On a construction site – a change of perspectives. Architecture in Polish documentaries of the 1960s.

Film documentaries: Energia [Energy] by Władysław Ślesicki and Czas przemiany [The Time of Transformation] by Andrzej Piekutowski are film examples of changing perspectives in Polish documentary film of the 1960s. The creators undertook the themes known from the socialist realism cinema, such as industrialization and the value of human labour, but they did so in the poetics of authorial cinema, creating films with a deeper, symbolic message and in a lyrical atmosphere

Paradygmat i suspens. O dramaturgii scenariusza filmowego

Paradigm and Suspense. Th e Dramaturgy of a Film Script Film scripts have a dramaturgical structure, i.e. a specific format comprising a particular number of scenes written in a predetermined order. Its vital elements are a three-act structure and two plot twists. It is also characterized by the development of tension, intended to lead to a constant rise in emotions as the story advances. The dramaturgy of the scenes and their sequence are built in many ways, the main two being suspense and delay. These are used to suspend action, slow it down in order to achieve an element of surprise, and to raise emotions in forthcoming scenes.Paradigm and Suspense. Th e Dramaturgy of a Film Script Film scripts have a dramaturgical structure, i.e. a specific format comprising a particular number of scenes written in a predetermined order. Its vital elements are a three-act structure and two plot twists. It is also characterized by the development of tension, intended to lead to a constant rise in emotions as the story advances. The dramaturgy of the scenes and their sequence are built in many ways, the main two being suspense and delay. These are used to suspend action, slow it down in order to achieve an element of surprise, and to raise emotions in forthcoming scenes

Film franchise. From the theme to the TV show (based on the True Stories

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.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

Krzysztof Kieślowski’s film props in the triptych “Three Colours”

Krzysztof Kieślowski employed film properties in a creative way in his Three Colours (Trois couleurs, 1993–94) trilogy. They play various roles in Blue (Bleu, 1993), White (Blanc, 1993) and Red (Rogue, 1994): they make the presented world more probable, co-create images of heroes, build dramaturgy and convey symbolic content. Such a treatment of film props is shaped by the director’s film style and creates a specific cinematic atmosphere

Wielkomiejskie życie Drugiej Rzeczpospolitej w polskim filmie fabularnym okresu międzywojennego. Wstęp do tematu

Polish feature films from the interwar period are to a great extent a reflection of the reality of that time. This can be seen mainly in the presentation of particular architectural objects and fashion from that time. The films are also a source of knowledge about the problems of the time: the impoverishment of the society, economic crisis, prostitution, etc. These pictures reflect reality, yet they are subject to numerous transformations, as the result of the conventions of the chosen genre.Big city life in the Second Commonwealth of Poland in Polish interwar feature films. An IntroductionPolish feature films from the interwar period are to a great extent a reflection of the reality of that time. This can be seen mainly in the presentation of particular architectural objects and fashion from that time. The films are also a source of knowledge about the problems of the time: the impoverishment of the society, economic crisis, prostitution, etc. These pictures reflect reality, yet they are subject to numerous transformations, as the result of the conventions of the chosen genre.

The Smell of Heath, Epilepsy and the Pope’s Portrait (Andrzej Wajda’s “Sweet Rush” and Peter Zelenka’s “The Brothers Kramazov”)

The Smell of Heath, Epilepsy and the Pope’s Portrait (Andrzej Wajda’s “Sweet Rush” and Peter Zelenka’s “The Brothers Kramazov”)Andrzej Wajda’a Sweet Rush (Tatarak) and Petr Zelenka’s The Karamazovs (Karamazovi) are film adaptations of literature. Both directors represent very innovative approach to the literary material. Wajda wanted to depict the theme of death and passing in original way and combined various literary sources: Jarosław Iwaszkiewicz’s short story Sweet Rush, a novelette by Sándor Márai, and Last Notes by Polish actress, Krystyna Janda. Her text is a form of reflection on the death of her husband who was a recognized cinematographer. Wajda also incorporated into the picture scenes revealing the film’s making off. Petr Zelenka’s screen adaptation of the famous novel by Fiodor Dostoievsky is based on the film record of the Prague theater presentation (also based on The Karamazovs) made in the industrial space of the Sendzimir Ironworks inPoland. The recorded spectacle became the opportunity for the director to present his artistic statement on the history and culture of the Middle andEast Europe and the artist’s status nowadays.Andrzej Wajda’a Sweet Rush (Tatarak) and Petr Zelenka’s The Karamazovs (Karamazovi) are film adaptations of literature. Both directors represent very innovative approach to the literary material. Wajda wanted to depict the theme of death and passing in original way and combined various literary sources: Jarosław Iwaszkiewicz’s short story Sweet Rush, a novelette by Sándor Márai, and Last Notes by Polish actress, Krystyna Janda. Her text is a form of reflection on the death of her husband who was a recognized cinematographer. Wajda also incorporated into the picture scenes revealing the film’s making off. Petr Zelenka’s screen adaptation of the famous novel by Fiodor Dostoievsky is based on the film record of the Prague theater presentation (also based on The Karamazovs) made in the industrial space of the Sendzimir Ironworks inPoland. The recorded spectacle became the opportunity for the director to present his artistic statement on the history and culture of the Middle andEast Europe and the artist’s status nowadays

Wajda autotematyczny. Wszystko na sprzedaż i Tatarak Andrzeja Wajdy

Mise-en-abîme discourse reveals itself most clearly in 2 films by Andrzej Wajda – Everything for sale and Sweet Rush. These are connected by collective reflexive contexts, as well as by a tendency to promote formal novelty. They can be analysed from the perspective of “a film in a film”, which is a story about making a film or “a film about a film”, which is a reflection on the cinematographic means of expression.Mise-en-abîme discourse reveals itself most clearly in 2 films by Andrzej Wajda – Everything for sale and Sweet Rush. These are connected by collective reflexive contexts, as well as by a tendency to promote formal novelty. They can be analysed from the perspective of “a film in a film”, which is a story about making a film or “a film about a film”, which is a reflection on the cinematographic means of expression

Film representations of disabled people’s sexuality – a Polish example

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 sexuality of people with disabilities is portrayed as asexuality and hypersexuality, and in Polish cinema it mainly concerns the emotional sphere, and less so the physical.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 social stereotypes, 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 sexuality of people with disabilities is portrayed as asexuality and hypersexuality, and in Polish cinema it mainly concerns the emotional sphere, and less so the physical

Czytanie poety – widzenie poezji. O Wojaczku Lecha Majewskiego

Otto Wojciech, Czytanie poety – widzenie poezji. O Wojaczku Lecha Majewskiego [Reading a Poet – Seeing Poetry. On Wojaczek by Lech Majewski]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 285–300. ISSN 1644-6763. DOI 10.14746/pt.2019.32.15. The film chronicles the last days in the life of Rafał Wojaczek, who committed suicide at the age of 26. This is the director’s vision that reflects the spirit and character of an artistic genius and his poetic work. Wojaczek is presented against the background of the grey, dirty and bleak communist reality of the late 1960s and early 1970s and therefore becomes a symbol of a rebellious artist, not reconciled with the world and with himself. His colourful character and no less impressive worksshown in the film create the image of an artist whose life led in a straight line and with absolute consistency towards self-destruction. By showing the poet’s rebellion against reality, the director describes the artist’s self-destruction that headed for a tragic end. The is a black and white film with many experimental form treatments.Otto Wojciech, Czytanie poety – widzenie poezji. O Wojaczku Lecha Majewskiego [Reading a Poet – Seeing Poetry. On Wojaczek by Lech Majewski]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 285–300. ISSN 1644-6763. DOI 10.14746/pt.2019.32.15. The film chronicles the last days in the life of Rafał Wojaczek, who committed suicide at the age of 26. This is the director’s vision that reflects the spirit and character of an artistic genius and his poetic work. Wojaczek is presented against the background of the grey, dirty and bleak communist reality of the late 1960s and early 1970s and therefore becomes a symbol of a rebellious artist, not reconciled with the world and with himself. His colourful character and no less impressive worksshown in the film create the image of an artist whose life led in a straight line and with absolute consistency towards self-destruction. By showing the poet’s rebellion against reality, the director describes the artist’s self-destruction that headed for a tragic end. The is a black and white film with many experimental form treatments

Odkrywanie tajemnicy - rozwiązywanie zagadki. O scenariuszu telewizyjnego serialu kryminalnego (na przykładzie serialu Rojst)

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.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