The reception of Hungarian cinema in Polish film criticism 1945–1989

In the years 1945–1989, a reader interested in Hungarian cinema could learn a lot about it from the Polish press, not only film-specific, although the number of publications devoted to this subject differed across time. The most prolific period was the sixties and seventies, mainly due to the contemporary achievements of the Hungarian cinema, as well as Polish critics’ enthusiasm for it. It is not difficult to notice certain recurrent phrases and motifs etc. Hungarian cinema gained acclaim several years ago, but how is it thought of today? Historical and political themes, as well as comparisons between Hungarian and Polish cinema have been noted.This book was financially supported by the National Programme for the Development of Humanities: project “Cinema: Intercultural Perspective. Western-European Cinema in Poland, Polish Cinema in Western Europe. Mutual Perception of Film Cultures (1918–1939)”

The People of Nowa Huta. Two films by Kazimierz Karabasz

The People of Nowa Huta. Two films by Kazimierz KarabaszNowa Huta, a symbol of a generation and significant place in the symbolic space of the Polish People’s Republic, was a character in newsreels, documentaries and films many times. The latter include two films by Kazimierz Karabasz: Shadow is Not Far (1984) and Memory (1985). In them Nowa Huta forms a setting for stories told about common people, yet it is also an important setting that determines their place in life, both in the past and in the present, regardless of whether they feel attached to it or rebel against it. Karabasz s heroes were people from Nowa Huta. They built it, and worked and lived in it. They were also shaped by its building. They are therefore also the people of Nowa Huta.The People of Nowa Huta. Two films by Kazimierz KarabaszNowa Huta, a symbol of a generation and significant place in the symbolic space of the Polish People’s Republic, was a character in newsreels, documentaries and films many times. The latter include two films by Kazimierz Karabasz: Shadow is Not Far (1984) and Memory (1985). In them Nowa Huta forms a setting for stories told about common people, yet it is also an important setting that determines their place in life, both in the past and in the present, regardless of whether they feel attached to it or rebel against it. Karabasz s heroes were people from Nowa Huta. They built it, and worked and lived in it. They were also shaped by its building. They are therefore also the people of Nowa Huta

Śladami Ireny Kamieńskiej

The review of the book 'Człowiek, zbiorowość, pamięć w filmach dokumentalnych Ireny Kamieńskiej' (2016) by Urszula Tes.Recenzja książki Urszuli Tes "Człowiek, zbiorowość, pamięć w filmach dokumentalnych Ireny Kamieńskiej" (2016)

The Party in Krzysztof Kieślowski’s Films

Probably no other Polish filmmaker has devoted as much attention to the Polish United Workers’ Party (PZPR) as Krzysztof Kieślowski did in his films. Early on, he perceived the party as an organization where one could meet people with different desires, motivations and modus operandi. Kieślowski’s perspective could be defined as such: do not judge the whole, focus on individuals. His subsequent films present a change in this perspective. Workers and devoted members of the communist party were in the center of the director’s interest in some of his early films. Later, he focused more and more on individuals, especially those who had to face the party as a structure and hierarchy. Kieślowski’s films made in the early 1980s show party leaders and people in charge who eventually turn out to be losers. Kieślowski perceived various aspects and forms of being a party member, not only as a stepping stone for one’s career. He saw and presented the everyday life of PZPR, relations between the authorities and society, and its members and representatives of the party apparatus. He was quite critical about the party and people in charge, but also tried to see and present the reasons motivating their conduct. Social and political changes in Poland in the early 1980s made this kind of approach increasingly difficult for Kieślowski

Functions of film images of Warsaw in the Polish cinema of the 1960s

Polish cinema of the 1960s presented a specific vision of Warsaw, different from earlier and later ones, although it contained some solid motifs for the entire PRL era. These include emphasizing the uniqueness of Warsaw, the war past as an inseparable part of the city’s identity (though in the 1960s with a slightly different meaning) or the problem of getting a flat. The separateness and specificity of the then created images of the capital was related to the political specificity of the decade, the cultural and social moment of Warsaw development, the domination of realism that made the message authentic and genological issues – the main role in creating the image of the city was played by comedy. These images, however, were sometimes surprisingly subversive, breaking the dominant image

Nagość jako strategia promocyjna kina polskiego lat 80.

The article examines how nudity was used as a promotional strategy in the Polish cinema in the 1980s. In contrast to earlier decades, the Polish movie industry delivered dozens of films that contained female nudity and erotic scenes. Some actresses like Maria Probosz, became automatically associated with such movies. Paradoxically, the Polish cinema of the 1980s was only slightly concerned with the discourse of eroticism. As Maria Kornatowska writes,The shortage of erotic sensibility was compensated by ‘bald nakedness.’’ The reasons for the increased presence of nudity on movie screens stemmed from the transformation of social lifestyle and audiences’ demand, the search for easy profit and the need to de-politicize society. Of significant importance were the influences of the growing video market and western cinema. Projections of nudity were meant to divert attention from the bleak reality of Poland enmeshed in crisis provide a sense of belonging to the Western world, and give mostly male viewers visual pleasure. It was also a marketing technique luring viewers to cinemas by bombarding them with daring posters and stills reproduced in the press and in front of movie theaters. My article will discuss and explain the ways of presenting female nudity in terms of these economic and political tasks.The article examines how nudity was used as a promotional strategy in the Polish cinema in the 1980s. In contrast to earlier decades, the Polish movie industry delivered dozens of films that contained female nudity and erotic scenes. Some actresses like Maria Probosz, became automatically associated with such movies. Paradoxically, the Polish cinema of the 1980s was only slightly concerned with the discourse of eroticism. As Maria Kornatowska writes,The shortage of erotic sensibility was compensated by ‘bald nakedness.’’ The reasons for the increased presence of nudity on movie screens stemmed from the transformation of social lifestyle and audiences’ demand, the search for easy profit and the need to de-politicize society. Of significant importance were the influences of the growing video market and western cinema. Projections of nudity were meant to divert attention from the bleak reality of Poland enmeshed in crisis provide a sense of belonging to the Western world, and give mostly male viewers visual pleasure. It was also a marketing technique luring viewers to cinemas by bombarding them with daring posters and stills reproduced in the press and in front of movie theaters. My article will discuss and explain the ways of presenting female nudity in terms of these economic and political tasks

The application of the relaxation method to the solution of problems involving the flow of fluids through porous media

The purpose of this investigation is to determine the feasibility of applying the relaxation method of mathematical analysis to the solution of problems in rheology. The relaxation method was first introduced by R. V. Southwell who applied it to the problem of electrical conductivity. It was later used by M. W. Emmons to solve two-dimensional heat conduction problems. The steady-state flow of fluids through porous media can be difficult or impossible by the usual analytical methods even with rather simple boundary conditions. The relaxation method promises to provide an easier method of solution and to provide a means of solving some of the problems not yet solved. It is the object of this thesis to establish the feasibility of the relaxation method rather than to solve any new problem. It finds a maximum usefulness in reservoir mechanics of petroleum engineering --Preface, page iii

41 Wyznaczenie aktywności źródła iryd –192 w HDR

Cel pracyCelem pracy było wyznaczenie aktywnosci źródła Iryd-192 w microSelektronie HDR i porównanie wyników z wartością aktywności podawaną przez producenta.MetodaZaprojektowano układ pomiarowy. Na aluminiowym stojaku zamontowano listwę z włókna węglowego, która posiadała dwa uchwyty mocujące komorę jonizacyjną i kateter. Listwa ta posiadała możliwość regulacji odległości między uchwytami w zakresie ad 5 do 100 cm. Do pomiarów użyto komory jonizacyjnej Farmer typ 2571 z grafitową ścianą i nakładką uniwersalną build-up typ 2571. Komora została wykalibrowana do współpracy z dozymetrem lonex 2570. Pomiary wykonano dla zmiennej odległości komory od źródła. Aby zapewnić punktowy charakter źródła mierzono moc źródła co 5 cm w przedziale od 20 do 60 cm. Każdy pomiar powtórzono cztery razy. Czas napromieniania wynosił 100 s. Uwzględniono różnicę w temperaturze i ciśnieniu w pomieszczeniu, w stosunku do wartości standardowych. Za pomocą regresji dawek wyznaczono aktywność źródła.WynikiAktywność otrzymana z pomiarów wyniosła 340 GBq ± 3%. Producent podawał, że źródło ma aktywność równą 329 GBq. Różnica między wartością aktywności podaną przez producenta a wartością otrzymaną z pomiarów wyniosła 3%.Dyskusja i wynikiMożna przyjąć, że porównywane wartości nie różnią się od siebie znacząco. Przedstawiona metoda pomiarowa jest stosunkowo fatwa do przeprowadzenia. Podstawowym źródłem różnicy jest błąd w pomiarze odlegfości między komorą jonizacyjną a źródłem. Dodatkową przyczyną błędu mogła być niepewność odczytu temperatury i ciśnienia