DOCSLIB.ORG

Bamcinématek Presents the Waking Dreams of Wojciech Has, the First Major New York Retrospective of the Polish Auteur in Almost Two Decades, Oct 15—27

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bamcinématek Presents the Waking Dreams of Wojciech Has, the First Major New York Retrospective of the Polish Auteur in Almost Two Decades, Oct 15—27 BAMcinématek presents The Waking Dreams of Wojciech Has, the first major New York retrospective of the Polish auteur in almost two decades, Oct 15—27 Includes the NY premiere of the brand new restoration of How To Be Loved New restorations of The Saragossa Manuscript and The Hourglass Sanatorium, plus eight archival 35mm prints The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek. Co-presented by the Polish Cultural Institute New York. Brooklyn, NY/Sep 21, 2015—From Thursday, October 15, through Tuesday, October 27, BAMcinématek presents The Waking Dreams of Wojciech Has, the first major retrospective of the Polish master in nearly 20 years. This comprehensive series showcases all his feature films in new restorations and archival 35mm prints, offering an all-too-rare opportunity to experience these staggeringly beautiful and profound works. The cinematic dreamscapes of Polish auteur Wojciech Has (1925—2000) are extraordinary odysseys through history, memory, and fantasy. In the metaphysical worlds Has conjures, time is a subjective experience that warps and bends to the rhythms of the subconscious. That such personal, visionary films were made under the restrictions of Communism makes them all the more remarkable. Born in Krakow to Catholic and Jewish parents, Has was a contemporary of the better-known Andrzej Wajda (Ashes and Diamonds), and like him was associated with the Polish Film School, which used a poetic approach to skirt the dictates of Communist Bloc propaganda. Has’ signature film, The Saragossa Manuscript (1965—Oct 17, 23 & 24), which director Martin Scorsese called “wild, hallucinatory… truly mesmerizing” is a Russian nesting doll of a movie, based on Jan Potocki’s eponymous novel, in which a Napoleonic-era soldier finds an enchanted book on a battlefield and falls into the cobweb of intricate, interlocking fairy tales within. This exuberant three-hour fantasy, with an electronic score by Krzysztof Penderecki, is “a collision of Chaucerian fable, Tarot imagery, and stark, corpse-strewn, anamorphic landscapes” (Michael Atkinson, The Village Voice). Shorn by a third of its length upon its US release, it became such a celebrated head movie that the Grateful Dead’s Jerry Garcia sponsored its restoration in the late 90s—it was his favorite movie. Before the breakthrough of Saragossa, Has made emotionally intimate, sociologically astute films in a late-neorealist style—although the dreamy imagery that would flourish in Saragossa occasionally punctuates all of them. Billy Wilder’s harrowing The Lost Weekend plays like a day in the park compared to Has’ debut feature, The Noose (1958—Oct 18), a claustrophobic, despairing portrait of a white-knuckling alcoholic fighting a losing battle with the bottle. Obsessed with memory and loss, Has contrasts a romantic idyll with its bitter postwar reprise in Farewells (Lydia Ate the Apple) (1958—Oct 18) and etches a bygone moment of pre-war life in the melancholy memoir One Room Tenants (1960—Oct 19). In Goodbye to the Past (1961—Oct 21), about a worldly actress’ return to a hometown that feels like part of a different world, and Gold Dreams (1962—Oct 25), in which a young fugitive hides out in the vast moonscape of a frontier construction site, Has casts a dubious eye on the progress of the new Poland. Before his tragic death in a train mishap, Saragossa star Zbigniew Cybulski (often described as Poland’s James Dean) did a star turn for Has in How To Be Loved (1963—showing on Oct 23 in a brand new restoration) as a coward, unworthy of his lover’s devotion yet still wretchedly sympathetic, then returned in The Codes (1966—Oct 16), an inquiry into a teenager’s wartime disappearance and “among Has' most powerful, introspective works” (Brian Baxter, BFI). The ornate historical epic The Doll (1968—Oct 20) was Has’ first eye-popping excursion into color, and he fused its gorgeous palette with the surrealist imagery of Saragossa to make his ultimate head trip: the indescribable Cannes Jury Prize winner The Hourglass Sanatorium (1973—Oct 15, 16 & 22), based on the novel by Bruno Schulz, in which the hospital of the title proves to be a rabbit hole into fantasy for a hapless visitor. Sanatorium clashed so conspicuously with the naturalistic bent of 70s Polish cinema that Has drew a decade-long filmmaking ban, only to make a triumphant comeback with the poignant, minimalist Chekhov adaptation An Uneventful Story (1983—Oct 22), an atypical work that is one of the major discoveries of the series. Write and Fight (1985—Oct 26) explores the fever dreams of a political prisoner, while his final two films—the zombie-narrated Memoirs of a Sinner (1986—Oct 25) and The Fabulous Journey of Balthazar Kober (1988—Oct 27), a sort of Forrest Gump of the Inquisition—represent a delightful return to the sort of seriocomic, period fantasy worlds first visited in Saragossa. For press information, please contact Hannah Thomas at 718.724.8002 / [email protected] The Waking Dreams of Wojciech Has Schedule Thu, Oct 15 7:30pm*: The Hourglass Sanatorium Fri, Oct 16 7:30pm: The Codes 9:30pm: The Hourglass Sanatorium Sat, Oct 17 7pm**: The Saragossa Manuscript Sun, Oct 18 4:15, 8:45pm: The Noose 6:30pm: Farewells (Lydia Ate the Apple) Mon, Oct 19 7, 9pm: One Room Tenants Tue, Oct 20 7:30pm: The Doll Wed, Oct 21 7:30, 9:15pm: Goodbye to the Past Thu, Oct 22 4:30pm: The Hourglass Sanatorium 7:30pm: An Uneventful Story Fri, Oct 23 3pm: The Saragossa Manuscript 7, 9:15pm: How To Be Loved Sat, Oct 24 7:30pm: The Saragossa Manuscript Sun, Oct 25 2, 6:30pm: Gold Dreams 4, 8:30pm: Memoirs of a Sinner Mon, Oct 26 7:30pm: Write and Fight Tue, Oct 27 7:30pm: The Fabulous Journey of Balthazar Kober *Introduction by Columbia University film professor and author Annette Insdorf, **Introduction by filmmaker, writer, and professor at City College of New York (CUNY), Andrzej Krakowski. Film Descriptions All films in 35mm unless otherwise noted. The Codes (1966) 80min With Jan Kreczmar, Zbigniew Cybulski, Ignacy Gogolewski. In this hallucinatory mystery of memory and mysticism, a man (Kreczmar) who fled Poland during World War II returns to Krakow to track down his long-lost son (Cybulski) in a quest that dredges up painful family secrets. Has’ follow-up to The Saragossa Manuscript employs feverish dream imagery and an expressionistic soundtrack, resulting in a haunting investigation of wartime guilt. Fri, Oct 16 at 7:30pm The Doll (1968) 139min With Mariusz Dmochowski, Beata Tyszkiewicz, Tadeusz Fijewski. In this visually stunning epic, based on the eponymous 19th-century tome by Boleslaw Prus, a nouveau riche merchant (Dmochowski) in Warsaw is reduced to humiliation as he tries to insinuate himself into the entrenched aristocracy. This old money-new money clash plays out against a richly realized period backdrop revealed via Has’ relentlessly panning camera. Tue, Oct 20 at 7:30pm The Fabulous Journey of Balthazar Kober (1988) 115min With Rafal Wieczynski, Michael Lonsdale, Adrianna Biedrzynska. Has’ final film is this richly imagined 16th-century odyssey. The titular alchemist (Wieczynski) travels across a plague-ridden Germany, encountering Kabbalists, the angel Gabriel, and his deceased parents (including the legendary Emmanuelle Riva as his mother) along the way. Frédérick Tristan’s picaresque novel proves perfect source material for Has’ consciousness-altering brand of cinema fantastique. Tue, Oct 27 at 7:30pm Farewells (Lydia Ate the Apple) (1958) 97min With Maria Wachowiak, Tadeusz Janczar, Gustaw Holoubek. One of Has’ ripe-for-discovery early works examines life in both pre- and post-World War II Poland via the story of two unlikely lovers (Janczar and Wachowiak) wrenched apart by war. After he emerges from a concentration camp years later, the two are reunited to discover that both they and the world around them have changed. Has imbues this reflection on the passage of time with a deeply affecting sense of loss and nostalgia. Sun, Oct 18 at 6:30pm Gold Dreams (1962) 91min With Wladyslaw Kowalski, Krzysztof Chamiec, Barbara Krafftowna. A young man (Kowalski) consumed with guilt after an auto accident, in which he may or may not have killed a pedestrian, embarks on a tragicomic journey that leads him to a barren coal mine populated by misfits. Has (who appears in the film as a police officer) makes use of the subtly surreal settings to lend psychological depth to this social realist fable. Digibeta. Sun, Oct 25 at 2, 6:30pm Goodbye to the Past (1961) 72min With Lidia Wysocka, Wladyslaw Kowalski, Gustaw Holoubek. One of Has’ most sublime reflections on the passage of time concerns a famous actress (Wysocka) who returns to her hometown for her grandfather’s funeral. Her homecoming precipitates a journey through memory as she comes to terms with how the people, places, and traditions of her past have changed. Etched in gorgeous monochrome, this wistful mood piece is suffused with graceful melancholy. Digibeta. Wed, Oct 21 at 7:30, 9:15pm The Hourglass Sanatorium (1973) 125min With Jan Nowicki, Tadeusz Kondrat, Irena Orska. A young man (Nowicki) visits his ailing father in a crumbling sanatorium where time collapses and death never comes. The Hourglass Sanatorium conjures a surrealist fantasia in which past and present—from the Three Wise Men to the Holocaust—collide in a mind-bending phantasmagoria. Has’ arthouse masterpiece, based on the writings of Polish author Bruno Schulz, won the Jury Prize at Cannes. New digital restoration. Thu, Oct 15 at 7:30pm Introduction by Annette Insdorf Fri, Oct 16 at 9:30pm Thu, Oct 22 at 4:30pm How To Be Loved (1963) 97min With Barbara Krafftówna, Zbigniew Cybulski, Artur Mlodnicki.
Load more

Recommended publications
  • Contemporary Polish Cinema (Spring Term)
    University of Pittsburgh Department of Slavic Languages and Literatures Polish 1450 - Contemporary Polish Cinema (Spring Term) Instructor: Jolanta Lapot (visiting from Lodz Film School of Poland, 1999-2000) Course Meets: W CL249 5:45-10:00 Office Hours: Th, Fr 11:00-2:00 Office:1417 Cathedral of Learning e-mail:[email protected]. Phone: 624-5707 General Course Description The course presents contemporary Polish cinema from 1945 to the present. Concepts will be studied in their historical, political, philosophical, and aesthetic perspective. We will examine the important national themes in modern Polish cinema, relating them to the history of Poland and Eastern Europe. The main trends (schools, movements) in Polish cinema will be examined such as the so-called PolishSchool and the Cinema of Moral Concern. The works of most important modern Polish film-makers will be examined, including the works of Andrzej Wajda, Andrzej Munk, Agnieszka Holland, Roman Polanski, Krzysztof Kieslowski, Wladyslaw Pasikowski, Leszek Wosiewicz, and Ryszard Bugajski. Films to be examined may be divided into three general groups 1. Films representing post-war history and, more specifically, films covering important social and political transformations, but made after the fact. These are sometimes called revisionist films in search of historical truth, previously distorted by political ideology. 2. Films dealing with World War II. We will look at different ways in which the war is treated by film-makers over the course of the post-war period. 3. The final group of films is chosen purely on the basis of artistic merit. The role of film as an art form will be examined during the different periods of the post-World-War-Two era.
    [Show full text]
  • Film in the Shadow of History Józef Lejtes and Polish School
    Kamila Żyto Department of Media and Audiovisual Culture University of Łódź Film in the Shadow of History Józef Lejtes and Polish School National history has always been one of the crucial topics in Polish cinema. Almost from the beginning of its existence films have been de- picting storms of historic changes. Why does the situation look like that? The answer could be either obvious or not easy at all. At first, it is worth to realize that Polish history was cruel, painful, dramatic and complicated, which is of course not a convincing, final argument. Many countries expe- rienced cruelty of fate, were forced to struggle for their independence, suf- fered from inconveniences of wars. But expectations and the role attributed to fine arts deeply rooted in national variant of romanticism are typically “Polish”. Creating and upholding national identity, which for years was in danger of disappearing, seems to be considered as an act of courage and the way of manifesting patriotism. As a result, one of the main aims of literature, painting and then, from the beginning of 20th century, cinema was to support “spirit of Polish character”. Paradoxically, or maybe as a con- sequence of “being on duty”, film directors quite often rebel against roman- tic paradigm and instead of paying tribute to the motherland by guarding national unity, they were trying to deconstruct and show the weakness of national mythology, which was glorifying lonely and utopian heroism of individuals. As a result, film directors, whose works will be discussed as case studies, were in some respect the heirs of literary heritage of romanticism aware of its power and long lasting influence.
    [Show full text]
  • Fear and Love in Film the Loop by Wojciech Jerzy Has∗
    US-China Foreign Language, January 2016, Vol. 14, No. 1, 57-71 doi:10.17265/1539-8080/2016.01.009 D DAVID PUBLISHING Fear and Love in film The Loop by Wojciech Jerzy Has∗ Iwona Grodź Adam Mickiewicz University, Poznan, Poland The topic of the paper is The Loop (Pętla, 1956), the first feature film by Wojciech Jerzy Has, a well-known director from the so-called “Polish film school”. The film is based on a story by Marek Hłasko, the author of an internationally known collection of stories A Pretty Girl and a novel Owl, the Baker’s Daughter. The Loop is a story of Kuba, an alcoholic who is making his last attempt to get over his addiction. The viewers see one day of his life. In Has’s adaptation the main protagonist is not simply a drunk, he is someone who cannot come to terms with the new reality—in the world of appearances, falsehood, during the so-called “small stabilisation”. Thoroughly analysed will be Kuba’s romantic relations with two women: a former love and his present fiancée who is trying to liberate him not only from the world, but primarily from himself. Love and fear are the two feelings that characterise the emotional state of the film’s main protagonist. Important will also be the perception of The Loop’s protagonist as everyman, i.e., someone who could be everybody and nobody at the same time; someone who wishes to finally break up with the past, but is too tightly attached to it. His relations with a group of former friends, his relationship with the city prevent him from escaping.
    [Show full text]
  • 1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, A
    1. Title: 13 Tzameti ISBN: 5060018488721 Sebastian, a young man, has decided to follow instructions intended for someone else, without knowing where they will take him. Something else he does not know is that Gerard Dorez, a cop on a knife-edge, is tailing him. When he reaches his destination, Sebastian falls into a degenerate, clandestine world of mental chaos behind closed doors in which men gamble on the lives of others men. 2. Title: 12 Angry Men ISBN: 5050070005172 Adapted from Reginald Rose's television play, this film marked the directorial debut of Sidney Lumet. At the end of a murder trial in New York City, the 12 jurors retire to consider their verdict. The man in the dock is a young Puerto Rican accused of killing his father, and eleven of the jurors do not hesitate in finding him guilty. However, one of the jurors (Henry Fonda), reluctant to send the youngster to his death without any debate, returns a vote of not guilty. From this single event, the jurors begin to re-evaluate the case, as they look at the murder - and themselves - in a fresh light. 3. Title: 12:08 East of Bucharest ISBN: n/a 12:08pm on the 22 December 1989 was the exact time of Ceausescu's fall from power in Romania. Sixteen years on, a provincial TV talk show decides to commemorate the event by asking local heroes to reminisce about their own contributions to the revolution. But securing suitable guests proves an unexpected challenge and the producer is left with two less than ideal participants - a drink addled history teacher and a retired and lonely sometime-Santa Claus grateful for the company.
    [Show full text]
  • The Post-Traumatic Theatre of Grotowski and Kantor Advance Reviews
    The Post-traumatic Theatre of Grotowski and Kantor Advance Reviews “A brilliant cross-disciplinary comparative analysis that joins a new path in theatre studies, revitalizing the artistic heritage of two great twentieth-century masters: Tadeusz Kantor and Jerzy Grotowski.” —Professor Antonio Attisani, Department of Humanities, University of Turin “Among the landmarks of postwar avant-garde theatre, two Polish works stand out: Grotowski’s Akropolis and Kantor’s Dead Class. Magda Romanska scrupulously corrects misconceptions about these crucial works, bringing to light linguistic elements ignored by Anglophone critics and an intense engagement with the Holocaust very often overlooked by their Polish counterparts. This is vital and magnificently researched theatre scholarship, at once alert to history and to formal experiment. Romanska makes two pieces readers may think they know newly and urgently legible.” —Martin Harries, author of “Forgetting Lot’s Wife: On Destructive Spectatorship,” University of California, Irvine “As someone who teaches and researches in the areas of Polish film and theatre – and European theatre/theatre practice/translation more broadly – I was riveted by the book. I couldn’t put it down. There is no such extensive comparative study of the work of the two practitioners that offers a sustained and convincing argument for this. The book is ‘leading edge.’ Romanska has the linguistic and critical skills to develop the arguments in question and the political contexts are in general traced at an extremely sophisticated level. This is what lends the writing its dynamism.” —Dr Teresa Murjas, Director of Postgraduate Research, Department of Film, Theatre and Television, University of Reading “This is a lucidly and even beautifully written book that convincingly argues for a historically and culturally contextualized understanding of Grotowski’s and Kantor’s performances.
    [Show full text]
  • This Is How Andrzej Wajda, Born in Poland in 1926 and Thirteen-Years
    “GOD’S PLAYGROUND”: POLAND AND THE SECOND WORLD WAR IN WAJDA’S CINEMA GABRIELLA ELINA IMPOSTI Suddenly, in 1939, everything collapsed. My father was lost; he went to war and never came back. My mother could not stay at home, she had to go to work, we became workers. Our intelligentsia family found itself in completely different surroundings .… My father, Jakub Wajda, lived only to the age of 40. He was captain in the 72nd Infantry Regiment and died at Katyń. But until 1989 we were not allowed to make an inscription on the family tomb, saying where he was killed. This is how Andrzej Wajda, born in Poland in 1926 and thirteen-years old at the outbreak of the Second World War, remembers the shattering events of those years and their aftermath. Young Andrzej did not have “good papers”, so in order to survive, he had to work in his uncle’s locksmith’s shop in Krakow: Thanks to my father’s brothers, I was able to survive the occupation; I probably owe them my life, because my papers [documents] were very insufficient. I had to stay at home, I was scared even to go to the tram stop, because there was always some kind of control going on …. This work later helped me understand what physical labour really means, what it means to work every day, to go to work in the morning, and when later, in the 50’s, there was talk about the workers, the working class, I could say to myself ‘I have also been a worker’.
    [Show full text]
  • Id Title Year Format Cert 20802 Tenet 2020 DVD 12 20796 Bit 2019 DVD
    Id Title Year Format Cert 20802 Tenet 2020 DVD 12 20796 Bit 2019 DVD 15 20795 Those Who Wish Me Dead 2021 DVD 15 20794 The Father 2020 DVD 12 20793 A Quiet Place Part 2 2020 DVD 15 20792 Cruella 2021 DVD 12 20791 Luca 2021 DVD U 20790 Five Feet Apart 2019 DVD 12 20789 Sound of Metal 2019 BR 15 20788 Promising Young Woman 2020 DVD 15 20787 The Mountain Between Us 2017 DVD 12 20786 The Bleeder 2016 DVD 15 20785 The United States Vs Billie Holiday 2021 DVD 15 20784 Nomadland 2020 DVD 12 20783 Minari 2020 DVD 12 20782 Judas and the Black Messiah 2021 DVD 15 20781 Ammonite 2020 DVD 15 20780 Godzilla Vs Kong 2021 DVD 12 20779 Imperium 2016 DVD 15 20778 To Olivia 2021 DVD 12 20777 Zack Snyder's Justice League 2021 DVD 15 20776 Raya and the Last Dragon 2021 DVD PG 20775 Barb and Star Go to Vista Del Mar 2021 DVD 15 20774 Chaos Walking 2021 DVD 12 20773 Treacle Jr 2010 DVD 15 20772 The Swordsman 2020 DVD 15 20771 The New Mutants 2020 DVD 15 20770 Come Away 2020 DVD PG 20769 Willy's Wonderland 2021 DVD 15 20768 Stray 2020 DVD 18 20767 County Lines 2019 BR 15 20767 County Lines 2019 DVD 15 20766 Wonder Woman 1984 2020 DVD 12 20765 Blackwood 2014 DVD 15 20764 Synchronic 2019 DVD 15 20763 Soul 2020 DVD PG 20762 Pixie 2020 DVD 15 20761 Zeroville 2019 DVD 15 20760 Bill and Ted Face the Music 2020 DVD PG 20759 Possessor 2020 DVD 18 20758 The Wolf of Snow Hollow 2020 DVD 15 20757 Relic 2020 DVD 15 20756 Collective 2019 DVD 15 20755 Saint Maud 2019 DVD 15 20754 Hitman Redemption 2018 DVD 15 20753 The Aftermath 2019 DVD 15 20752 Rolling Thunder Revue 2019
    [Show full text]
  • Sceny Polskie Pismo Związku Artystów Scen Polskich ZASP ISSN: 2657-3490 9/10 Egzemplarz Bezpłatny Fot
    Sceny Polskie Pismo Związku Artystów Scen Polskich ZASP ISSN: 2657-3490 9/10 egzemplarz bezpłatny fot. Mateusz Grochockifot. Mateusz 15 maja 2021 roku na Placu Teatralnym u stóp pomnika Wojciecha Bogusławskiego, sztandar ZASP utkany na kształt pierwowzoru, po poświęceniu przekazany został młodym reprezentantom naszego Stowarzyszenia. SPIS TREŚCI EDYTORIAL PUBLICYSTYKA 4 Bez złudzeń, bez masek 64 Kiedy zawód jest pasją Krystyna Piaseczna Anita Nowak 66 Pandemia, czyli panopticum jako bezlik Z PRAC ZARZĄDU czegoś Lidia Bogaczówna 5 Zdążyć przed kolejną falą Krystyna Piaseczna 68 Po lekturze Zbigniew Dolny 10 LX Walne Zebranie Delegatów ZASP za nami Krzysztof Szuster 11 LX Walne Zebranie Delegatów ZASP GALERIA SCENOGRAFÓW Redakcja 70 Julian Józef Antonisz 12 Sprawozdanie kwartalne z działalności Zarządu Głównego ZASP SYLWETKI Urszula Drzewińska 72 Jak działa jamniczek? Sabina Antoniszczak Z PRAC KOMISJI ZAGRANICZNEJ 77 Dziecinnie proste 17 22. Kongres FIA Sabina Antoniszczak Barbara Zawada 79 Jan Wilkowski. W stulecie urodzin 18 Budowanie dialogu społecznego na Henryk Izydor Rogacki zmieniającym się rynku pracy 83 30 lat, jak jeden dzień… Barbara Zawada Anita Nowak 22 DSF Kopenhaga 86 Dubbing – jedna ze scen polskich Barbara Zawada Zbigniew Dolny TEMAT NUMERU – TADEUSZ RÓŻEWICZ Z ŻYCIA ZASP 26 Lothe Lachmann Videoteatr Poza. 90 Marek Waszkiel z Nagrodą GUSTAW Czy tam były czary? Gabriel Michalik 91 Świat to za mało Agnieszka Kukuła 29 Różewicza obraz wartości Andrzej Piątek 95 Międzynarodowy Dzień Teatru 2021 w Łodzi Anna Bobrowska-Ekiert 32 „Kartoteka” w teatrze lalek Kamil Kopania 100 Szczecińscy artyści zasłużeni dla polskiego teatru 38 Tadeusz Różewicz, mój Mistrz Monika Gapińska Anna Kękuś 102 Być tam, gdzie się nie jest 40 Radomsko.
    [Show full text]
  • Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Content
    Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Lithuanian Cinema Special Edition for Lithuanian Film Days in Poland 2015 Content Introduction 5 Lithuania and Poland. Neighbourship in Filmic Form in the Cinema of the 1960s 6 A Short Review of Lithuanian Cinema 12 Feature Film after 1990: Generation Change, New Aspects and Challenges 18 Raimundas Banionis: Film Plots Dictated by Reality 22 Algimantas Puipa: My Work Starts Where the Novel Ends 26 Gytis Lukšas: I Measure My Life in Films 30 Valdas Navasaitis: Everything Is a Private Matter 34 Audrius Juzėnas: Evil Is Not an Abstraction; It Influences Our Destinies 38 Kristijonas Vildžiūnas: Finding Historical Truths 42 Kristina Buožytė: Film Is the Door to a Specific World 46 Ignas Jonynas: I Belong to a Generation Very Rich with Experience 48 Šarūnas Bartas’ Films 52 Šarūnas Bartas: The Philosopher of Lithuanian Cinema 54 Jonas Mekas’ Diary Films 60 Documentary Film after 1990 64 Audrius Stonys: Showing the Invisible 70 Arūnas Matelis: Films Emerge from Sensations 74 Janina Lapinskaitė: Heroes Carry Their Sadness Along with Them 78 Julija and Rimantas Gruodis: We Are Trying to Walk on the Bright Side of Life 82 Giedrė Žickytė: Film Is an Emotion 86 Index 89 Introduction ver the past decade, Lithuanian cinema of Lithuanian filmmakers is also pursuing new has experienced a period of intense opportunities and original forms of expression. change. The production of films in Films by such female film directors as Alantė OLithuania has been on the increase, as has the Kavaitė, Kristina Buožytė and Giedrė Žickytė audience’s interest in films produced domestically.
    [Show full text]
  • Representation of the Divided Self in Wojciech Has’S Film Adaptation of James Hogg’S Private Memoirs and Confessions of a Justified Sinner
    Interfaces Image Texte Language 37 | 2016 Appropriation and Reappropriation of Narratives The Mill, the Mirror and Identity: Representation of the Divided Self in Wojciech Has’s Film Adaptation of James Hogg’s Private Memoirs and Confessions of a Justified Sinner Jessy Neau Electronic version URL: http://journals.openedition.org/interfaces/296 DOI: 10.4000/interfaces.296 ISSN: 2647-6754 Publisher: Université de Bourgogne, Université de Paris, College of the Holy Cross Printed version Date of publication: 1 January 2016 Number of pages: 141-162 ISSN: 1164-6225 Electronic reference Jessy Neau, “The Mill, the Mirror and Identity: Representation of the Divided Self in Wojciech Has’s Film Adaptation of James Hogg’s Private Memoirs and Confessions of a Justified Sinner”, Interfaces [Online], 37 | 2016, Online since 19 March 2018, connection on 05 January 2021. URL: http:// journals.openedition.org/interfaces/296 ; DOI: https://doi.org/10.4000/interfaces.296 Les contenus de la revue Interfaces sont mis à disposition selon les termes de la Licence Creative Commons Attribution 4.0 International. 141 THE MILL, THE MIRROR AND IDENTITY: REPRESENTATION OF THE DIVIDED SELF IN WOJCIECH HAS’ FILM ADAPTATION OF JAMES HOGG’S PRIVATE MEMOIRS AND CONFESSIONS OF A JUSTIFIED SINNER Jessy Neau Il y a dans la somme d’un et un quelque chose qui n’existe ni dans l’un ni dans l’autre, le plus sans doute, et qui veut qu’un plus un fassent trois, de sorte que de l’opposition de Jekyll et Hyde naît l’Indifférent. Louis Aragon, La Mise à mort Published in 1824, Private Memoirs and Confessions of a Justified Sinner, by James Hogg, offers two versions of the same story, the first by an editor and the second by the protagonist.
    [Show full text]
  • Martin Scorsese Presents: Masterpieces of Polish Cinema Throughout North America
    INTRODUCTION In December 2011, filmmaker Martin Scorsese traveled to Poland to accept an honorary doctor- al degree from The Polish National Film, Television, and Theatre School in Łódź. There, Mr. Scors- ese met with Jędrzej Sabliński (a digital restoration expert, now with DI Factory), and reviewed a list of new digital restorations of Polish films. In the months following this visit, with the help of The Film Foundation, the two men came up with the idea of a North American tour of a series of restored Polish cinema classics. From an extensive catalogue of digitally restored films, Mr. Scorsese chose twenty-one masterpieces. The Film Foundation executive director, Margaret Bodde then worked with Mr. Sabliński to develop the program and recommended Milestone Films as the North American distributor for the series. Milestone will be touring the 21-film retrospective Martin Scorsese Presents: Masterpieces of Polish Cinema throughout North America. Premiering in New York City at the Film Society of Lincoln Center on February 5th, 2014, the series features films from some of Poland’s most accom- plished and lauded filmmakers, spanning the period from 1957–1987. Curated by Mr. Scorsese, each film has been digitally re-mastered and brilliantly restored on newly subtitled DCPs. The program was created and organized by Mr. Scorsese’s non-profit organization, The Film Foundation. 3 BIST, SIMPORE, TEMPORE, A STATEMENT FROM MARTIN SCORSESE Um volum, audae laccae seque natur, comnis ducienimus excest rendercillam laccupi endicit In 2011, I had the opportunity to visit the Polish National Film School in Łódź, Poland, at the atusda vitisitatur rentem vent.
    [Show full text]
  • ADVERTISEMENT Polishbeauties 6/12/07 13:33 Page 2
    POLISHbeauties 6/12/07 13:33 Page 1 All screenings will be held at: Crisp Road, Hammersmith, London, W6 9RL Box office: 0208 237 1111 www.riversidestudios.co.uk Tickets: 7.50 GBP (for both single- and double-bills!) This event was made possible through the kind support of: Official media partner Sponsored by ® Please watch out for the upcoming KINOTEKA 6th POLISH FILM FESTIVAL April/May 2008 at Riverside Studios and the Andrzej Wajda Retrospective at BFI Southbank. For more information, contests and our free newsletter, visit: www.PolishCulture.org.uk ADVERTISEMENT Courtesy of Muzeum Kinematografii in Lodz ® ed by sponsor January - 6 February 2008 9 Pola Negri Beata Tyszkiewicz Grazyna Szapolowska Magdalena Cielecka Alicja Bachleda-Curus From silent classics to the latest Hollywood films. From THE POLISH CULTURAL INSTITUTE AND RIVERSIDE STUDIOS PRESENT THE POLISH CULTURAL at POLISHbeauties 6/12/07 13:33 Page 2 POLISHbeauties 6/12/07 13:33 Page 3 The Polish Cultural Institute and Riverside Studios present a series of films starring some of the most legendary Polish Beauties to have graced the big screen. From silent films to Kieslowski classics and the latest Hollywood epics, these divas, femme fatales and ingénues are far more than just a pretty picture. 9 January – 6 February 2008 at Crisp Road, Hammersmith, London, W6 9RL Box office: 0208 237 1111 www.riversidestudios.co.uk Tickets: 7.50 GBP (for both single and double-bills!) Pola Negri Biography (9th January Double Bill - see page 3 for details) Polish silent film star Pola Negri was the first European actress turned Hollywood celebrity in the 1920s.
    [Show full text]