DOCSLIB.ORG

NPF 2017 Hyperlinks.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NPF 2017 Hyperlinks.Pdf Polish Film Insitute ul. Krakowskie Przedmieście 21/23 00-071 Warsaw phone (+48 22) 42 10 130 fax (+48 22) 42 10 241 e-mail [email protected] www.en.pisf.pl facebook.com/InstytutFilmowy twitter.com/filmsfrompoland INTRODUCTION 3 Ladies and Gentlemen, allow me to present the latest edition of the New Polish Films catalogue, published annually by the Polish Film Institute as a showcase of the up­ coming months in Polish cinema. In this catalogue, we focus on a selection of feature films, some of which are sure to screen in competition and oth­ er notable sections at international film festivals. A few of these films have already been released on the domestic market, while others are still in production. I am sure that the coming months will bring a number of great encounters with Polish cinema. 2016 was an exceptionally successful year in Po­ photo by Marcin Kułakowski, Polish Film Institute lish cinema, as shown both by awards received by Polish films at international film festivals and by over 12 million admissions in cinemas across the nation. This excellent result is the outcome of an exceptional diversity of Polish films. Alongside blockbuster films and period pieces, audiences of­ ten chose to see original arthouse films, as well as films that do not shy away from social issues. The 2017 season will bring more of these films to the big screen. Among these are films by first­time directors and those by seasoned filmmakers who have gained acclaim among audiences and critics alike. Polish producers are increasingly involved in international minority co­productions, which is also reflected in this catalogue. Feature films show the true face of contemporary Polish cinema. It is my pleasure to invite you to discover and discuss what Polish filmmakers have to offer. Magdalena Sroka General Director of the Polish Film Institute www.en.pisf.pl ; CONTENTS ; INDEX OF DIRECTORS ; INDEX OF POLISH AND ORIGINAL TITLES 4 CONTENTS 5 INTRODUCTION 2 Fatima by Bartek Kik 30 Rage / Wściekłość by Michał Węgrzyn 52 KEY ADRESSES 74 Foam at the Mouth / Ar Putam Uz Lupam by Janis The Real Trouble / Tarapaty by Marta SELECTED FILM SCHOOLS 75 FILMS Nords 31 Karwowska 53 TOP FILM FESTIVALS IN POLAND 76 113 Summers Under Water by Wiktoria The Fugue / Fuga by Agnieszka Smoczyńska 32 Re­friending / Po prostu przyjaźń by Filip Szymańska 6 Garden Store. Family Friend / Zahradnictví. Zylber 54 BOX OFFICE 2016: ALL RELEASES 78 303 Squadron / Dywizjon 303 by Denis Delić 7 Rodinný přítel / Garden Store. Przyjaciel rodziny The Saint / Šventasis / Święty by Andrius BOX OFFICE 2016: DOMESTIC FILMS 80 53 Wars / 53 wojny by Ewa Bukowska 8 by Jan Hřebejk 33 Blazevicius 55 BOX OFFICE 2016: EUROPEAN FILMS 82 Afterimage / Powidoki by Andrzej Wajda 9 The Happiness of the World / Szczęście świata by Satan Said Dance / Szatan kazał tańczyć by Kasia BOX OFFICE 2016: US FILMS 84 Amok by Katarzyna Adamik 10 Michał Rosa 34 Rosłaniec 56 TOP 20: ALL RELEASES 1990-2016 86 Animals / Zwierzęta by Greg Zglinski 11 A Heart of Love / Serce miłości by Łukasz The Son of Snow Queen / Syn Królowej Śniegu TOP 20: DOMESTIC FILMS 1990-2016 88 Another Day of Life / Jeszcze dzień życia by Ronduda 35 by Robert Wichrowski 57 DISTRIBUTION MARKET 2016 90 Damian Nenow, Raúl de la Fuente 12 I’m a Killer / Jestem mordercą by Maciej Speedway / Żużel by Dorota Kędzierzawska 58 POLAND AND CINEMA 92 The Art of Loving / Sztuka kochania. Historia Pieprzyca 36 Spoor / Pokot by Agnieszka Holland 59 Michaliny Wisłockiej by Maria Sadowska 13 I’m Lying Now / Ja teraz kłamię by Paweł Stars / Gwiazdy by Jan Kidawa­Błoński 60 INDEX OF DIRECTORS 94 Baba Vanga by Aleksandra Niemczyk 14 Borowski 37 The Sun, The Sun Blinded Me / Słońce, to słońce INDEX OF ENGLISH TITLES 96 Be Prepared / Czuwaj by Robert Gliński 15 Kantor by Jan Hryniak 38 mnie oślepiło by Anka and Wilhelm Sasnal 61 INDEX OF POLISH AND ORIGINAL TITLES 98 Beyond Words / Pomiędzy słowami by Urszula The Last Family / Ostatnia Rodzina by Jan P. Tales of Mexico / La Habitation by Carlos Carrera, Antoniak 16 Matuszyński 39 Daniel Gimenez Cacho, Carlos Bolado, Ernesto CREDITS 99 Bikini Blue by Jarosław Marszewski 17 Little Jacob / Mały Jakub by Mariusz Bieliński 40 Contreras, Alfonso Pineda Uolla, Alejandro Valle, Bille by Ināra Kolmane 18 Loving Vincent / Twój Vincent by Dorota Ivan Avila Duenas, Natalia Beristain 62 Birds Are Singing in Kigali / Ptaki śpiewają Kobiela 41 Tenderness / Czułość by Wacław w Kigali by Joanna Kos­Krauze, Krzysztof Lullaby Killer / Śpij kochanie by Krzysztof Mikłaszewski 63 Krauze 19 Lang 42 Tereddut: Clair­Obscur / Światło i cień by Yeşim The Butler / Kamerdyner by Filip Bajon 20 The Man with the Magic Box / Człowiek Ustaoğlu 64 Catalina by Denijal Hasanovic 21 z magicznym pudełkiem by Bodo Kox 43 Titanium White / Tytanowa biel by Piotr Chain Reaction / Reakcja łańcuchowa by Jakub Marie Curie – The Courage of Knowledge / Maria Śmigasiewicz 65 Pączek 22 Skłodowska­Curie by Marie Noelle 44 Tower. A Bright Day / Wieża. Jasny dzień by The Convoy / Konwój by Maciej Żak 23 Nothing But Wind / Ništa, samo vjetar by Timur Jagoda Szelc 66 The Crystal Girl / Kryształowa Dziewczyna by Makarevič 45 Under the Tree / Undir trénu by Hafsteinn Gunnar Artur Urbański 24 November / Listopad by Rainer Sarnet 46 Sigurðsson 67 Czeslaw M’s School of Seduction / Szkoła Office for Monument Construction / Biuro Via Carpatia by Klara Kochańska­Bajon, Kasper Uwodzenia Czesława M. by Aleksander budowy pomnika by Karolina Breguła 47 Bajon 68 Dembski 25 Panic Attack / Atak paniki by Paweł Maślona 48 Volhynia / Wołyń by Wojtek Smarzowski 69 The Day of Chocolate / Dzień Czekolady by Jacek Pity / οίκτος by Babis Makridis 49 Volta by Juliusz Machulski 70 Piotr Bławut 26 Playground / Plac zabaw by Bartosz M. Wild Roses / Dzikie róże by Anna Jadowska 71 Double Ironman / Podwójny Ironman by Łukasz Kowalski 50 Zgoda by Maciej Sobieszczański 72 Palkowski 27 Please Don’t Haunt Me In My Dreams / Nie The Erlprince / Królewicz Olch by Kuba Czekaj 28 wracaj do mnie w snach by Rafał Reyman Face / Twarz by Małgorzata Szumowska 29 Głombiowski 51 New Polish Films 2017 www.en.pisf.pl ; CONTENTS ; INDEX OF DIRECTORS ; INDEX OF POLISH AND ORIGINAL TITLES 6 13 SUMMERS UNDER WATER 303 SQUADRON 7 Poland / Mexico / DYWIZJON 303 Poland 2017 UK 2016 110 min 78 min colour colour / black&white Wiktoria Szymańska Denis Delić Born in Gdańsk, Born in 1966 in lived and worked in Zagreb, Croatia. Paris, London, Berlin, Director and Tanzania, New York screenwriter. City, and Mexico. Graduated in film Began working with directing from ARTE in 2004, then the Lodz Film School. with VIASAT Swedish Directed many Television. Currently advertising films. cooperates with ARTE, documentaire, AVRO, Filmography BBC Channel 4. 2006: Ja wam Her film Themerson & Fotek Piotr by photo pokażę! Themerson screened at 2017: Dywizjon 303 multiple international (303 Squadron) film festivals and was written and directed by Wiktoria Szymańska di- There is a place in Mexico where people have dis­ directed by Denis Delić written by Zdzisław Sa moj­ A film about Polish pilots who fought in the Battle broadcast on television. rector of photography Martin Boege music by Flo­ covered that disappearing isn’t so bad. You real­ łowicz, Krzysztof Burdza director of photo gra phy of Britain. After the outbreak of World War Two, Lecturer at film schools rencia Di Costillo edited by David Torres, Omar Gu­ ly die when nobody remembers you. Can dreams Waldemar Szmidt edited by Marcin “Kot” Bas­ pilot Jan “Donald” Zumbach and heroic flight in­ in London and Rio de zman production design by Wiktoria Szymańska and memories be the link between life and the be­ tkowski production design by Marian Zawaliń­ structor Witold Urbanowicz are forced to evacu­ Janeiro and at the École sound by Omar Juarez production manager Agi yond? Seven characters find themselves in a limbo ski set design by Katarzyna Boczek costume ate from their home country. They both end up in du Louvre in Paris. Her films and other projects Gutkowska cast Lidia Kotlowska, Andrzej Bujnie­ between dream and memory, searching for those design by Małgorzata Skorupa make-up artist the UK in RAF squadrons, to continue their fight have been shown at wicz, Ed Lachman, Dulce Rodriquez, Femke Stromer, they have lost. The film tackles the question of Ewa Drobiec sound by Bartosz Putkiewicz pro- against the Nazis. Their bravery and exceptional the world’s top film Małgorzata Szymańska, Ewa Szumilewicz, Maia whether there is life after death. It’s about the life duction mana gers Maciej Szczygieł, Piotr Śnieg skills quickly get the Polish pilots noticed by their festivals, including Szymańska producer Wiktoria Szymańska co-pro- of which we can dream, but can never touch. cast Maciej Zakościelny, Piotr Adamczyk, Antoni commanding officers, thus contributing to the cre­ Karlovy Vary, Visions ducer Edher Campos associate producers Iza Igel, Królikowski, Jan Wieczorkowski, Nikodem Roz­ ation of 303 Squadron, an elite group of fighter du Réel, Hot Docs, Sheffield, and IDFA. Joanna Solecka produced by Lu na W (UK) 5 Bur­ bicki, Maciej Marczewski, Krzysztof Kwiatkow­ pilots, comprised mostly of Poles. ley Close London W1W7BL, [email protected], ski, Anna Prus producer Jacek Samojłowicz pro- Filmography Edher Campos, [email protected] duced by Film Media, ul. Marszałkowska 10/16 2010: Themerson co-produced by Machete Producciones Mexico lok. 25, 00­590 Warsaw, Poland, tel. +48 22 625 & Themerson – executive producer Triade Films (France) co-finan- 00 05, www.filmmedia.com.plco-produced
Load more

Recommended publications
  • 4. UK Films for Sale at EFM 2019
    13 Graves TEvolutionary Films Cast: Kevin Leslie, Morgan James, Jacob Anderton, Terri Dwyer, Diane Shorthouse +44 7957 306 990 Michael McKell [email protected] Genre: Horror Market Office: UK Film Centre Gropius 36 Director: John Langridge Home Office tel: +44 20 8215 3340 Status: Completed Synopsis: On the orders of their boss, two seasoned contract killers are marching their latest victim to the ‘mob graveyard’ they have used for several years. When he escapes leaving them no choice but to hunt him through the surrounding forest, they are soon hopelessly lost. As night falls and the shadows begin to lengthen, they uncover a dark and terrifying truth about the vast, sprawling woodland – and the hunters become the hunted as they find themselves stalked by an ancient supernatural force. 2:Hrs TReason8 Films Cast: Harry Jarvis, Ella-Rae Smith, Alhaji Fofana, Keith Allen Anna Krupnova Genre: Fantasy [email protected] Director: D James Newton Market Office: UK Film Centre Gropius 36 Status: Completed Home Office tel: +44 7914 621 232 Synopsis: When Tim, a 15yr old budding graffiti artist, and his two best friends Vic and Alf, bunk off from a school trip at the Natural History Museum, they stumble into a Press Conference being held by Lena Eidelhorn, a mad Scientist who is unveiling her latest invention, The Vitalitron. The Vitalitron is capable of predicting the time of death of any living creature and when Tim sneaks inside, he discovers he only has two hours left to live. Chased across London by tabloid journalists Tooley and Graves, Tim and his friends agree on a bucket list that will cram a lifetime into the next two hours.
    [Show full text]
  • The Andrzej Wajda-Philip Morris Freedom Prize
    The Andrzej Wajda-Philip Morris Freedom Prize By Ron Holloway Spring 1999 Issue of KINEMA Cinema is not just art and entertainment,” said Polish director Andrzej Wajda in dialogue with German colleague Volker Schlöndorff during a program scheduled at the American Academy in Berlin. ”Cinema also has a social, moral, philosophical function. This is often forgotten today.” Asked for further clarification, Wajda answered, without hesitation but on a note of nostalgia: ”Compare today’s cinema with Italian Neorealism, with postwar Swedish and French cinema, and the gap is evident!” Poland’s most acclaimed film director had his reasons for speaking out so directly and without compromise on the banality of contemporary cinema. On the day before, in the Polish Cultural Institute on Alexanderplatz, he had been honored with the American Cinema Foundation Freedom Award -- indeed, the ceremony was most impressive. Guests from the United States and Poland, among them Agnieszka Holland, Wajda’s favourite collaborator on screenplays, were present. Moreover, the occasion marked the founding of the new ”Andrzej Wajda -- Philip Morris Freedom Prize,” to be awarded annually to a promising filmmaker from Central or Eastern Europe, in whose works are reflected the themes of freedom and democracy. The prize will be awarded together withapurse of $10,000 donated by the Philip Morris Kunstförderung. Each July, during the Karlovy Vary International Film Festival, an international jury will select the winner of the Andrzej Wajda Prize. In February, on the occasion of the Freedom Film Festival in Berlin, the prize will be officially awarded to the winner. ”This is not a lifetime achievement award,” says Gary McVey, director of the American Cinema Foundation, ”but a prize in recognition of an exemplary moral and ethical message in the art of the cinema.
    [Show full text]
  • 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]
  • Festival Centerpiece Films
    50 Years! Since 1965, the Chicago International Film Festival has brought you thousands of groundbreaking, highly acclaimed and thought-provoking films from around the globe. In 2014, our mission remains the same: to bring Chicago the unique opportunity to see world- class cinema, from new discoveries to international prizewinners, and hear directly from the talented people who’ve brought them to us. This year is no different, with filmmakers from Scandinavia to Mexico and Hollywood to our backyard, joining us for what is Chicago’s most thrilling movie event of the year. And watch out for this year’s festival guests, including Oliver Stone, Isabelle Huppert, Michael Moore, Taylor Hackford, Denys Arcand, Liv Ullmann, Kathleen Turner, Margarethe von Trotta, Krzysztof Zanussi and many others you will be excited to discover. To all of our guests, past, present and future—we thank you for your continued support, excitement, and most importantly, your love for movies! Happy Anniversary to us! Michael Kutza, Founder & Artistic Director When OCTOBEr 9 – 23, 2014 Now in our 50th year, the Chicago International Film Festival is North America’s oldest What competitive international film festival. Where AMC RIVER EaST 21* (322 E. Illinois St.) *unless otherwise noted Easy access via public transportation! CTA Red Line: Grand Ave. station, walk five blocks east to the theater. CTA Buses: #29 (State St. to Navy Pier), #66 (Chicago Red Line to Navy Pier), #65 (Grand Red Line to Navy Pier). For CTA information, visit transitchicago.com or call 1-888-YOUR-CTA. Festival Parking: Discounted parking available at River East Center Self Park (lower level of AMC River East 21, 300 E.
    [Show full text]
  • Andrzej Wajda Polski Film Dokumentalny
    CMY CY MY CM K Y M C plakat_50_LAT_205x280_3mm.pdf 12016-01-1113:04:13 MAGAZYN FILMOWY 3 (55) / marzec 2016 Polski film dokumentalny film Polski NUMERU TEMAT okino walka wygrana Wajda Andrzej WYWIAD ISSN 2353-6357 WWW.SFP.ORG.PL 3 (55) / marzec 2016 nr 55 marzec 2016 Spis treści SFP/ZAPA 3 RYNEK FILMOWY Wydział Radia i Telewizji Uniwersytetu Śląskiego 46 POLSCYROZMOWA NUMERU Rozmowa z Rafałem Syską 50 Andrzej Wajda 4 Fundacja Wspierania Kultury Filmowej Cyrk Edison 52 Wytwórnia Scenariuszy 54 FILMOWCY Rozmowa z Simonem Stone’em 56 Film Factory w Sarajewie 58 MISTRZOWIE Krzysztof Kieślowski – projekty niezrealizowane 60 REFLEKSJE Audiowizualna historia kina 64 10 000 dni filmowej podróży 66 notacje Nie ma stolika 68 Fot. Kuba Kiljan/SFP Fot. Kuba MOJA (FILMOWA) MUZYKA Przemysław Gintrowski 69 TEMAT NUMERU Polski film dokumentalny12 SWOICH NIE ZNACIE archiwalneJoanna Klimkiewicz i Kamila Klimas-Przybysz 70 NIEWIARYGODNE PRZYGODY POLSKIEGO FILMU Maddalena 72 MIEJSCA Kino Narew 74 STUDIO MUNKA 76 Rys. Zbigniew Stanisławski Rys. PISF 78 WYDARZENIA KSIĄŻKI 80 Złote Taśmy 20 Nagrody PSC 21 DVD/CD 84 Dyplomaci w Kulturze 22 IN MEMORIAM 85 FESTIWALE W POLSCE Zoom-Zbliżenia 24 VARIA 87 Prowincjonalia 25 List DO redakcji 94 NAGRODY Honorowy Jańcio Wodnik 26 BOX OFFICE 95 WYSTAWY plakat_50_LAT_205x280_3mm.pdf 1 2016-01-11 13:04:13 Krzysztof Kieślowski. Ślady i pamięć 28 2016 marzec (55) / 3 POLSKIE PREMIERY ISSN 2353-6357 WWW.SFP.ORG.PL Kalendarz premier 30 2016 Rozmowa z Jerzym Zalewskim 32 marzec / ) 55 ( 3 Rozmowa z Maciejem Adamkiem 34 C M Y CM W PRODUKCJI 36 MY CY CMY K FESTIWALE ZA GRANICĄ Rotterdam 37 MAGAZYN FILMOWY Berlin 38 WYWIAD Andrzej Wajda Santiago de Chile 40 wygrana walka o kino TEMAT NUMERU Polski film dokumentalny POLSCY FILMOWCY NA ŚWIECIE 42 Na okładce: Andrzej Wajda Rys.
    [Show full text]
  • 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.
    [Show full text]
  • Download Download
    Polish Feature Film after 1989 By Tadeusz Miczka Spring 2008 Issue of KINEMA CINEMA IN THE LABYRINTH OF FREEDOM: POLISH FEATURE FILM AFTER 1989 “Freedom does not exist. We should aim towards it but the hope that we will be free is ridiculous.” Krzysztof Kieślowski1 This essay is the continuation of my previous deliberations on the evolution of the Polish feature film during socialist realism, which summarized its output and pondered its future after the victory of the Solidarity movement. In the paper “Cinema Under Political Pressure…” (1993), I wrote inter alia: “Those serving the Tenth Muse did not notice that martial law was over; they failed to record on film the takeover of the government by the political opposition in Poland. […] In the new political situation, the society has been trying to create a true democratic order; most of the filmmakers’ strategies appeared to be useless. Incipit vita nova! Will the filmmakers know how to use the freedom of speech now? It is still too early toanswer this question clearly, but undoubtedly there are several dangers which they face.”2 Since then, a dozen years have passed and over four hundred new feature films have appeared on Polish cinema screens, it isnow possible to write a sequel to these reflections. First of all it should be noted that a main feature of Polish cinema has always been its reluctance towards genre purity and display of the filmmaker’s individuality. That is what I addressed in my earlier article by pointing out the “authorial strategies.” It is still possible to do it right now – by treating the authorial strategy as a research construct to be understood quite widely: both as the “sphere of the director” or the subjective choice of “authorial role,”3 a kind of social strategy or social contract.4 Closest to my approach is Tadeusz Lubelski who claims: “[…] The practical application of authorial strategies must be related to the range of social roles functioning in the culture of a given country and time.
    [Show full text]
  • Burning Bush
    presents BURNING BUSH A Film by Agnieszka Holland 2013 / Czech Republic / in Czech with English subtitles / Color A Kino Lorber Release from Kino Lorber, Inc. 333 West 39 St., Suite 503 New York, NY 10018 (212) 629-6880 Publicity Contact: Rodrigo Brandão – [email protected] Matt Barry – [email protected] SHORT SYNOPSIS The three-part drama, directed by the Polish director Agnieszka Holland, is HBO Europe’s most ambitious, big-budget project to date. The film returns to a pivotal time in modern Czech history, ignored in Czech cinema until now. It begins with a reconstruction of the shocking act of a Czech university student, who in protest of the Soviet occupation of Czechoslovakia, set himself on fire in Prague’s Wenceslas Square on January 16, 1969, and died four days later. Through the story of the brave defense attorney Dagmar Burešová, who defended Palach’s legacy in a doomed lawsuit, the film examines the transformations taking place in Czechoslovak society after the invasion of the armies of the Warsaw Pact in August of 1968 and the installation of a hardline Communist government. It depicts the beginnings of Czech and Slovak resistance against the occupation, which reached its apex with the mass protests during Palach’s funeral. It also shows the nation’s gradual resignation under the pressure of fear and harsher persecution. LONG SYNOPSIS Part I On the 16th of January1969 on Wenceslas Square in Prague, a young student sets himself on fire in front of dozens of passers-by. Police Major Jireš (Ivan Trojan) investigates the circumstances of Palach’s actions.
    [Show full text]
  • 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.
    [Show full text]
  • „To Kłamstwo! Kopernik Była Kobietą!” – Sposoby Budowania Komizmu Językowego W Wybranych Filmach Juliusza Machulskiego
    http://dx.doi.org/10.18778/7969-405-1.26 Małgorzata Miławska Uniwersytet im. Adama Mickiewicza w Poznaniu „To kłamstwo! Kopernik była kobietą!” – sposoby budowania komizmu językowego w wybranych filmach Juliusza Machulskiego Obszerne zagadnienie kreatywności językowej – pojęcia prze- wodniego konferencji – zachęca do tego, by przyjrzeć się różnym użyciom polszczyzny, zwłaszcza tym artystycznym, a więc niety- powym i niecodziennym. Ten ostatni przymiotnik to swoiste sło- wo klucz; w niniejszym artykule wielokrotnie pojawią się odwo- łania do kategorii potoczności, bezpośrednio przecież związanej z codziennym doświadczaniem świata [Lebda 2003]. Okazuje się bowiem, że trzeba nie lada słuchu i umiejętności, by stylizowany na potoczny dialog filmowy został odebrany przez widownię jako naturalny i swojski, a nie jako nieporadny czy sztuczny [Hendry- kowski 2013]. Za jednego z wirtuozów słowa wśród rodzimych filmowców z pewnością należy uznać Juliusza Machulskiego, autora dzieł – wypada chyba w tym miejscu posłużyć się modnym neosemanty- zmem – kultowych, takich jak Vabank, Seksmisja czy Kiler. Utwory Machulskiego stanowią fenomen społeczno-kulturowy: są uwiel- biane przez pokolenia, nawet mimo zmiany realiów, do których na- wiązywały w czasie premiery [Zarębski 2010]. Swoją żywotność zawdzięczają nie tylko sprawności warsztatowej twórcy (w więk- szości przypadków reżysera i scenarzysty zarazem) czy niezapo- mnianym kreacjom aktorskim, ale i charakterystycznej konstrukcji filmowej polszczyzny, zwracającej uwagę na samą siebie, a zatem – ukształtowanej pod dyktatem funkcji poetyckiej w rozumieniu 338 Małgorzata Miławska Romana Jakobsona [1960]. O unikatowym talencie autora Kingsajzu do swobodnego operowania mową potoczną świadczy fakt, że cytaty z jego scenariuszy funkcjonują w powszechnym obiegu, zasilając tym samym zasób skrzydlatych słów [Lubelski 2009b; Szczygieł, Zalewski 2003]. Juliusza Machulskiego włącza się do grona autorów w polskiej kinematografii1, choć on sam nie przyzwala sobie nawet na miano artysty i traktuje swoją rolę dość „usługowo” [Lubelski 2009a].
    [Show full text]
  • 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.
    [Show full text]
  • Khanty Mansiysk Autonomous Region Yugra Russia Siberia Россия
    Россия Сибирь ХантыМансийский автономный округ Югра KhantyMansiysk Autonomous Region Yugra Russia Siberia ДУХ ОГНЯ / НАЙ АНГКИ / SPIRIT OF FIRE / 2007 ОРГКОМИТЕТ ФЕСТИВАЛЯ / ORGANIZING COMMITTEE OF THE FESTIVAL Ìèõàèë Åôèìîâè÷ Øâûäêîé Nail Kashapov Alexey Ovsyannikov Ðóêîâîäèòåëü Ôåäåðàëüíîãî àãåíòñòâà ïî Chief medical officer of the territorial admin- Deputy Chairman of the Government of the êóëüòóðå è êèíåìàòîãðàôèè, ñîïðåäñåäàòåëü istration of Rospotrebnadzor in the Khanty- autonomous district for problems of small îðãêîìèòåòà Mansiysk autonomous district – Yugra nationalities of the North, Director of the Mikhail Shvydkoy Department of the autonomous district for Head of the Federal Agency for Culture and Âÿ÷åñëàâ Ìèõàéëîâè÷ Êîçëîâñêèé problems of small nationalities of the North Cinema, co-chairman of the organizing committee Çàìåñòèòåëü íà÷àëüíèêà Óïðàâëåíèÿ âíóòðåííèõ äåë àâòîíîìíîãî îêðóãà, Çèíàèäà Áîðèñîâíà Ñàõàóòäèíîâà Àëåêñàíäð Âàñèëüåâè÷ Ôèëèïåíêî íà÷àëüíèê ìèëèöèè îáùåñòâåííîé Ïðåäñåäàòåëü Êîìèòåòà ïî âíåøíèì Ãóáåðíàòîð, Ïðåäñåäàòåëü Ïðàâèòåëüñòâà áåçîïàñíîñòè ñâÿçÿì àâòîíîìíîãî îêðóãà àâòîíîìíîãî îêðóãà, ñîïðåäñåäàòåëü îðãêîìèòåòà Vyacheslav Kozlovsky Zinaida Sakhautdinova Alexander Filipenko Deputy Chief of the Department of internal Chairman of the Ñommittee for foreign Governor, Chairman of the Government of affairs of the autonomous district, chief of relations of the autonomous district the Autonomous District, co-chairman police of public safety of the organizing committee Àëåêñàíäð Ïàâëîâè÷ Ñåìåíîâ Àëåêñàíäð Âèòàëüåâè÷
    [Show full text]