New Polish Films 2016
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German Films Quarterly 1/2021
GFQGERMAN FILMS QUARTERLY WITH ARTICLES AND PORTRAITS ON FACE TO FACE WITH GERMAN FILMS – THE FILMMAKERS DIVERSITY IN GERMAN FILMMAKING DIRECTORS BARBARA OTT & JULIAN RADLMAIER PRODUCER MARTIN HEISLER ISSUE 1-2021 ACTOR & EUROPAN SHOOTING STAR ALBRECHT SCHUCH efp_ESS2021_Anzeige_GERMANFILM_148x210_pfad_druck.indd 1 18.01.21 11:23 GFQ 1-2021 INTRODUCTION © Kurt Krieger © Kurt Dear Readers, The pandemic has changed the film industry to a great extent, bringing it close to a standstill at times in 2020. Despite the challenges we and the industry are facing, we are optimistic about 2021. This is because we love cinema and good films and series – and particularly in these difficult times, they are also some thing that is needed by audiences around the world. Time and again in recent years, German feature films and series have succeeded in captivating viewers abroad, and we are confident that this will be the case in 2021 as well. In particular, the new wave of German documentaries is establishing itself increasingly as a favourite with international audiences. We are just as proud of the German Films campaign FACE TO FACE, which has been in existence for six years now, and delighted that we will be able to continue it with a great new pool of talent in 2021 – despite the difficult current conditions. Films and series are created through the work of a large team, which is why we have decided to highlight a greater diversity of film professions in 2021 and are proudly presenting the premiere of our new faces in this issue of GFQ. German Films Quarterly will broaden its format in 2021: We will also open our publication to contri butions dealing with internationally controversial topics in the film industry. -
Heinrich Schütz Lukas-Passion Ars Nova Copenhagen, Paul Hillier DACAPO 8.226019 HEINRICH SCHÜTZ (1585-1672) Lukas-Passion SWV 480 (1666) 1 Eingang 1:34
HEINRICH SCHÜTZ Lukas-Passion Ars Nova Copenhagen, Paul Hillier DACAPO 8.226019 HEINRICH SCHÜTZ (1585-1672) Lukas-Passion SWV 480 (1666) 1 Eingang 1:34 Lukas-Passion (1666) 2 Evangelist: Es war aber nahe das Fest der süßen Brot 14:03 Historia des Leidens und Sterbens unsers Herrn und Heilandes 3 Evangelist: Und er ging hinaus nach seiner Gewohnheit 9:17 Jesu Christi nach dem Evangelisten St. Lukas 4 Evangelist: Die Männer aber, die da Jesum hielten 3:19 5 Evangelist: Und der ganze Haufe stund ab 7:19 Evangelist: Johan Linderoth Jesus: Jakob Bloch Jespersen 6 Evangelist: Aber sie lagen ihm an mit großen Geschrei 11:09 Ars Nova Copenhagen 7 Evangelist: Da aber der Hauptmann sahe 3:54 Paul Hillier, conductor 8 Beschluß 2:07 Sopranos Total: 52:41 Louise Skovbæch Korsholm, Else Torp (Die Magd), Hilde Ramnefjell Dolva Altos Ellen Marie Brink Christensen, Rikke Lender, Linnea Lomholt (1. Schächer) Tenors Kasper Eliassen, Tomas Medici (1. Knecht, 2. Schächer), Poul Emborg (Petrus) Basses Asger Lynge Petersen (2. Knecht), Henrik Lund Petersen (Pilatus), Thomas Kiørbye Dacapo is supported by the Danish Arts Council Committee for Music HEINRICH SCHÜTZ (1585-1672) Lukas-Passion SWV 480 (1666) 1 Eingang 1:34 Lukas-Passion (1666) 2 Evangelist: Es war aber nahe das Fest der süßen Brot 14:03 Historia des Leidens und Sterbens unsers Herrn und Heilandes 3 Evangelist: Und er ging hinaus nach seiner Gewohnheit 9:17 Jesu Christi nach dem Evangelisten St. Lukas 4 Evangelist: Die Männer aber, die da Jesum hielten 3:19 5 Evangelist: Und der ganze Haufe stund ab 7:19 Evangelist: Johan Linderoth Jesus: Jakob Bloch Jespersen 6 Evangelist: Aber sie lagen ihm an mit großen Geschrei 11:09 Ars Nova Copenhagen 7 Evangelist: Da aber der Hauptmann sahe 3:54 Paul Hillier, conductor 8 Beschluß 2:07 Sopranos Total: 52:41 Louise Skovbæch Korsholm, Else Torp (Die Magd), Hilde Ramnefjell Dolva Altos Ellen Marie Brink Christensen, Rikke Lender, Linnea Lomholt (1. -
Przemysław Benken, Tajemnica Śmierci Jana Rodowicza „Anody”
MONOGRAFIE PRZEMYSŁAW BENKEN PRZEMYSŁAW BENKEN TAJEMNICA ŚMIERCI JANA RODOWICZA „ANODY” TOM 120 MONOGRAFIE centralny projekt badawczy IPNAparat bezpieczeń- stwa w walce z podziemiem poli- tycznym i zbrojnym 1944-1956 INSTYTUT PAMIĘCI NARODOWEJ KOMISJA ŚCIGANIA ZBRODNI PRZECIWKO NARODOWI POLSKIEMU PRZEMYSŁAW BENKEN WARSZAWA 2019 Recenzenci prof. dr hab. Aleksander Smoliński dr hab. Patryk Pleskot Projekt graficzny Krzysztof Findziński Projekt okładki Sylwia Szafrańska Redakcja Magdalena Jagielska Korekta Magdalena Pabich Redakcja techniczna Katarzyna Szubka Indeks osób Inga Jaworska-Róg Skład i łamanie Wojciech Czaplicki © Copyright by Instytut Pamięci Narodowej Komisja Ścigania Zbrodni przeciwko Narodowi Polskiemu, Warszawa 2019 Seria „Monografie”: tom 120 ISBN 978-83-8098-569-8 Zapraszamy na stronę internetową www.ipn.gov.pl oraz do księgarni internetowej www.ipn.poczytaj.pl SPIS TREŚCI Wstęp ................................................. 7 1. Przeciwko dwóm totalitaryzmom – droga ku przeznaczeniu .. 17 „Anoda” ............................................. 17 Wiktor Herer ......................................... 29 „Górnik”, „Odwet”, „Zaręba” i inni ........................ 41 „Sprawa «Zośki»” ..................................... 77 2. Morderstwo, nieudana próba ucieczki czy samobójstwo? ....................................... 95 Aresztowanie, przebieg śledztwa i śmierć „Anody” wersja przedstawiona przez funkcjonariuszy ................. 95 Śmierć przez zastrzelenie ................................ 108 Umyślne pobicie ze skutkiem -
УДК 81.33 an ARTISTIC IMAGE METAPHORICITY: CULTURAL MEMORY and TRANSLATION V.A. Razumovskaya, E.B. Grishaeva . Abstract the A
УДК 81.33 AN ARTISTIC IMAGE METAPHORICITY: CULTURAL MEMORY AND TRANSLATION V.A. Razumovskaya, E.B. Grishaeva . Abstract The article presents a complementary semantic-semiotic analysis of an artistic image in the framework of a literary text. The analysis is followed by post-translation descriptions. Being generated and functioning within a literary text an artistic image is considered to be an extended metaphoric formation primarily destined to fulfill the aesthetic function. Particular attention is paid to the cultural information and memory embodied in a unique cultural code presented in an artistic image and closely connected with its metaphoric characteristics. The present research was conducted on the material of the “strong” text of the Russian culture – “The Master and Margarita” by M. Bulgakov. The artistic image of Bulgakov’s tom-cat Behemoth is a heterogeneous metaphoric formation combining the cultural memory of a Biblical monster Behemoth, zoo-metaphorical characteristics of a hippopotamus (as a real fauna representative) and various connotations of a black tom-cat in its real and mythological hypostases. The research methodology assumes integrated analysis combining mythopoetic, hermeneutic and comparative methods. In the situation of literary translation, a literary image can be considered as a regular unit of translation, the reconstruction of which in “other” languages and cultures requires special translator’s decisions and application of effective translation techniques and strategies. Keywords: “Strong” text; artistic image; cultural information and memory; cultural code; metaphor; aesthetic effect; intertextuality; “The Master and Margarita”; Behemoth; cognitive equivalence. Introduction Any literary text is the unique result of individual perception, image comprehension and artistic reflection of the real or fiction life. -
Parish Library Catalogue by Categories
Author Title pp Category Notes Anon Hymns to Christ and a concert of miniatures 124 Arts Hymns and miniatures from the first millennium Anon In Praise of Mary 110 Arts Hymns and miniatures from the first millennium Backhouse, J The Lindisfarne Gospels 92 Arts A description of the work giving details of its writing and significance with photographs Barnes, Trevor Celebrating 50 Songs of Praise years 110 Arts Beckett, Sister Sister Wendy’s Bible Treasury: Stories and 225 Arts Through splendid paintings on the subject of the characters & Wendy wisdom through the eyes of great painters events of the Bible, the author offers a calm, easily understood interpretation & also spiritual interest & nourishment Binney, M & Change & Decay: The Future of Our Churches 192 Arts A collection of essays by architectural historians and members of Burman, P eds. the clergy look at the problem of underused churches Borchgrave, A Journey into Christian Art 208 Arts ‘A treasure for the eye & the mind’ (JG) – superb reproductions of Helen de paintings from over two millennia Brown, Michelle The Lion Companion to Christian Art 445 Arts A beautifully produced and extensively illustrated book which P demonstrates the role of painting, sculpture and architecture in the spread of the Christian faith Carey, John What good are the Arts? 270 Arts Controversial look by a professor of English Literature at our preconceptions about the value of the arts Catholic A Guide to the Passion – 100 questions about 78 Arts A scene-by-scene analysis of the Mel Gibson film. Exchange, -
Documentary On
TV FICTION Details of all programmes nominated for PRIX EUROPA 2020 are based on the information provided by the submitting organisation. TV FICTION Programmes in Competition 2020 01 Vienna Blood Austria 02 Blackout Belgium 03 Actor Czech Republic 04 Traitor Estonia 05 Peacemaker Finland 06 Merkel Germany 07 The Turncoat - Part 1 Germany 08 The Windermere Children Germany 09 Unterleuten Germany 10 The Minister Iceland 11 My Brilliant Friend - The Story of a New Name Italy 12 ANNE+Sara The Netherlands 13 Bitch The Netherlands 14 22 July Norway 15 The Butler Poland 16 24 Land – The Spy Portugal 17 Spring on the Last Lake Serbia 18 Quarantine Diaries Spain 19 The Paradise Spain 20 Caliphate Sweden 21 Limboland Sweden 22 Labyrinth of Peace Switzerland 23 No. 47 - Sophie Switzerland 24 Anthony United Kingdom 26 Foodie Love Spain TV FICTION Vienna Blood, Episode 1 Vienna Blood Vienna Blood is set in 1900s Vienna: a hot bed of philosophy, science and art, where a clash of cultures and ideas play out in the city’s grand cafes and opera houses. Max Liebermann is a brilliant young English doctor, studying under the famed psychoanalyst Sigmund Freud. Max is keen to understand the criminal mind and begins to observe Oskar Rheinhardt, a Detective Inspector in the Vienna Police Department, who is struggling with a perplexing case. Max’s extraordinary skills of perception and forensics, and his deep understanding of human behaviour and deviance, help Oskar solve Vienna’s most mysterious cases. In ‘The Last Séance’ Junior doctor Max Liebermann is undertaking research in the new discipline of psychotherapy much to the disgust of his professor. -
Paris Cinema.1.1
01 02 03 The New Wave Hotel 04 05 Roland-François Lack 06 07 08 09 The association of the French New Wave with the kind of movement through urban 10 space that has been called flânerie is a familiar one. A defamiliarising strategy in this 11 chapter, and in my research more broadly,1 is to examine and occupy the spaces in 12 which New Wave films come to rest, countering a general assumption that cinema is 13 always about movement. The hotel is a peculiarly cinematic stopping place because, it 14 has been argued, it is ‘always already in motion’, a ‘ceaseless flux of reservations, occu- 15 pations and vacancies’.2 By fixing exactly the locations of Paris hotels in New Wave films 16 and by looking closely at the contents of the rooms in those hotels, this chapter will try 17 to resist the appeal of such mobility and fix its gaze firmly on its object, unmoved. The 18 suggestion will be, finally, that the French New Wave is less a cinema of flânerie than 19 it is a cinema of stasis; is as much a cinema of interiors as it is a cinema of the street. 20 What, cinematically, is particular about the New Wave’s use of hotels? New Wave 21 hotels are places of passage, temporary stopping places that signify transience and, in 22 the end, mobility. In her study of cinematic flânerie, Suzanne Liandrat-Guigues defines 23 the cinematographic image as ‘passage’,3 and though she goes on to illustrate the point 24 through New Wave films that follow characters as they walk in streets, fixing on their 25 ‘singular mobility’, here we will be following the New Wave’s characters into spaces 26 where walking is restricted. -
Herstory Revisionism. Women´S Participation in Political Upheavals
BALTIC Guest editor: WORLDS Weronika Grzebalska Herstory Revisionism Co-guest editor: Andrea Pető Introduction. Writing women’s history in times of illiberal revisionism hrough the past century, East- the front and the rear or the home front, Stemming from this perceived absence Central Europe has been the and symbolically subjugate women’s of women and their political participation scene of numerous spectacular emancipatory goals to revolutionary or in official narratives about the past, the T political upheavals and often national ones. rationale for women’s history of wars, violent political change: from revolutions, and political upheav- the Russian Revolution of 1917, als seems to have been straight- the Second World War, and the forward. First and foremost, it Warsaw Uprising of 1944to the inscribed women back into the 1956 revolution in Hungary and “blank spots” of official narra- the Velvet Revolution of 1989, tives about the past. In fact, from to Maidan protests of 2014 and the 1970s onwards, women’s and the subsequent war in Ukraine. gender history constituted itself All these events have since been as a vigorous field of study mostly transformed into potent political in reaction to the absence of myths, and their leaders serve as women and gender from written national or revolutionary heroes, history and collective memory. their interpretations shape fu- Hence the systemic omission ture political projects, and their of women from history, called commemorations define the “the problem of invisibility” by values underlying contemporary the prominent feminist scholar collectives. Women played active Joan Wallach Scott,3 has long roles in all of these watershed remained the foundational issue events, as feminist scholarship for women’s history. -
Herstory Revisionism
BALTIC WORLDSBALTIC A scholarly journal and news magazine. December 2017. Vol. X:4. Personal diaries on From the Centre for Baltic and East European Studies (CBEES), Södertörn University. the Russian Revolution December Vol. 2017. X:4 BALTIC WORLDSbalticworlds.com Herstory Revisionism Herstory Revisionism. Revisionism. Herstory • National heroines Writings and the “herstorical turn” and views • Gendered remembrance of political upheavals Women’s participation in political upheavals political in participation Women’s on women • Narratives of norm- warriors breaking women also in this issue Illustration: Karin Sunvisson UKRAINIAN WORRIES / AVANT-GARDE ART / ORIENTAL “OTHER” / NEGOTIATING NORD STREAM / NUCLEAR LEGACY Sponsored by the Foundation BALTIC2 for Baltic and East European Studies contents 3 colophon Baltic Worlds is published by WORLDSbalticworlds.com the Centre for Baltic and East European Studies (CBEES) at Södertörn University, Sweden. Editor-in-chief Ninna Mörner editorial in this issue Publisher Joakim Ekman Scholarly advisory council Thomas Andrén, Södertörn History, herstory and other stories … University; Sari Autio-Sarasmo, Aleksanteri Institute, Helsinki n this issue of Baltic Worlds, we present presented as custodians of the na- Universiy; Sofie Bedford, IRES, a selection of diary entries from 1917 in tion, or — in the opposite image — as theme Uppsala University; Michael Russia, the year of the Revolution. It is a enlightened, independent women interview Gentile, Oslo University; Markus 4 Anti-genderism. Feminism in fascinating read, with depictions of a tu- who leave family, country, and ide- Huss (chair), Stockholm University; Poland, Eva Karlberg Herstory Revisionism. Imultuous, epochal event, recorded by men and ology in order to shatter the exist- Katarina Leppänen, University of Women’s participation women known and unknown, revolutionaries ing order, associating danger with peer-reviewed in political upheavals Gothenburg; Thomas Lundén, and their detractors; with everything from ob- emancipation. -
The Shoah on Screen – Representing Crimes Against Humanity Big Screen, Film-Makers Generally Have to Address the Key Question of Realism
Mémoi In attempting to portray the Holocaust and crimes against humanity on the The Shoah on screen – representing crimes against humanity big screen, film-makers generally have to address the key question of realism. This is both an ethical and an artistic issue. The full range of approaches has emember been adopted, covering documentaries and fiction, historical reconstructions such as Steven Spielberg’s Schindler’s List, depicting reality in all its details, and more symbolic films such as Roberto Benigni’s Life is beautiful. Some films have been very controversial, and it is important to understand why. Is cinema the best way of informing the younger generations about what moire took place, or should this perhaps be left, for example, to CD-Roms, videos Memoi or archive collections? What is the difference between these and the cinema as an art form? Is it possible to inform and appeal to the emotions without being explicit? Is emotion itself, though often very intense, not ambivalent? These are the questions addressed by this book which sets out to show that the cinema, a major art form today, cannot merely depict the horrors of concentration camps but must also nurture greater sensitivity among increas- Mémoire ingly younger audiences, inured by the many images of violence conveyed in the media. ireRemem moireRem The Shoah on screen – www.coe.int Representing crimes The Council of Europe has 47 member states, covering virtually the entire continent of Europe. It seeks to develop common democratic and legal princi- against humanity ples based on the European Convention on Human Rights and other reference texts on the protection of individuals. -
458382683-Codul-Lui-Lucifer-Editia
H a v e il h a v u l im h a c o il h a v e i l . (LB. EBRAICĂ: D eşertăciunea deşertăciunilor , TOATE SÎNT DEŞERTĂCIUNE.) ECLESIASTUL 2 CODUL LUI LUCIFER C e l m ai m a r e p ă c a t a l o a m e n il o r E FRICA, SPAIMA DE A PRIVI ÎN FAŢĂ Ş-A RECUNOAŞTE ADEVĂRUL. EL E CRUD, ACEST ADEVĂR, DAR NUMAI EL FOLOSEŞTE. MIHAI EMINESCU DAN CRISTIAN IONESCU • DAN CRISTIAN IONESCU CODUL LUI LUCIFER Vechiul Testament - un lung şir de crime şi nelegiuiri săvîrşite de conducătorii evrei. Crimele şi nelegiuirile lor continuă şi azi, nestingherite de nimeni. Ediţa a cincea 2020 1 .. .facă-se voia Ta, precum în cer şi pe pămînt Matei 6.10 2 Pentru a înţelege această carte, este nevoie să cunoşti măcar puţin Biblia. Pentru a înţelege această carte, este nevoie să cunoşti măcar puţin istoria. Pentru a înţelege această carte, este însă nevoie, întîi de toate, să vrei cu adevărat să o înţelegi. Degeaba au oamenii ochi, dacă refuză să vadă. Degeaba au oamenii urechi, dacă refuză să audă. Degeaba au oamenii gură, dacă le e frică să mărturisească adevărul. 3 Dedic această carte memoriei părinţilor şi bunicilor mei, fără de care nu aş fi avut posibilitatea să o scriu. Mamei mele, Marinela Ionescu-Delenuş şi tatălui meu, Mircea Ionescu. Bunicilor mei materni, născuţi în munţii Macedoniei - Dumitru Delenuş, născut în Cruşova (Kruşevo) şi Domnica Delenuş (fostă Şcutra), născută în Molovişte. Bunicilor mei paterni, născuţi în munţii Căpăţînei - Victor Ionescu şi Maria Ionescu (fostă Comănescu), din Vaideeni, Vîlcea. -
1 INTRODUCTION This Dissertation Will Discuss the Perception of Polish
Cut off by the 'Iron Curtain' Item Type Thesis Authors Draniewicz, Anna B. Rights <a rel="license" href="http://creativecommons.org/licenses/ by-nc-nd/3.0/"><img alt="Creative Commons License" style="border-width:0" src="http://i.creativecommons.org/l/by- nc-nd/3.0/88x31.png" /></a><br />The University of Bradford theses are licenced under a <a rel="license" href="http:// creativecommons.org/licenses/by-nc-nd/3.0/">Creative Commons Licence</a>. Download date 24/09/2021 13:59:05 Link to Item http://hdl.handle.net/10454/4927 INTRODUCTION This dissertation will discuss the perception of Polish Cinema in English- language literature. During the collection of my secondary data, which concentrated mainly on English-language books but also includes newspapers and Internet resources, I encountered many interesting issues. These are divided here into three categories discussed in three chapters: ‘Stereotypes and Errors’ that result from the lack of knowledge thus causing misunderstandings, ‘Deficiencies’ about the absence of some films and directors in the English-speaking world and ‘Different Perspectives’ that reveal some interesting comparisons. The judgements applied to define these sections are respectively: accuracy (correctness of the facts), novelty (unknown trends) and originality of ideas (absent in Polish film criticism). During my research I have discovered the main factors distorting the perception of Polish cinema. I talked about them during my presentation entitled ‘English-Language Critical Engagements with Polish Cinema’ during the ‘Polish Cinema in an International Context’ conference held in Manchester in December 2009. Most of these issues are addressed in Chapter One, which outlines the problems that English-language authors seem to have with the Polish language, the background political issues and the lack of knowledge about some of the periods of Polish cinema.