Images. The International Journal of European Film, Performing Arts and Audiovisual Communication https://pressto.amu.edu.pl/index.php/i <p class="oczasopismie"><strong>OPIS CZASOPISMA</strong><br>Czasopismo „Images. The International Journal of European Film, Performing Arts and Audiovisual Communication” jest półrocznikiem o profilu naukowym. Poszczególne numery pisma mają charakter monograficzny i poświęcone są najważniejszym zjawiskom współczesnej kultury audiowizualnej. Dotyczą polskiego, europejskiego i światowego kina, telewizji, nowych mediów, fotografii, także w kontekście szeroko rozumianej kultury popularnej i w ujęciu interdyscyplinarnym. Jest to więc miejsce, w którym dokonuje się pogłębiona refleksja nad różnymi aspektami podstawowej dla współczesnego świata rzeczywistości, jaką jest ikonosfera wraz z jej obrzeżami oraz kontekstami. Pismo posiada wyraźne i oryginalne walory estetyczne, które przejawiają się w staranności edytorskiej, a nade wszystko w bezpośredniej prezentacji twórczości artystycznej. Każdy numer zawiera autorską galerię, na którą składają się dzieła zaproszonego przez redakcję wybitnego twórcy obrazu: fotografika, rysownika, malarza.</p> <ul class="oczasopismie"> <li class="show"><a href="/index.php/i/about">POLITYKA FUNKCJONOWANIA CZASOPISMA</a></li> <li class="show"><a href="/index.php/i/issue/current">AKTUALNY NUMER</a></li> <li class="show"><a href="/index.php/i/issue/archive">ARCHIWUM</a></li> </ul> <div class="oczasopismie"><strong>INDEKSOWANE W:</strong> <p>SCOPUS, INDEX COPERNICUS INTERNATIONAL, ERIH PLUS, PKP Index</p> </div> <div class="oczasopismie"><strong>WSKAŹNIKI OCENY CZASOPISMA: </strong> <p><strong>MNiSW: 40</strong><br><br><img src="/public/piotr/ikonki/ic_69_33.png" alt=""></p> </div> <div class="oczasopismie"><strong>DOI: </strong>10.14746/i</div> <div class="oczasopismie"><strong>ISSN: </strong>1731-450x</div> <div class="oczasopismie"><strong>PRACE PUBLIKOWANE W CZASOPIŚMIE OD &nbsp;2016 r. DOSTĘPNE SĄ NA LICENCJI CREATIVE COMMONS: </strong><br><a href="http://creativecommons.org/licenses/by-nc-nd/4.0/"><img src="/public/piotr/cc/cc_4_by__nc_nd.png" alt="CC_by-nd/3.0" border="0"></a></div> Adam Mickiewicz University Poznan pl-PL Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 1731-450X <p><strong>Autorzy</strong><br />Autorzy tekstów przyjętych do publikacji w czasopiśmie IMAGES są zobowiązani do wypełnienia, podpisania i odesłania na adres redakcji umowy o udzielenie nieodpłatnej licencji do utworów, z zobowiązaniem do udzielania sublicencji CC.<br /><br />Zgodnie z umową, autorzy tekstów opublikowanych w czasopiśmie IMAGES udzielają Uniwersytetowi im. Adama Mickiewicza w Poznaniu niewyłącznej i nieodpłatnej licencji oraz zezwalą na użycie sublicencji Creative Commons <a href="http://creativecommons.org/licenses/by-nc-nd/4.0/" target="_self">Attribution-NonCommercial-NoDerivatives 4.0 International</a> (CC BY-NC-ND 4.0).<br /><br />Autorzy zachowują prawa do dalszego, swobodnego rozporządzania utworem.<br /><br />Autorzy, którzy wykorzystują w swoim tekście cudze utwory (np. ilustracje, fotografie) proszeni są o dostarczenie do redakcji czasopisma <a href="/ojs_3/pliki/images/umowa_cudz.doc" target="_self">zgodę</a> na publikację od uprawnionych podmiotów.</p><p><strong>Użytkownicy</strong><br />Zainteresowani użytkownicy internetu uprawnieni są do korzystania z utworów opublikowanych po 2015 roku IMAGES tylko w calach niekomercyjnych, pod następującymi warunkami:</p><ul><li>uznanie autorstwa - obowiązek podania wraz z rozpowszechnionym utworem, informacji, o autorstwie, tytule, źródle (odnośniki do oryginalnego utworu, DOI) oraz samej licencji;</li><li>bez tworzenia utworów zależnych - utwór musi być zachowany w oryginalnej postaci, nie można bez zgody twórcy rozpowszechniać np. tłumaczeń, opracowań.</li></ul><p>Do wszystkich tekstów opublikowanych przed 2015 r. prawa autorskie są zastrzeżone.</p><p><strong>Inne</strong><br />Uniwersytet im. Adama Mickiewicza w Poznaniu zachowuje prawo do czasopisma jako całości (układ, forma graficzna, tytuł, projekt okładki, logo itp.).</p> Kieślowski Revisited (& Re-watched) https://pressto.amu.edu.pl/index.php/i/article/view/18565 <p>Mikołaj Jazdon, Piotr Pławuszewski, Kieślowski Revisited (&amp; Re-watched). “Images” vol. XXIV, no. 33, Poznań 2018. Adam Mickiewicz University Press. Pp. 5–8. ISSN 1731-450X. DOI 10.14746/i.2018.33.01.</p> Mikołaj Jazdon Piotr Pławuszewski Copyright (c) 2019 2019-03-25 2019-03-25 24 33 5 8 10.14746/i.2018.33.01 Kieślowski, the mysteries of screens and God https://pressto.amu.edu.pl/index.php/i/article/view/18568 <p>The computer seems like a privileged personage in Decalogue 1 (Dekalog, jeden, 1987/88, prem. 1989, dir. K. Kieślowski): it is used by Paweł and his father to solve mathematical questions about Miss Piggy, to calculate the durability of the ice on the pond, to know what Mum is doing, and to control domestic devices. For Kieślowski the computer is not just a gadget: Krzysztof ’s lecture describes its potential and its possible autonomy. Independent from man (the computer switches itself on), it becomes his rival: Kieślowski proposes a critical interpretation of the computer as a new idol, promising unlimited memory and knowledge. A similar preoccupation can be found in the Black Mirror series, where new technologies, existing or as yet still fantastic, are becoming more and more intrusive in the lives of their human protagonists. The computer seems also to be a rival of God, present in symbols in Decalogue 1: a sign of him is not only the metaphysical man played by Artur Barciś, but also the biblical symbol of fire and the Madonna’s tears.</p> Marek Lis Copyright (c) 2019 2019-03-25 2019-03-25 24 33 9 18 10.14746/i.2018.33.02 Inflancka Travelogue: 10 Short Essays on “Decalogue” https://pressto.amu.edu.pl/index.php/i/article/view/18571 <p>Kieślowski scholar Joseph G. Kickasola documents his efforts to find and explore the Warsaw apartment complex where Krzysztof Kieślowski filmed his Decalogue series. His startling, unexpectedly emotional experience at such an ordinary place becomes an opportunity to reflect on the films, theorize on the function of place in them, and consider the way that human life and cinema feed into each other. Fictional stories and their cinematic constructions can deepen our experience, and make the world feel more lived in, more true. Nothing magical happened, but everything ordinary happened in all its fullness, like a kind of prophecy, fulfilled.</p> Joseph G. Kickasola Copyright (c) 2019 2019-03-25 2019-03-25 24 33 19 38 10.14746/i.2018.33.03 Krzysztof Kieślowski’s “Decalogue” as a Quality TV Series https://pressto.amu.edu.pl/index.php/i/article/view/18575 <p>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.</p> Monika Talarczyk Copyright (c) 2019 2019-03-25 2019-03-25 24 33 38 46 10.14746/i.2018.33.04 “The way up is the way down”: Curzio Malaparte’s “Il Cristo Proibito” and Krzysztof Kieślowski’s “Three Colours: Red” https://pressto.amu.edu.pl/index.php/i/article/view/18577 <p>The statement ‘the way up is the way down’ may imply that the spiritual way to perfection lies through humility. It may however also apply to the physical world that is the source of such spiritual metaphors, and within which the actions play out of fictional characters who themselves serve as metaphors for real ones. I will argue that both meanings apply to both of these films, with a comparison between the two films enabling one to employ Malaparte’s explicit prohibition of a Christ-like position to make apparent a similar prohibition that is only implicit in Kieślowski’s film. Such physical movements provide an appropriate topography for the concern with judgment, knowledge, revenge, isolation and humiliation embodied in the male protagonists of the two films. In each case, the protagonists’ eventual divestment from programmes of judgment and revenge may be related to the prohibition Malaparte formulates explicitly: that upon human re-enactment of the Christ-like position that is the one of judgment. Here a destructive and self-destructive movement downwards, in the sense of dehumanization and extreme isolation, is countered eventually by a downward one that, in fact, leads upwards through an embrace of the humiliation of inaction. The paper examines various ways in which the object of both texts is to rediscover a ‘we’ that is rather one of solidarity than complicity.</p> Paul Coates Copyright (c) 2019 2019-03-25 2019-03-25 24 33 47 59 10.14746/i.2018.33.05 Kieślowski Re-read: On Reality, Realism and Cinema https://pressto.amu.edu.pl/index.php/i/article/view/18587 <p>By referencing Italian auteurs Ermanno Olmi and Federico Fellini, this paper offers a re-reading of Krzysztof Kieślowski’s reflections on cinema that places the practice of describing reality and uttering “a statement of fact” about people’s lives and the world as a long-lasting, structuring foundation of his episteme and workshop.</p> Francesca Parmeggiani Copyright (c) 2019 2019-03-25 2019-03-25 24 33 61 71 10.14746/i.2018.33.06 Krzysztof Kieślowski’s film props in the triptych “Three Colours” https://pressto.amu.edu.pl/index.php/i/article/view/18592 <p>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.</p> Wojciech Otto Copyright (c) 2019 2019-03-25 2019-03-25 24 33 73 85 10.14746/i.2018.33.07 Krzysztof Kieślowski and Ingmar Bergman – once again about a certain artistic relationship https://pressto.amu.edu.pl/index.php/i/article/view/18605 <p>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.</p> Radosław Dąbrowski Copyright (c) 2019 2019-03-25 2019-03-25 24 33 87 107 10.14746/i.2018.33.08 Non-accidental presence. The reception of Krzysztof Kieślowski in Russia https://pressto.amu.edu.pl/index.php/i/article/view/18606 <p>Krzysztof Kieślowski is a cult figure among Russian moviegoers, but “proving” this is not as easy as in the case of the popularity of other Polish classic names in Russia, such as Andrzej Wajda and Krzysztof Zanussi. Placing Kieślowski on the list of Polish filmmakers who have influenced Russian culture in this or some other way is a not obvious move. The article is an attempt at exposing the reader to the presence of the director’s films in Russia through the history of the distribution of his films, an analysis of reviews by Russian authors and texts in which Kieślowski’s name appears. It also discusses references to his films in works by other filmmakers. It is complemented by the statements of two Russian directors who talk about the importance of Kieślowski in their work and academic practice.</p> Denis Viren Copyright (c) 2019 2019-03-25 2019-03-25 24 33 109 115 10.14746/i.2018.33.09 Kieślowski in Spain: History, Reception and Inspiration https://pressto.amu.edu.pl/index.php/i/article/view/18607 <p>The films of Krzysztof Kieślowski arrived in Spain comparatively late, and when they did so this was mainly due to the Film Festivals at San Sebastián and Valladolid, as well the efforts of independent producers like the brothers José María and Miguel Morales of Wanda Films. In 1988, A Short Film About Love was presented at the San Sebastián Festival, where it won the Special Prize and the FIPRESCI Prize, and caught the attention of Spanish critics. To this day, Kieślowski remains the Polish director best-known to the Spanish – as was made clear in 2016, by the numerous events and screenings marking the 20th anniversary of his death. There can be no doubt that, in the homeland of Buñuel, no other Polish director evokes as much enthusiasm. Considering the Spanish reaction to the maker of the Three Colours, this article focuses on the distribution of Kieślowski’s works in Spain, as well as the director’s presence at the Spanish Festivals. Further subjects of analysis are reviews by Spanish critics and the state of research into Kieslowski’s creative output in the Spanish language, as well as the release of his films on DVD and Blu-Ray. The above focus on festivals, the attitudes of critics, and the popularity among the Spanish viewing public is supplemented by a study of the impact of Kieślowski’s output on the work of Spanish directors, as well as efforts to discern the direct influence of the former’s films in offering the latter inspiration.</p> Joanna Bardzińska Copyright (c) 2019 2019-03-25 2019-03-25 24 33 117 127 10.14746/i.2018.33.10 Krzysztof Kieślowski’s “Camera Buff”: a revised version of “First Love” https://pressto.amu.edu.pl/index.php/i/article/view/18608 <p>The article develops its title thesis, which proposes interpreting Kieślowski’s Camera Buff (Amator, 1979), his second full-length feature film, as a revised version of his documentary First Love, made five years earlier. Both films have similar starting points ‒ the story of a couple expecting the birth of their first child. But the conclusion in each case also has something in common and results in the abandoning of a film project. The latter similarity meant that Kieślowski changed the character of the main protagonist in his full-length movie. It is no longer a documentary hero but the film auteur himself. This was probably the essence of the director’s artistic discovery made while shooting Camera Buff. It meant the abandonment of the documentary character when the prolonged relationship with him (and her) proved to be ethically dubious and his (and her) development predictable. At the same time, Kieślowski expressed his own creative experience as the film’s author creating a fictitious character in Camera Buff, inspired by various figures of real ‘prototypes’.</p> Tadeusz Lubelski Copyright (c) 2019 2019-03-25 2019-03-25 24 33 129 136 10.14746/i.2018.33.11 The Party in Krzysztof Kieślowski’s Films https://pressto.amu.edu.pl/index.php/i/article/view/18609 <p>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.</p> Piotr Zwierzchowski Copyright (c) 2019 2019-03-25 2019-03-25 24 33 137 153 10.14746/i.2018.33.12 To film an inconceivable reality: the manifesto of the young Kieślowski https://pressto.amu.edu.pl/index.php/i/article/view/18610 <p>In his master’s thesis, Documentary Film and Reality, Krzysztof Kieślowski dealt with a number of problems that turned out to play a vital role in his future film career, and its documentary period in particular. This range of topics includes the concept of ‘the dramaturgy of reality’, one of the methods for factual filmmaking he intended to put into practice, but also such ideas as the relation between film and literature, between documentary film and ethics, and the difference between reportage and documentary filmmaking. These concepts had an influence on his documentary filmmaking and<br />led him to develop other concepts and methods for documentary filmmaking. From the perspective of Kieślowski’s creative oeuvre, the thesis Documentary Film and Reality reads as a manifesto by the young filmmaker.</p> Mikołaj Jazdon Copyright (c) 2019 2019-03-25 2019-03-25 24 33 155 166 10.14746/i.2018.33.13 “The Intensity of Looking” at Karabasz, 2018 https://pressto.amu.edu.pl/index.php/i/article/view/18611 <p>The origins of particular documentary films are sometimes difficult to determine, precisely locate and capture in time and space. It is like searching for the source of a river. What marked the beginning of Intensity of Looking, a film about the great documentary film director Kazimierz Karabasz? The beginning of a documentary film’s creation determines the artistic process and elements that shape its strength, energy and main thought. These elements, which sometimes verge on intuition, guide this process, shaping the subject of the film, as well as its meaning, climate and aura. There is a thread connecting the author and the protagonist of the film, something that binds them together during work on the film, and sometimes lasts much longer. The three variants of what initiates the process of making a particular documentary film are as follows. The first is an encounter with a person who could be a character in a documentary film. The second is a thought, idea or problem that a filmmaker wants to address and discuss in a documentary by means of a certain character and story. The third is a return to a character who had been portrayed in a previous documentary film, to tell more about him or her. All three of these variants were the case in the making of Andrzej Sapija’s Intensity of Looking.</p> Andrzej Sapija Copyright (c) 2019 2019-03-25 2019-03-25 24 33 166 178 10.14746/i.2018.33.14 In the clutches of melancholy. Interpretive analysis of Gilles Renard’s student film “Late Afternoon” https://pressto.amu.edu.pl/index.php/i/article/view/18612 <p>The aim of the analysis is to present the film (Late Afternoon) by Gilles Renard as a study of melancholy. Both the plot and the cinematographic means used to shape the form of this short film correspond with the theoretical texts by Julia Kristeva and Melanie Klein on depression in women. The author of the text considers Late Afternoon as a feminist and affirmative film, strongly inspired by the aesthetics of Krzysztof Kieślowski’s cinematic output.</p> Franciszek Drąg Copyright (c) 2019 2019-03-25 2019-03-25 24 33 179 184 10.14746/i.2018.33.15 “Ledwosz, where is the key?”, or people and animals in Iwona Siekierzyńska’s short student film “Missy” https://pressto.amu.edu.pl/index.php/i/article/view/18613 <p>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.</p> Krystian Przybylski Copyright (c) 2019 2019-03-25 2019-03-25 24 33 185 196 10.14746/i.2018.33.16 Photographs by Krzysztof Kieślowski https://pressto.amu.edu.pl/index.php/i/article/view/18614 . . . Copyright (c) 2019 2019-03-25 2019-03-25 24 33 197 217 Notes about authors https://pressto.amu.edu.pl/index.php/i/article/view/18615 . . . Copyright (c) 2019 2019-03-25 2019-03-25 24 33 219 221