New Polish Feature Films 2009
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Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
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. -
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. -
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. -
Andrzej Wajda's a Generartion and Man of Marble
Andrzej Wajda’s A Generartion and Man of Marble By Fabian Schuppert Spring 2006 Issue of KINEMA ANDRZEJ WAJDA’S A GENERATION AND MAN OF MARBLE FROM A POLITICAL PERSPECTIVE ’The cinema does not exist in a sublime state of innocence, untouched by the world; it also has a political content, whether conscious or unconscious, hidden or overt.’(1) Andrew Sarris A PIECE of art is always produced in concrete socio-political circumstances; it is a social product. Undoubt- edly art does not come into being or exists in an absolute, free state of self-sufficiency. But to postulate that art is at the same time always political, is quite a different affair. What exactly does it imply to saythat art, or as in the case of Andrew Sarris and this article, that film is political? This paper is going to inquire into the political role, function and use of film. The aim of this paper is to give a short overview on selected theories on the political nature of art and film, before moving on and applying these concepts to two films by Andrzej Wajda. This paper will analyse Wajda’s A Generation (Pokolenie, 1955) and Man of Marble (Człowiek z marmuru, 1976) from a political point of view. Both films were produced in Poland during the times of the communist regime, but under quite different conditions, and with quite different objectives. This article will not only deal with film analysis and interpretation but also critically look at the circumstance of production, which influenced the film: the concrete socio-political situation, including state pressure and censorship. -
Polish Death Camps Obrona
December 2019 (REVISED) Why it matters not to refer to Nazi German camps as “Polish” The story you won’t find in the North American mainstream media Poland’s new anti-defamation law has sparked an avalanche of alarmist commentary and harsh criticism.1 Extravagant claims have been made about the scope and intent of the law as, allegedly, suppressing discussion of Second World War crimes committed by Poles. Outrageous charges, often accompanied by unbridled hysteria, are being levelled against the Polish government, which is accused of “Holocaust denial” and even anti-Semitism. The Foreign Affairs and Defence Committee of the Knesset declared that “the Polish law is a crime and we will not allow it to happen.” Jack Rosen, President of the American Jewish Congress and chairman of the American Council for World Jewry, goes even further, claiming that Poland has put itself “in the same team as Iran and other Islamic terror states and the alt-right in the US and Holocaust deniers.” The anti-defamation law has also released pent-up aggression against Poles. However, the North American media rarely, if ever, mentions this aspect in the tsunami of articles critical of Poland. They show no apparent concern for the many rancorous statements by prominent Jews mentioned later on. In fact, the 1 On January 26, 2018 and February 1, 2018, respectively, the Seym (lower chamber) and Senate of the Polish Parliament passed legislation, commonly referred to as an “anti-defamation law,” which was proclaimed into law on February 6, 2019 by Poland’s President. It was an amendment to the 1998 Act on the Institute of National Remembrance – Commission for the Prosecution of Crimes against the Polish Nation. -
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. -
Muzyczne Scenariusze Music Scenarios
NRNR 1(24),4 MAARZERZR C 20155 / NO.NOO. 1((24)24 ,,M MARCCH 2015155 | ISSN 2353-6721 Music Scenarios O PolskiegoWydawnictwa PWM Edition Kwartalnik About FilmMusic scenariusze muzyce Muzyczne Magazine Muzycznego fi lmowej Jubileusz 85. urodzin 85th Birthday kompozytor i pedagog Romuald composer and educator Twardowski Wybitny twórca muzyki orkiestrowej, kameralnej, chóralnej, operowej, baletowej i dziecięcej Great author of orchestral, chamber, choral, opera, ballet and children music { spis treści / content } { od redakcji / editorial } Kwartalnik Polskiego Wydawnictwa Szanowni Państwo, Muzycznego PWM Edition Magazine Muzyczne muzyka pełni wiele funkcji: wspiera religijny scenariusze 2bPX]\FHğOPRZHM 0XVLF6FHQDULRV rytuał, jest przedmiotem artystycznego prze- $ERXW)LOP0XVLF 1 72 6 - 353 ISSN 2 ISSN | życia, towarzyszy codziennym zajęciom, jak , MA O.O 1(24), MARCH 2015 NO. 1(24), MARCH 1(24), 2015 NO. N istanowi istotny element zabawy. Wbieżą- NO. 1(24), MARCH 2015 MARCH1(24), 2015 1(24), 1(24) NO. RZEC 2015 / 2015 RZEC ARZEC 2015 / 2015 ARZEC R 1(24), MARZEC 2015 / cym numerze magazynu Quarta koncentru- NR 1(24), MARZEC 2015 / 2015 2015 MARZEC MARZEC 1(24), 1 NR N 1(24 jemy się na muzyce fi lmowej – przynależącej do świata rozrywki, ale przecież tworzonej zcałą powagą kompozytorskiego warsztatu. Od wynalezienia kinematografu rola iznacze- nie muzyki fi lmowej znacząco się zmieniły. inspiracje 4–9 inspirations Do niedawna uznawana za uboższą krewną dzieł artystycznych iniezależnych, warstwę Muzyka emocji 4–5 The Music of Emotions towarzyszącą ipogardzaną, po wielu latach została doceniona za swoje wyrafi nowanie, Poleca Maestra 5 Maestra Monika Wolińska złożone interakcje zobrazem, nierzadko za Monika Wolińska Recommends swoją autonomię. Zagościła wsalach fi lhar- monicznych ina wielkich festiwalach. -
Contrasts International Contemporary Music Festival Lviv / 01-11.10.2015
musical art of the XXI century CONTRASTS INTERNATIONAL CONTEMPORARY MUSIC FESTIVAL LVIV / 01-11.10.2015 01.10.2015 / Thursday 19:00 / S. Lyudkevych Concert Hall / MUSICAL PREMIERES OF 21ST CENTURY Academia Lviv Chamber Orchestra/UA Arthur Mykytka/UA, artistic manager & concert master / Myroslav Skoryk/UA, artistic director Gryphon Trio/CA: Annalee Patipatanakoon, violin Roman Borys, cello James Parker, piano Zhanna Masliak/UA, flute Zoia Khodan/UA, flute Ricardo Calderoni/BR, conductor Ihor Pylatiuk/UA, conductor Heitor Villa-Lobos/BR/1887-1959/ Aria from Bachianas Brasileiras No. 5 (1938/45)▲ Transcription for string orchestra by Myroslav Skoryk (1984) Edmundo Villani-Côrtes/BR/*1930/ Catedral da Sé for string orchestra (1955)▲ Ricardo Calderoni/BR Double Concerto for two flutes and orchestra (1980)▲ Claudio Santoro/BR/1919-1989/ Ponteio for string orchestra (1953)▲ Vladimir Genin/RU-DE/*1958/ Threnody for the Victims in Ukraine for strings (2014)** Vitaly Vyshynsky/UA/*1983/ Dodes’ka-den for string orchestra and percussion (2011)▲ Bohdana Frolyak/UA/*1968/ Music of Dreams for violin, cello, piano and string orchestra (2015)* * - world premiere ** - Ukrainian premiere ▲ - for the first time on Contrasts Performance of Gryphon Trio was made possible with support from the Ukrainian Canadian Foundation of Taras Shevchenko 02.10.2015 / Friday 11:00 / Art-café Kvartyra 35 Coffee with a composer: Alexander Shchetynsky/UA conversation on the theme: What is opera? moderator – Vitaly Vyshynskyi/UA 16:00 / Foyer of Lviv Philharmonic / Opening -
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, -
Rigorózní Práce
Univerzita Karlova Filozofická fakulta Ústav světových dějin Rigorózní práce Mgr. Tomáš Blümel Příspěvek ke studiu ozbrojeného neorganizovaného odporu proti nacistické/fašistické okupační moci za druhé světové války zemí Visegrádské skupiny ve filmu Contribution to the Study of Military Non-organized Resistance Movement against Nazi/Fascist Occupied Power during WWII in the Lands of the Visegrad group in the Big Screen Praha 2020 Poděkování Na tomto místě bych rád poděkoval profesorovi PhDr. Martinu Kovářovi, Ph.D., zároveň vedoucímu mé diplomové práce, který mi byl vždy oporou při studiu filmové problematiky, a který mi na počátku vytváření rigorózní práce pomohl s vhodným vymezením tématu. Rovněž jsem vděčný za jeho odborné rady a věcné připomínky. Za výpomoc při překladu filmu Budapešťský anděl ze španělského jazyka děkuji belgickým přátelům, zejména Alexie Rojas Espiose. Nemohu opomenout ani ředitelku Ústřední knihovny UK, PhDr. Radku Římanovou, Ph.D, které tímto děkuji za příležitost pracovně se rozvíjet v univerzitních prostorách, čímž jsem zůstal v úzkém kontaktu s akademickým prostředím. V neposlední řadě děkuji své rodině, která mě po celou dobu psaní práce podporovala. Prohlašuji, že jsem rigorózní práci vypracoval samostatně, že jsem řádně citoval všechny prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného nebo stejného titulu. V Praze, dne …………………………………… Mgr. Tomáš Blümel Klíčová slova (česky) Ozbrojený odpor; protinacistický odboj; protifašistický odboj; druhá světová válka; Visegrádská skupina; historický film; kultura paměti Klíčová slova (anglicky) Armed Resistance; Anti-nazi Resistance; Antinacist Resistance; World War II., Visegrad Group, Historical Film; Culture of Memory Abstrakt V rigorózní práci se zabývám ozbrojeným neorganizovaným odporem proti nacistické/fašistické okupační moci za druhé světové války v historickém filmu. -
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.