Vol. 21 No. 30 (2017): Docufiction

Vol. 21 No. 30 (2017)

Published 2018 April 26
Docufiction

Docufiction

Rafał Koschany
5–16
What is a document and does this question have any significance? (In the context of The Five Obstructions by Lars von Trier and Jørgen Leth)
https://doi.org/10.14746/i.2017.30.01.
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Małgorzata Jakubowska
17–29
Fakes of reality. Do we really need the paradigm of the documentary? From the ontology to the epistemology of movie images, i.e. there and back again
https://doi.org/10.14746/i.2017.30.02.
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Frédéric Dubois
31–44
Interactivity as a key feature redefining documentary reality
https://doi.org/10.14746/i.2017.30.03.
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Iwona Pomianowska
45–64
Modern documentary in the age of virtual reality: Deapening engagement with nonfiction storytelling through technological innovation
https://doi.org/10.14746/i.2017.30.04.
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Katarzyna Boratyn
65–75
Actualization, fragmentation, duration – an attempt to describe temporal perspectives of contemporary documentary
https://doi.org/10.14746/i.2017.30.05.
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Marek Hendrykowski
77–89
Zelig as docufiction
https://doi.org/10.14746/i.2017.30.06.
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Monika Talarczyk-Gubała
91–98
Barbara Hammer’s History Lessons as a documentary utopia
https://doi.org/10.14746/i.2017.30.07.
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Agnieszka Powierska
99–110
Life Animated. Autism told, drawn, experienced
https://doi.org/10.14746/i.2017.30.08
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Michał Piepiórka
111–133
The good, the bad and the ugly. Fuck For Forest by Michał Marczak in the social and media circulation
https://doi.org/10.14746/i.2017.30.09.
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Urszula Tes
135–150
The Cinema of Presence: an analysis of the relationship between documentary film and performance based on selected examples
https://doi.org/10.14746/i.2017.30.10.
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Justyna Król
151–164
That Dragon, Cancer – a personal documentary in the form of a video game
https://doi.org/10.14746/i.2017.30.11.
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Joanna Sikorska
165–175
From reality to virtuality: the use of photogrammetry in the video game The Vanishing of Ethan Carter
https://doi.org/10.14746/i.2017.30.12.
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Student films

Katarzyna Mąka-Malatyńska
178–193
Documentary school films of the 50s and 60s
https://doi.org/10.14746/i.2017.30.13.
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Karolina Dzieniszewska
194–202
The poetic realism of a child’s world – small tragedies in the school etudes of Dorota Kędzierzawska
https://doi.org/10.14746/i.2017.30.14
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Marek Hendrykowski
203–212
The poetics of Klara Kochańska’s film etude Lodgers
https://doi.org/10.14746/i.2017.30.15.
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Filmmaker workshop

Roderick Coover, Katarzyna Boratyn
215–226
Storytelling in VR, CAVES and other emerging forms: An interview with Roderick Coover by Katarzyna Boratyn
https://doi.org/10.14746/i.2017.30.16.
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Anna Desponds, Anna Szylar
227–246
Camera rolling, action, reaction. Interactive document – study of development prospects in Poland
https://doi.org/10.14746/i.2017.30.17.
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Jacek Nagłowski
247–257
Virtual reality and realism
https://doi.org/10.14746/i.2017.30.18.
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Marek Hendrykowski
259–267
Semiotic aspects of virtual reality
https://doi.org/10.14746/i.2017.30.19.
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Author Gallery

Ewa Ciechanowska, Marcjanna Urbańska
269-280
You will fade, anyway you'll do as you like
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Varia

Agnieszka Kwiatkowska
282–291
Niosąc ziemię. A documentary as intersemiotic translation
https://doi.org/10.14746/i.2017.30.20.
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Marek Hendrykowski
292–301
An Actor as a Digital Marionet, or Edward Gordon Craig in the Cinema of the Future
https://doi.org/10.14746/i.2017.30.21.
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Anna Flagmańska
302–311
A television auteur? The case of Matthew Weiner
https://doi.org/10.14746/i.2017.30.22.
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Małgorzata Jakubowska, Monika Michałowska
312–323
Turning a blind eye to dying and eroticism: some remarks on contemporary cinema
https://doi.org/10.14746/i.2017.30.23.
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Notes about authors

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323-326
Notes about authors
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327-330
Noty o autorach
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