritz Lang

Kłys Tomasz, Fiancées and widows: women’s encounters with death in the silent films of Fritz Lang. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 155–162. ISSN 1731-450X. DOI 10.14746/i.2019.34.10. In the silent Weimar films of Fritz Lang, the heroines have sudden encounters with Death, conceived both as an allegorical figure and as an unexpected violent end of the life of their fiancé, husband or loved one. The nameless Maiden, the main heroine of Der müde Tod (The Weary Death, known in English-language countries as Destiny, 1921), while looking for her fiancé, who was kidnapped by Death, tries three times to regain his life and finally, overcome by Death, commits suicide. Two queens of Burgundy in Die Nibelungen (The Nibelungs, 1924), Kriemhild and Brunhild, motivated by resentment and vengeance, as well as by unfulfilled love, finally appear to be zombie-like self-destructive monsters, destroying the social and political order, and the lives of many human beings. The paper, with the use of the psychoanalytic concepts of melancholy and the mourning “not-worked-out” by the persons who have lost their loved ones, analyses the ambiguous attitudes and self-destructive acts of these “women in black”..Kłys Tomasz, Fiancées and widows: women’s encounters with death in the silent films of Fritz Lang. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 155–162. ISSN 1731-450X. DOI 10.14746/i.2019.34.10. In the silent Weimar films of Fritz Lang, the heroines have sudden encounters with Death, conceived both as an allegorical figure and as an unexpected violent end of the life of their fiancé, husband or loved one. The nameless Maiden, the main heroine of Der müde Tod (The Weary Death, known in English-language countries as Destiny, 1921), while looking for her fiancé, who was kidnapped by Death, tries three times to regain his life and finally, overcome by Death, commits suicide. Two queens of Burgundy in Die Nibelungen (The Nibelungs, 1924), Kriemhild and Brunhild, motivated by resentment and vengeance, as well as by unfulfilled love, finally appear to be zombie-like self-destructive monsters, destroying the social and political order, and the lives of many human beings. The paper, with the use of the psychoanalytic concepts of melancholy and the mourning “not-worked-out” by the persons who have lost their loved ones, analyses the ambiguous attitudes and self-destructive acts of these “women in black”.

Reality as a feeling – a feeling as reality. On the film by Joseph Cedar, Footnote

Hendrykowski Marek, Reality as a feeling – a feeling as reality. On the film by Joseph Cedar, Footnote. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 57–xx. ISSN 1731-450X. DOI 10.14746/i.2019.34.04. This analytical study by Marek Hendrykowski is an attempt to re-read one of the most valuable contemporary films of Israeli production, Footnote, written and directed by Joseph Cedar. The author paid particular attention to the specific way of conducting a seemingly dependent narration, skillfully combining the image of external reality with the sphere of thought and the feelings of the main character.Hendrykowski Marek, Reality as a feeling – a feeling as reality. On the film by Joseph Cedar, Footnote. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 57–xx. ISSN 1731-450X. DOI 10.14746/i.2019.34.04. This analytical study by Marek Hendrykowski is an attempt to re-read one of the most valuable contemporary films of Israeli production, Footnote, written and directed by Joseph Cedar. The author paid particular attention to the specific way of conducting a seemingly dependent narration, skillfully combining the image of external reality with the sphere of thought and the feelings of the main character

MA-IRRI Industrial Extension Program for Small Farm Equipment

This article is part of the seminar-workshop on the “Consequences of Small Farm Mechanization on Production, Employment and Incomes in the Philippines” sponsored jointly by the Ministry of Agriculture, the National Economic and Development Authority, the Philippine Institute for Development Studies and the International Rice Research Institute (IRRI) held on December 1-2, 1983 at Tagaytay City. It discusses the extension programs implemented by the Ministry of Agriculture and IRRI. It then points out areas where policies and actions are likely to be useful.agriculture sector, mechanization