Automatyzm ludzkiej egzystencji w filmie "Dom" Jana Lenicy i Waleriana Borowczyka

The aim of this article is interpretation of the short film directed in 1958 by Jan Lenica and Walerian Borowczyk and regarded as one of the most interesting works of Polish experimental animation. Author looked upon synopsis of House as the introduction to analysis of the world portrayed in film, all its elements, symbols and their meaning. The most important question concerns condition of depersonalized human jailed in the trap of automatically repeated activities and supressing his own sexuality in his subconscious. Author also paid attention to automatism as Lenica's and Borowczyk's artistic method derived from surrealism. In this context the special usage of photography and stop motion technique of animation in House is emphasized as very important in creative process. On the basis of interpretation of the characters and objects appeared in film author drew a conclusion of the eponymous house as a metaphor of our modern world where people as the collectivity divest themselves of individual features.Automatism of Human Existence in Jan Lenica's and Walerian Borowczyk's “House”The aim of this article is interpretation of the short film directed in 1958 by Jan Lenica and Walerian Borowczyk and regarded as one of the most interesting works of Polish experimental animation. Author looked upon synopsis of House as the introduction to analysis of the world portrayed in film, all its elements, symbols and their meaning. The most important question concerns condition of depersonalized human jailed in the trap of automatically repeated activities and supressing his own sexuality in his subconscious. Author also paid attention to automatism as Lenica's and Borowczyk's artistic method derived from surrealism. In this context the special usage of photography and stop motion technique of animation in House is emphasized as very important in creative process. On the basis of interpretation of the characters and objects appeared in film author drew a conclusion of the eponymous house as a metaphor of our modern world where people as the collectivity divest themselves of individual features

Walerian Borowczyk jako dokumentalista surrealistyczny

Słynny krytyk André Bazin dzielił filmowców na tych, którzy wierzą w obraz, i tych, którzy wierzą w rzeczywistość. Dokumentalną twórczość Waleriana Borowczyka, znanego przede wszystkim z filmów animowanych i fabularnych, trudno jednoznacznie przyporządkować do którejkolwiek z tych kategorii. Autor powyższego artykułu poddaje analizie tę część artystycznego dorobku reżysera, reprezentowaną przez takie filmy jak Dyptyk (Diptyque, 1967), Wyjątkowa kolekcja (Une collection particulière, 1973), List z Paryża (Brief von Paris, 1976) czy Miłość – potwór wszechczasów (L’amour – monstre de tous les temps, 1977). Obrazy te stanowią rzadkie przykłady wykorzystania elementów surrealizmu w kinie dokumentalnym

Wybrane zagadnienia postępowania dowodowego w sprawach z zakresu ubezpieczeń społecznych w świetle orzecznictwa sądowego

 FIELD OF SOCIAL INSURANCE — SELECTED ISSUESEvidentiary proceedings in cases in the field of social insurance show significant autonomy in relation to the general model of proceedings in civil cases. However, the extent of possible devia­tions is not always clearly defined. The question of modifying the pattern of evidence in this cat­egory of cases is particularly problematic. In jurisprudence there has been adiscrepancy, which leads to regionalization of litigation attitude. Moreover, the position of the Supreme Court is also unclear. As aresult, it is necessary to take interpretative effort to create afocused directive to unify the course of evidentiary proceedings in cases in the field of social insurance. FIELD OF SOCIAL INSURANCE — SELECTED ISSUESEvidentiary proceedings in cases in the field of social insurance show significant autonomy in relation to the general model of proceedings in civil cases. However, the extent of possible devia­tions is not always clearly defined. The question of modifying the pattern of evidence in this cat­egory of cases is particularly problematic. In jurisprudence there has been adiscrepancy, which leads to regionalization of litigation attitude. Moreover, the position of the Supreme Court is also unclear. As aresult, it is necessary to take interpretative effort to create afocused directive to unify the course of evidentiary proceedings in cases in the field of social insurance

Kobiecość i metafizyka w filmach Jeana-Claude’a Brisseau

Francuski reżyser Jean-Claude Brisseau (1944-2019) zaczynał swoją karierę od filmów bliskich poetyce realizmu społecznego, z biegiem czasu coraz dalej odchodząc od surowego, na poły dokumentalnego sposobu obrazowania na rzecz wyrafinowanej formy wizualnej, ewokującej metafizyczne i ezoteryczne treści. Swoim bohaterom i bohaterkom artysta kazał poszukiwać takiej egzystencjalnej drogi, która mogłaby prowadzić do wzniesienia się ponad reguły rządzące przyziemną, czysto materialną rzeczywistością. Wiarę w istnienie świata transcendentnego łączył ściśle z ideą piękna, jej najdoskonalszą reprezentację estetyczną dostrzegając w urodzie kobiecego ciała. Graniczące z sakralizacją uwielbienie dla „wiecznej kobiecości”, któremu Brisseau dawał wyraz w takich filmach, jak Z wściekłości i wrzasku (De bruit et de fureur, 1987), Céline (1992), Anioły zagłady (Les anges exterminateurs, 2006) czy À l’aventure (2008) zbliżało jego artystyczną postawę do ideałów, jakie wyznawali przedstawiciele surrealizmu

Elimination of position against termination of an employment contract

The concept of elimination of a job position does not appear in the Labour Code, however, it is commonly used in legal discussion. An attempt at clarifying its meaning encounters considerable difficulties, which is related to the fact that the term "position" is ambiguous. The relationship between the position and the type of work remains particularly disputable. The indicated issue becomes relevant when the contract of employment is terminated due to elimination of a job position. In this case, the way the elimination of a position is understood has a direct impact on the legitimacy of claims made by the employee. Employer finds itself in a favourable situation due to the perception of this term as being dominated by the organisational aspect. In many cases it is impossible to effectively terminate the employment contract by equating a job position with the contractual type of work

Decision-making resulting from article 30 §\S 4 of the Labour Code

The author discusses difficulties concerning the employer's obligation to indicate the reasons for termination of the contract of employment. Firstly, the author analyses stages of decisions - making and possible interpretative patterns, as well as interpreting difficulties. Then, the article presents relations between article 30 $\S$ 4 of the Labour Code and article 45 $\S$ 1 of the Labour Code. Finally, the author describes time aspect of the termination of the contract from the point of its reasons

Walerian Borowczyk jako dokumentalista surrealistyczny

Famous film critic André Bazin classified a distinction between “those directors who put their faith in the image and those who put their faith in reality”. The documentary output of Walerian Borowczyk, best known for his animated and feature films, seems difficult to fit into any of these categories. The author of this article analyses Borowczyk’s films as Diptych (Diptyque, 1967), A Private Collection  (Une collection particulière, 1973), Letter from Paris (Brief von Paris, 1976) and The Greatest Love of All Times (L’amour – monstre de tous les temps, 1977). Those pictures are rare examples of surrealist ideas incorporated into documentary cinema.Słynny krytyk André Bazin dzielił filmowców na tych, którzy wierzą w obraz, i tych, którzy wierzą w rzeczywistość. Dokumentalną twórczość Waleriana Borowczyka, znanego przede wszystkim z filmów animowanych i fabularnych, trudno jednoznacznie przyporządkować do którejkolwiek z tych kategorii. Autor powyższego artykułu poddaje analizie tę część artystycznego dorobku reżysera, reprezentowaną przez takie filmy jak Dyptyk (Diptyque, 1967), Wyjątkowa kolekcja (Une collection particulière, 1973), List z Paryża (Brief von Paris, 1976) czy Miłość – potwór wszechczasów (L’amour – monstre de tous les temps, 1977). Obrazy te stanowią rzadkie przykłady wykorzystania elementów surrealizmu w kinie dokumentalnym

Reprezentacja pracodawcy w ujęciu podmiotowym

SUBJECTIVE INTERPRETATION OF THE REPRESENTATION OF THE EMPLOYER The way that employers are represented in the literature and court decisions in labour law is the subject of lively discussion. Its foundation is the unclear content and structure of article 3 of the Labour Code. While in the case of organizational units it seems that the regulation is complete, for individuals with employer status it is problematic. Regardless of this problem, a question arises concerning the contradictory meaning of the employer’s representation described in the provisions of the Civil Code. This issue becomes even more signifi cant if we take into account that article 3 § 1 of the Labour Code uses ambiguous terms such as “person or governing body” and “other designated person”. This leads to subjective interpretation of the representation of the employer.  SUBJECTIVE INTERPRETATION OF THE REPRESENTATION OF THE EMPLOYER The way that employers are represented in the literature and court decisions in labour law is the subject of lively discussion. Its foundation is the unclear content and structure of article 3 of the Labour Code. While in the case of organizational units it seems that the regulation is complete, for individuals with employer status it is problematic. Regardless of this problem, a question arises concerning the contradictory meaning of the employer’s representation described in the provisions of the Civil Code. This issue becomes even more signifi cant if we take into account that article 3 § 1 of the Labour Code uses ambiguous terms such as “person or governing body” and “other designated person”. This leads to subjective interpretation of the representation of the employer

Walerian Borowczyk as a surrealist documentary filmmaker

Słynny krytyk André Bazin dzielił filmowców na tych, którzy wierzą w obraz, i tych, którzy wierzą w rzeczywistość. Dokumentalną twórczość Waleriana Borowczyka, znanego przede wszystkim z filmów animowanych i fabularnych, trudno jednoznacznie przyporządkować do którejkolwiek z tych kategorii. Autor powyższego artykułu poddaje analizie tę część artystycznego dorobku reżysera, reprezentowaną przez takie filmy jak Dyptyk (Diptyque, 1967), Wyjątkowa kolekcja (Une collection particulière, 1973), List z Paryża (Brief von Paris, 1976) czy Miłość – potwór wszechczasów (L’amour – monstre de tous les temps, 1977). Obrazy te stanowią rzadkie przykłady wykorzystania elementów surrealizmu w kinie dokumentalnym.Famous film critic André Bazin classified a distinction between “those directors who put their faith in the image and those who put their faith in reality”. The documentary output of Walerian Borowczyk, best known for his animated and feature films, seems difficult to fit into any of these categories. The author of this article analyses Borowczyk’s films as Diptych (Diptyque, 1967), A Private Collection  (Une collection particulière, 1973), Letter from Paris (Brief von Paris, 1976) and The Greatest Love of All Times (L’amour – monstre de tous les temps, 1977). Those pictures are rare examples of surrealist ideas incorporated into documentary cinema