Film zakulisowy jako gatunek i zwierciadło społeczne

Artykuł jest próbą charakterystyki nieopisanego dotąd zjawiska – filmu zakulisowego. Jego schemat fabularny opiera się na śledzeniu procesu powstawania spektaklu teatralnego od castingu po udaną premierę, do której dochodzi pomimo licznych perypetii. Ważną jego cechą jest przedstawienie zespołu teatralnego jako mikrospołeczności o potencjale metafory społecznej. Za prototyp gatunku można uznać backstage musical Busby’ego Berkeleya. W kolejnych dekadach nawiązywali do niego lub dekonstruowali jego struktury między innymi John Cassavetes, Bob Fosse, Carlos Saura, a ostatnio Alejandro González Iñárritu. Krzysztof Kieślowski i Agnieszka Holland w filmach należących do nurtu moralnego niepokoju w autorski sposób wykorzystali formułę filmu zakulisowego, by opowiedzieć o utracie złudzeń i zakwestionować ideę zespołu. Sugerowali przy tym, by ich filmy odczytywać nie jako krytykę instytucji teatru, lecz uniwersalne metafory społeczne.

O significado da cor azul no filme Bleu de Kieslowski.

The objective of this study is to analyze the significance of the color blue in the film “Liberty is Blue”, by the Polish director and screenwriter Krzysztof Kieslowski and the imagetic result reached through the interface between cinema and arts. This is the first film of the Three Colors Trilogy.In order to develop this analysis, semiotic concepts will be used, for the understanding of image as icon and color as symbol. The methodology consists in selecting images to analyze the meaning of the blue color in certain moments of the work where color gains relevance. The theoretical from of reference includes concepts of Charles Sandres Peirce, Lucia Santaella and Luciana Martha Silveira.

Film and the Politics of Negative Community. Krzysztof Kieślowski’s Dialectic in the Late 1970s Polish People’s Republic

Polish People’s Republic (PRL) in the late 1970s saw an increased alliance among, and indeed, a blending of, workers and intellectuals, young and old, women and men, actively struggling against the state. A new kind of solidarity emerged that threw off tired notions of what constituted the working class. The preeminent filmmaker of this time, Krzysztof Kieślowski, is often seen as increasingly depoliticized as he moved into fiction, but in this paper the author argues for the dialogic value of his work with respect to political organizing. Kieślowski’s documentarist sensitivity to registering Polish reality and the intimacy of human engagement with the world led him to question the prevailing mode of representing these shifts in politics and class. His feature films, in articulating failures of representation, challenge a “realism” that purported to be universal, but instead reified a certain historical anxiety in the Polish political imaginary (workers vs. intellectuals, urban elites vs. peasantry), or precisely that which was being unraveled by the praxis of the late 1970s. Further, they refuse to cordon off interests of individuals from the very state shown to be oppressing them. Here we have a filmic counterpart to the immanent praxis of workers and intellectuals that turned one of the engines of the state—the trade union—into the greatest weapon against it. The author shows how this functions, in negative terms, in Kieślowski’s first feature, Blizna/The Scar (1976), in which class solidarity is felt stylistically as aporia, and is further developed in Amator/Camera Buff (1979), which expresses the personal as political in the tension between the desire for spokój (peace and quiet) and czegoś wiecej (something more). Rather than a retreat, we should see this in correspondence with the revolutionary consciousness being inscribed in individual Poles by the collective labor action of Solidarity in 1980.

Comunicação visual no filme Trois Couleurs

O objetivo do presente artigo é refletir sobre a comunicação por meio dos elementos visuais e seus significados no filme Trois Couleurs: Bleu (1993), do diretor e roteirista polonês Krzysztof Kieslowski e sobre o resultado imagético desta interface cinema e comunicação visual. A metodologia consiste em isolar imagens e analisar o significado de elementos visuais presentes na composição das mesmas, sob três perspectivas: a da semiótica peirceana, a da teoria da cor e a do conceito de intertextualidade resultante do dialogismo e da polifonia. O artigo é relevante por apresentar estratégias de análise fílmica.

Japońska Polska. Kulturowy wizerunek Polski w Japonii

Obecność kultury polskiej w Japonii sięga początków XX wieku, kiedy po I wojnie światowej pojawiły się tłumaczenia najbardziej znanych dzieł Henryka Sienkiewicza, Władysława Reymonta i Stefana Żeromskiego. Wiele dla popularyzacji Polski w zrobili też franciszkanie w latach trzydziestych i później. Po II wojnie światowej w Japonii odkryto twórczość Stanisława Lema, Witolda Gombrowicza, Stanisława Witkiewicza (Witkacego) czy Brunona Schulza. Ich twórczość była promowana choćby przez Teatr X w Tokio. Pojawiło się również zainteresowanie literaturą polską nawiązującą do II wojny światowej (Jerzy Andrzejewski, Bogdan Wojdowski, Tadeusz Borowski). Do znacznego zainteresowania literaturą polską przyczynili się też tłumacze zarówno już zmarli Yonekawa Kazuo, Yoshigami Shōzō, Kudō Yukio, jak też żyjący Sekiguchi Tokimasa i Numano Mitsuyoshi. W Japonii wystawiał swe sztuki Tadeusz Kantor. Dzięki filmom Andrzeja Wajdy kino polskie zdobyło tam uznanie już w latach pięćdziesiątych. Znani w Japonii są też tacy reżyserzy jak Krzysztof Zanussi, Krzysztof Kieślowski, Roman Polański, Jerzy Kawalerowicz. W Japonii bardzo popularna jest też muzyka Chopina. Nasz kulturalny kanon różni się jednak od tego, który znają Polacy. Jak zauważył Sekugichi Tokimasa: „Polska japońska jest siłą rzeczy inna od Polski polskiej”.

Psychic Extinctness

What we write about, calling it ext for short if we like, when we write about extinction, and what we mean when we refer by choice or otherwise to an extinction drive that is not coterminous with death and the Freudian Todestrieb, this will be explored here, starting from Sarah Wood's trigger warning (does the contraction of ext implore against the inappropriate and impossible longueurs of any extinction criticism to come?), in the analytic reveries of Michael Eigen, in The Double Life of Veronique by Krzysztof Kieślowski, in Bionian mathematical symbols and arrows, in the grainy, painful, colour, torque, tautness, magical heaviness and imagistic forms of psychicness and extinctness themselves, and this as a way of wondering if these disturbances in the history of the concept of death which we will mark also give rise to a new generics, an edietics of the ext as the name of a universal component in experience that would be common to any form of humanity, on this or other Earths, in this or other Universes … perhaps to come.

“Ledwosz, where is the key?”, or people and animals in Iwona Siekierzyńska’s short student film “Missy”

Iwona Siekierzyńska school film Missy takes up the theme of a girl’s unfulfilled love for a priest. Her dog named Ledwosz not only accompanies her in the experience of encountering the man in cassock, while his anointing of a sick neighbor, but also triggers the situation that caused her infatuation. This brief and accidental contact with the priest turns out to be a breakthrough experience for the teenage girl looking for love and attention. It means her entering the adult world in which it is easy to miss a crucial moment, or hurt somebody’s feelings quite unconsciously. The young girl’s experience of the brief encounter will remain in her forever. The relation between the female character and her dog from the short film was the inspiration to consider the similarities between Missy and Three Colors: Red, by Krzysztof Kieślowski, who was the artistic supervisor of Siekierzyńska’s film. In both films it is a dog that initiates the process resulting in metaphysical experience for the main characters.

Krzysztof Kieślowski and Ingmar Bergman – once again about a certain artistic relationship

Krzysztof Kieślowski and Ingmar Bergman belonged to different generations of film authors, but there was a certain artistic kinship between them. They were both interested in issues related to human existence, but their films also seem similar in terms of their aesthetic dimensions, in particular, their cinematographic style. Both directors also created films deriving from their private experience, often creating characters on screen who seem to be in some respect their alter egos. This articles deals with various similarities between the cinema of Kieślowski and Bergman.

Krzysztof Kieślowski’s “Decalogue” as a Quality TV Series

The text is dedicated to The Decalogue (Dekalog,1988) by Krzysztof Kieslowski and analyses the television series through the prism of genre and contemporary television studies, including the concept of quality television. Kieslowski’s series fulfills all the criteria assigned to the contemporary new generation television series, and can act as a reference point for interpreting Poland’s first new generation series by HBO, In treatment (Bez tajemnic, 2011–2013). The two titles are also linked by the same Polish film tradition, i.e. the cinema of moral concern, even though In treatment is based on foreign format.