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> pl-PL <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> joanna.sikorska@amu.edu.pl (Joanna Sikorska) pressto@amu.edu.pl (Pressto) czw, 27 lut 2020 00:00:00 +0000 OJS 3.1.2.4 http://blogs.law.harvard.edu/tech/rss 60 Aleksander Scibor-Rylski w tandemach: z Kawalerowiczem, Kutzem i Hofmanem https://pressto.amu.edu.pl/index.php/i/article/view/21776 <p>Aleksander Ścibor-Rylski was one of the greatest Polish scriptwriters, who in addition to numerous films based on his texts, left behind a trove of abandoned scripts. This article introduces Ścibor-Rylski as a highly versatile author, as exemplified by three scripts he wrote: Wczasy pod lipą [Lime Tree Holiday], Zaułek św. Sebastiana [Saint Sebastian Alley] and Stara baśń [An Ancient Tale]. Each of these scripts was written in a different convention and each was ordered by a different director, hence the title of this article – Aleksander Ścibor-Rylski in tandem with Kawalerowicz, Kutz and Hoffman. Apart from an analysis of the three scripts, the article describes the way they evolved, Ścibor-Rylski’s favourite stylistic clues and the reasons they remained unfinished.</p> Piotr Śmiałowski Copyright (c) 2019 https://pressto.amu.edu.pl/index.php/i/article/view/21776 nie, 15 gru 2019 00:00:00 +0000 Ważyk – Ford – Starski. Historia pewnego scenariusza https://pressto.amu.edu.pl/index.php/i/article/view/21788 <p>The article presents the complicated story of a script, originally titled “ID Card”, was written in mid-1948 by Adam Ważyk. Had the script been approved for production, it would have been one of the first Polish post-war feature films. However, this did not happen. Apart from Adam Ważyk, Aleksander Ford, Jan Fethke and Ludwik Starski also worked on subsequent versions of the script. Due to complex political circumstances, none of the versions presented was approved by decision-makers. The author presents subsequent versions of the script which change along with social and political changes in Poland. The last version entitled “False Papers”, written by Ludwik Starski in 1968, contains clear elements of an action film. However, this was not a good time for this type of production. Over a period of 20 years, the script of “False Papers” underwent a peculiar metamorphosis: from a political pamphlet, to a didactic story, and finally, an action film with an unexplained mystery and war in the background. None of these versions became a film.</p> Małgorzata Hendrykowska Małgorzata Hendrykowska Copyright (c) 2019 https://pressto.amu.edu.pl/index.php/i/article/view/21788 nie, 15 gru 2019 00:00:00 +0000 Uśpiony temat. O (nie)obecności problemu Marca 1968 roku w kinie dokumentalnym okresu PRL https://pressto.amu.edu.pl/index.php/i/article/view/21862 <p>Pietrzak Maciej, Uśpiony temat. O (nie)obecności problemu Marca 1968 roku w kinie dokumentalnym okresu PRL [Dormant topic. About the absence of the events of March 1968 in Polish documentary films before 1989]. „Images” vol. XXVI, no 35. Poznań 2019. Adam Mickiewicz<br>University Press. Pp. 63–75. ISSN 1731-450X. DOI 10.14746/i.2019.35.03.</p> <p>The vast majority of documentary films relevant to the events of March ‘68 and its consequences were created after 1989, when the abolition of censorship and the opening of previously hidden archives allowed Polish filmmakers to explore previously prohibited topics. The article focuses on the earlier period, and its main objective is to find echos of this political crisis in documentary films created before the collapse of the communist regime in Poland.</p> Maciej Pietrzak Copyright (c) 2019 https://pressto.amu.edu.pl/index.php/i/article/view/21862 nie, 15 gru 2019 00:00:00 +0000 Joseph Green, producent polskich filmów jidyszowych https://pressto.amu.edu.pl/index.php/i/article/view/21863 <p>Włodek Roman, Joseph Green, producent polskich filmów jidyszowych [Joseph Green, producer of Polish Yiddish-language films]. „Images” vol. XXVI, no 35. Poznań 2019. Adam Mickiewicz University Press. Pp. 77–101. ISSN 1731-450X. DOI 10.14746/i.2019.35.04.</p> <p>Joseph Green (1900–1996), born Josef Chaim Grinberg in Łódź, was one of the most important producers of films in Yiddish. At the beginning of the sound era in the United States, he worked on dubbing in Yiddish for Jewish films, including Joseph in the Land of Egypt. He received a copy of the film as a royalty, which he then used with great success. The money helped him produce four Jewish films in Poland between 1936 and 1938: Yiddle with His Fiddle, The Jester, Little Mother and A Letter to Mother. Green left Poland in the spring of 1939. When the world of Shtetls – evoked by him – disappeared as a result of the Second World War, he ceased making films.</p> Roman Włodek Copyright (c) 2019 https://pressto.amu.edu.pl/index.php/i/article/view/21863 nie, 15 gru 2019 00:00:00 +0000 Na białym szlaku. Zapomniany film o wojnie https://pressto.amu.edu.pl/index.php/i/article/view/21865 <p>Hendrykowski Marek, Na białym szlaku. Zapomniany film o wojnie [“On the White Trails”: a forgotten film about the war]. „Images” vol. XXVI, no 35. Poznań 2019. Adam Mickiewicz University Press. Pp. 103–115. ISSN 1731-450X. DOI 10.14746/i.2019.35.05.</p> <p>The article is an analytical and interpretative study of behind-the-scenes aspects and the poetics of a little-known feature film titled On the White Trails, directed by Jarosław Brzozowski and Andrzej Wróbel.</p> Marek Hendrykowski Copyright (c) 2019 https://pressto.amu.edu.pl/index.php/i/article/view/21865 nie, 15 gru 2019 00:00:00 +0000 Podwójne spojrzenie na pewne zdarzenie z przeszłości. O Szpitalu w Cichiniczach Melchiora Wańkowicza i Wrotach Europy Jerzego Wójcika https://pressto.amu.edu.pl/index.php/i/article/view/21937 <p>Szpulak Andrzej, Podwójne spojrzenie na pewne zdarzenie z przeszłości. O Szpitalu w Cichiniczach Melchiora Wańkowicza i Wrotach Europy Jerzego Wójcika [Double gaze at an event from the past. About Melchior Wańkowicz’s Hospital in Cichinicze and Jerzy Wójcik’s The Gateway of Europe]. „Images” vol. XXVI, no 35. Poznań 2019. Adam Mickiewicz University Press. Pp. 117–127. ISSN 1731-450X. DOI 10.14746/i.2019.35.06.</p> <p>This text confronts two images of a small episode from the First World War and the struggle of Poland to regain its independence. The literary image, Hospital in Cichinicze, is the story of Melchior Wańkowicz (1926), and the film picture is The Gateaway of Europe by Jerzy Wójcik (1999). The film work was an adaptation of literary material; however, the ways memory is created in the two cases are different. Wańkowicz created a somewhat reporter-like, realistic, non-stereotypical record of events, while Wójcik’s story was more universal and at the same time more rooted in national symbolism.</p> Andrzej Szpulak Copyright (c) 2019 https://pressto.amu.edu.pl/index.php/i/article/view/21937 nie, 15 gru 2019 00:00:00 +0000 Kina na Dolnym Śląsku: rekonesans historyczny https://pressto.amu.edu.pl/index.php/i/article/view/21963 <p>The highest level of cinema attendance in Lower Silesia after World War II was recorded in 1957. It was higher than before the war and lower than during the war. In the years that followed it steadily declined, influenced by global processes, especially the popularity of television. This leads us to reflect on the continuity of historical and film processes, and to look at the period from the 1920s to the 1960s as the ‘classical’ period in the history of cinema, when it was the main branch of mass entertainment. The examples of three Lower Silesian cities of different size classes (Wroclaw, Jelenia Gora, Strzelin) show how before World War II the development from ‘the store cinema [or the kintopp] to the cinema palace’ proceeded. Attention is also drawn to the issue of the destruction of cinematic infrastructure and its post-war reconstruction. In 1958 the press commented that ‘if someone produced a map with the towns marked in which cinemas were located, the number would increase as one moved westwards’. This was due to Polish (post-war) and German (pre-war) cinema building. The discussion closes with a description of the Internet Historical Database of Cinemas in Lower Silesia, which collects data on cinemas that once operated or are now operating in the region.</p> Andrzej Dębski Andrzej Dębski Copyright (c) https://pressto.amu.edu.pl/index.php/i/article/view/21963 nie, 15 gru 2019 00:00:00 +0000 Filmowy Mińsk (1915–1918) – polskie doświadczenie podczas Wielkiej Wojny https://pressto.amu.edu.pl/index.php/i/article/view/21967 <p>Polish film life in the Eastern Borderlands of the former Republic of Poland is replete with numerous white spots. During World War One, however, activity was quite intense, as evidenced by book-length studies on Vilnius, Lviv and even Kiev. Minsk, the future capital of Belarus, also had its own film-related Polish culture. The article focuses on the functioning of Minsk cinemas and their repertoire, as well as the Polish accents associated with them, which repeatedly had a mobilizing and identitarian character around which the national community of this provincial city was organized. Minsk’s border status means its cinematographic ancestry can be claimed by various national cinematographies, including Russian and Belarusian, but the source query and resulting findings clearly indicate that in the years of the Great War, this center was most strongly associated with Polish culture</p> Mariusz Guzek Copyright (c) https://pressto.amu.edu.pl/index.php/i/article/view/21967 nie, 15 gru 2019 00:00:00 +0000 Filmowa franczyza. Od tematu do widowiska telewizyjnego (na podstawie cyklu „Prawdziwe Historie”) https://pressto.amu.edu.pl/index.php/i/article/view/21969 <p>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.</p> Wojciech Otto Copyright (c) https://pressto.amu.edu.pl/index.php/i/article/view/21969 nie, 15 gru 2019 00:00:00 +0000 Bunt i nostalgia. Filmy dokumentalne o festiwalu w Jarocinie https://pressto.amu.edu.pl/index.php/i/article/view/21970 <p>The aim of the article is to present and attempt to classify documentary films about the Jarocin music festival. The films are conventionally divided into those shot during the 1980s editions and those created in our century, which describe them festival in retrospect. By analyzing selected works, the author draws attention to whether and how the approach to the subject and the form of the film change over the years.</p> Stanisław Bitka Copyright (c) https://pressto.amu.edu.pl/index.php/i/article/view/21970 nie, 15 gru 2019 00:00:00 +0000 ABB, Fotodziennik czyli piosenka o końcu świata https://pressto.amu.edu.pl/index.php/i/article/view/21977 <p>.</p> Anna Beata Bohdziewicz Copyright (c) https://pressto.amu.edu.pl/index.php/i/article/view/21977 nie, 15 gru 2019 00:00:00 +0000 Ostensibly indirect narration in films and motion pictures. https://pressto.amu.edu.pl/index.php/i/article/view/21978 <p>The article proposes the hypothesis that on the basis of analytical and interpretative practices, when describing, analysing and interpretating moving images, a dichotomous, binary division into objective and subjective images is a highly questionable move: it does not lend itself to an absolutely unequivocal resolution. In film, as in the field of moving images as a whole, there is no objective narration, just as there is no subjective narration. What emerges is an ostensibly dependent narration (or ostensibly independent), blending and merging both of these aspirations in diverse ways.</p> Marek Hendrykowski Marek Hendrykowski Copyright (c) https://pressto.amu.edu.pl/index.php/i/article/view/21978 nie, 15 gru 2019 00:00:00 +0000 A tragedy tailored to the spirit of the times – Romeo and Juliet as interpreted by Franco Zeffirelli and Baz Luhrmann https://pressto.amu.edu.pl/index.php/i/article/view/21979 <p>This article discusses two film adaptations of Romeo and Juliet, i.e. one directed by Franco Zeffirelli and the other by Baz Luhrmann. It covers the following aspects: the structure of both the drama and its two film adaptations, the characters’ creation, the choice of setting and screen time, and the function of tragedy. Shakespeare’s language is characterised by unparalleled wit and powers of observation, and the final form of his plays is a clear indication of his ambivalent attitude towards tradition and the rigid structure of the drama. By breaking with convention, favouring an episodic structure, and blending tragedy with comedy, Shakespeare always takes risks, in a similar vain to the two directors who decided to make film adaptations based on his plays. Each technical device the adaptors selected could have turned out to be a wonderful novelty or a total disaster. The strength of both Zeffirelli’s and Luhrman’s adaptations is their emphasis on love and youth, which thanks to their directorial skill is perfectly in tune with the spirit of their respective times.</p> Anna Śliwińska Copyright (c) https://pressto.amu.edu.pl/index.php/i/article/view/21979 nie, 15 gru 2019 00:00:00 +0000 Telewizja interaktywna w Polsce (na przykładzie kanału aMazing Multimedia Polska) https://pressto.amu.edu.pl/index.php/i/article/view/21981 <p>The article is an attempt to describe the essence of interactive television based on the example of aMazingTV – the first interactive channel in Poland, established by Multimedia Polska in September 2009. The author presents the development of interactivity in life, art and media and reflects on the future of one of the most important features of the so-called new media.</p> <p>&nbsp;</p> Robert Kuciński Robert Kuciński Copyright (c) https://pressto.amu.edu.pl/index.php/i/article/view/21981 nie, 15 gru 2019 00:00:00 +0000