DOCSLIB.ORG

1 New Polish Films 2006

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 New Polish Films 2006 New Polish Films 2006 New Polish Films 2006 1 2 New Polish Films 2006 It is my great pleasure to present, on behalf of the Polish Film Institute, this up-to-date catalogue of new Polish films. I am convinced that this exhaustive survey of modern Polish cinema is a better invitation to collaboration than any words could be. Here you will discover the number and range of movies being made in modern day Poland and the extent of talent and resources behind them. This publication also provides you with useful information about the film industry in Poland, including the most important address: that of the Polish Film Institute. You are always welcome - filmmakers, producers, buyers, journalists - to get professional guidance and information about Polish film and movie making in Poland, a country with modern film legislation, attractive locations, an extensive pool of talent in all film professions - the right place for your next co-production project. Agnieszka Odorowicz General Director Polish Film Institute It’s been over a half of century since I started making films in Poland. During the course of those years, I have witnessed great triumphs but likewise painful falls in our cinematography. I have seen international successes as well as periods of almost complete absence from the world scene. Today, I look with great joy as Polish filmmakers - both my more experienced collegues and most importantly - the younger genaration, have been granted an opportunity which not only enables them to make movies but will also enable those movies to be shown to international audiences. This is possible thanks to the new film legislation in Poland. I am sure we - the filmmakers, will be able to take advantage of it and Polish cinematography will be talked about all over the world, the way it used to be. This catalogue of new Polish films is a great testimony to these prospects. Andrzej Wajda Poland is a country exceptionally rich in talented filmmakers, a country with tradition and experience. It is simply the best suited country in the region to expand its own film production as well as to provide various services in this area to others. What was missing, until recently, were the right financial and organizational structures of cinematography. But now these things will be provided for, thanks to the newly passed Act of Cinematography and the recently founded Polish Film Institute. So, the future belongs to us, the filmmakers... Agnieszka Holland New Polish Films 2006 3 Film Associations & Organisations Ministry of Culture and National Heritage Film and Audiovisual Media Department Ministerstwo Kultury i Dziedzictwa Narodowego Departament Filmu i Mediów Audiowizualnych ul. Krakowskie PrzedmieÊcie 15/17 00-071 Warszawa phone (+48 22) 421 04 62 fax (+48 22) 826 74 89 e-mail [email protected] National Film Archive Filmoteka Narodowa ul. Pu∏awska 61 02-595 Warszawa phone (+48 22) 845 50 74 fax (+48 22) 646 53 73 e-mail [email protected] National Chamber of Audiovisual Producers Krajowa Izba Producentów Audiowizualnych ul. Jaracza 2 00-378 Warszawa phone/fax (+48 22) 622 24 44-47 e-mail [email protected] website www.kipa.pl The Association of Polish Filmmakers Stowarzyszenie Filmowców Polskich ul. Pu∏awska 61 02-595 Warszawa phone (+48 22) 845 51 32 fax (+48 22) 845 39 08 e-mail [email protected] [email protected] [email protected] website www.sfp.org.pl Polish Television - Film Agency Telewizja Polska - Agencja Filmowa ul. Woronicza 17 00-999 Warszawa phone (+48 22) 547 81 67; 547 67 32 fax (+48 22) 547 42 25 4 New Polish Films 2006 Poland is the right place for your film Polish Film Institute (PISF) is the newest film institute in Europe, established in 2005 in accordance with the new cinematography law, passed by Polish Parliament. It is set up similarly to the mechanisms of film industry support existing in many European countries. Poland has a long tradition of quality filmmaking, marked by names of directors like Andrzej Wajda, Krzysztof Zanussi, Agnieszka Holland and Krzysztof Kieslowski. Their accomplishments set the standards of excellence which are being followed the new generation of Polish filmmakers. Polish Film Institute is there to help them to make their films to be known internationally, and to help Polish cinema to restore and maintain its traditional position in the world. The Institute’s principal task is to provide the Polish film industry with the modern mechanism of support – from the development of projects, production, promotion, distribution and circulation of Polish and European films. We support films from concept to screen, with particular emphasis on international co-productions. The Institute’s tasks are as follows: To create conditions for the development of Polish film production and international co-production; To inspire and support the development of all types of Polish film creativity, in particular artistic films, including the development of film projects and the production and distribution of such films; To support activities aimed at creating conditions for common access to the heritage of Polish, European and world film art; To support film debuts and the artistic development of young filmmakers; To promote Polish film internationally; To subsidise the enterprises in the field of development film projects, film production, distribution of films and dissemination of films; To support the upkeep of film archives. The Polish Film Institute welcomes all foreign partners – producers, distributors and filmmakers alike – interested in all forms of collaboration with the Polish film industry. We shall provide you with all the necessary information and guidance regarding Poland, its film potential, legal regulations, locations and help to find the film professionals to collaborate with as well as potential partners for coproductions. Polski Instytut Sztuki Filmowej Polish Film Institute General Director Agnieszka Odorowicz address ul. Krakowskie PrzedmieÊcie 21/23, 00-071 Warszawa, Poland phone [+48 22] 42 10 518 fax [+48 22] 42 10 241 e-mail [email protected] website www.pisf.pl Sponsor of PISF: New Polish Films 2006 5 Film Schools in Poland (selected) The National Film Television & Theatre School Paƒstwowa Wy˝sza Szko∏a Filmowa Telewizyjna i Teatralna ul. Targowa 61/63 90-323 ¸ódê phone (+48 42) 634 58 20 fax (+48 42) 674 81 39 e-mail [email protected] website www.filmschool.lodz.pl University of Silesia, The Radio & Television Department of Krzysztof Kieslowski’s name Uniwersytet Âlàski, Wydzia∏ Radia i Telewizji im. Krzysztofa KieÊlowskiego ul. Bytkowska 1 B 40-955 Katowice phone (+48 32) 258 24 28, 258 70 11, 258 70 70 fax (+48 32) 258 24 28 website www.us.edu.pl Andrzej Wajda Master School of Film Directing Mistrzowska Szko∏a Re˝yserii Filmowej Andrzeja Wajdy ul. Che∏mska 21 00-724 Warszawa phone (+48 22) 851 10 56, 851 10 67 phone/fax (+48 22) 851 10 57 e-mail [email protected] website www.wajdaschool.pl Warsaw Film School School of Art under the patronage of Minister of Culture and National Heritage Warszawska Szko∏a Filmowa Policealna Szko∏a Artystyczna pod patronatem Ministra Kultury i Dziedzictwa Narodowego ul. Âwieradowska 43 02-662 Warszawa phone/fax (+48 22) 543 55 99 mobil (+48) 691 490 171 e-mail [email protected] [email protected] website www.szkolafilmowa.pl Polish Film Festival Gdynia 31th Polish Film Festival 31. Festiwal Polskich Filmów Fabularnych Gdynia, September 11-16, 2006 contact phone (+48 58) 621 15 09 Pomorska Fundacja Filmowa fax (+48 58) 621 15 83 ul. Armii Krajowej 24 e-mail [email protected] 81-372 Gdynia website www.fpff.pl Poland 6 New Polish Films 2006 International Film Festivals in Poland (selected) 14th International Film Festival of 6th Era New Horizons the Art of Cinematography Camerimage International Film Festival 14. Mi´dzynarodowy Festiwal 6. Mi´dzynarodowy Festiwal Filmowy Autorów Zdj´ç Filmowych Camerimage Era Nowe Horyzonty Lodz, November 25 – December 2, 2006 Wroc∏aw, July 20-30, 2006 contact contact Fundacja TUMULT Era New Horizons IFF, c/o Gutek Film ul. Rynek Nowomiejski 28 ul. Zamenhofa 1 87-100 Toruƒ 00-153 Warszawa Poland Poland phone (+48 56) 621 00 19 phone (+48 22) 536 92 00 fax (+48 56) 652 21 97 fax (+48 22) 635 20 01 e-mail [email protected] e-mail [email protected] [email protected] press office e-mail [email protected] website www.camerimage.pl visitor service e-mail [email protected] website www.eranowehoryzonty.pl 46th Cracow Film Festival 36th International Film Festival – 46. Krakowski Festiwal Filmowy Lubuskie Film Summer – ¸agów International Competition 36. Mi´dzynarodowy Festiwal Filmowy – National Competition Lubuskie Lato Filmowe – ¸agów Kraków, May 30 – Juni 4, 2006 ¸agów, July 2-9, 2006 contact contact Krakowska Fundacja Filmowa Klub Kultury Filmowej ul. Pychowicka 7 ul. Kazimierza Wielkiego 21 30-364 Kraków 65-047 Zielona Góra Poland Poland office ul. Morawskiego 5, apt. 437 phone/fax (+48 68) 325 59 84 30-102 Kraków (+48 68) 452 97 62 Poland e-mail [email protected] phone/fax (+48 12) 294 69 45 website www.llf.pl e-mail [email protected] website www.cracowfilmfestival.pl 22th Warsaw International FilmFest 25th Festival of Film Debuts 22. Warszawski Mi´dzynarodowy “The Young and Cinema” Festiwal Filmowy 25. Koszaliƒski Festiwal Debiutów October 6-15, 2006 Filmowych „M∏odzi i Film” Application deadline for films is June 15, 2006 Koszalin, Juni 20-24, 2006 contact contact Warszawska Fundacja Filmowa Miejski OÊrodek Kultury p.o. box 816 ul. Zwyci´stwa 105 00-950 Warszawa 1 75-001
Load more

Recommended publications
  • Oglądaj/Otwórz
    ISSN 1689-4642 Spis treści Artykuły ................................................................................................................. 7 Tomasz Sahaj Dark tourism na przykładzie wybranych „atrakcji turystycznych” Poznania ........................ 7 Ada Górna, Krzysztof Górny Turystyka dziedzictwa – przykład kubańskich obiektów z Listy Światowego Dziedzictwa UNESCO .............................................................................................................................. 26 Głąbiński Zbigniew Uwarunkowania aktywności turystycznej seniorów przyjeżdżających do Innsbrucka, Krakowa i Szczecina. ........................................................................................................... 46 Mateusz Rogowski, Artur Żyto Co turysta kulturowy robi w parku narodowym? Motywy i preferencje turystów kulturowych w Parku Narodowym Gór Stołowych ............................................................ 63 Teresa Gądek-Hawlena Działania organizacji pozarządowych na rzecz rozwoju turystyki na przykładzie kolei wąskotorowych w Polsce ..................................................................................................... 78 Tomasz Duda Szlak dziedzictwa kulturowego jako produkt identyfikujący tożsamość i stymulujący dywersyfikację turystyki w regionie – na przykładzie budowanego Szlaku Gryfitów (Pomorze Zachodnie) ........................................................................................................... 95 Recenzje ...........................................................................................................
    [Show full text]
  • Stand: April 2008
    Stand: Dezember 2010 SPIELFILME Dauer Titel Regisseur Genre Darsteller Jahr Sprache Untertitel Anmerkungen/ Thema in Min. Ajlawju: serce ci pęknie ze śmiechu Cezary Pazura, Katarzyna Figura, Zbigniew Marek Koterski Komödie 1999 PL Keine 87 Musik: Jerzy Satanowski (Teil der Box Buczkowski, Eugenia Herman „Kolekcja Koterski”) Alternatywy 4 Komödie, Roman Wilhelmi, Witold Pyrkosz, Stanisław Bareja 1983 PL Keine 530 3 DVDs (2x vorhanden) Folgen 1-9 TV-Serie Kazimierz Kaczor nach dem Roman Żarówka von Psycholo- Tadeusz Mikołajek Amnestia Stanisław Jędryka 1981 PL Keine 84 gischer Film Handlung: Breslau 1947, Heimatarmee Jan Siodlaczek, Paweł Steinert, Daniel Angelus Lech Majewski 2001 PL EN 103 Musik: Józef Skrzek, Piotr Majewski Skowronek Jerzy Psycholo- Franciszek Pieczka, Wojciech Pszoniak, Austeria 1982 PL Keine 102 nach Austeria von Julian Stryjkowski Kawalerowicz gischer Film Liliana Głąbczyńska, Kino der DE, EN, Musik: W. Kilar Barwy ochronne Krzysztof Zanussi moralischen Zbigniew Zapasiewicz, Piotr Garlicki 1976 PL 96 FR, ES Unruhe Psycholo- 2 Exemplare Bez znieczulenia Andrzej Wajda 1978 PL Keine 125 gischer Film Drehbuch: A. Holland, A.Wajda Biała sukienka Michał Kwieciński PL Keine (in „Święta polskie) 1 4 DVDs, nach dem Roman Boża Boża podszewka Izabella Cywińska TV- Serie 1997 PL 820 podszewka von Teresa Lubkiewicz- Folgen 1 - 15 Urbanowicz. Musik: J. Satanowski Jerzy Bogajewicz, Camera Cafe 1 Wojciech Serie 2004 PL Keine 117 Adamczyk Chleba naszego powszedniego (auf der DVD Janusz Zaorski Drama 1974 PL Keine 51 "Kolekcja Himilsbach- Maklakiewicz”) 2 Exemplare Władysław Hańcza, Emilia Krakowska, nach dem Roman Chłopi von W. Chłopi Jan Rybkowski Spielfilm 1973 PL Keine 166 Krystyna Królówna, Ignacy Gogolewski Reymont. Teil 1: Boryna, Teil 2: Jagna Chopin - Jerzy Antczak Biographie P.
    [Show full text]
  • Content Report Content Report Ccontent Report
    CISCONTENT:CONTENTRREPORTEPORT Review of ПРОИЗВОДСТВОaudiovisualПРОИЗВОДСТВО content production andПРОИЗВОДСТВО distribution in the CIS countries C Обзор новостей рынкаC производстваONTENTC и дистрибуцииR№ 3аудиовизуальногоEPORT (62) 7 февраля, 2013 контента CISCONTENTC:CONTENОбзор новостей рынка производстваTR иREPORT дистрибуцииEPOR аудиовизуального контентаT Media«»«МЕДИ ResourcesА РЕСУРСЫ МManagementЕНЕДЖМЕНТ» «МАЙОР ПОЛИЦИИ» №№9 1(9) №2 31 13 October, января,1 April, 20122011 ReviewОбзор of новостейaudiovisualCЕРИАЛ рынка content производства production and и дистрибуции distribution аудиовизуальногоin the CIS countries контента C «ММЕДИЕДИЕДИААРЕСУРСЫРЕСУРСЫЕСУРСЫММЕНЕДЖМЕНТЕНЕДЖМЕНТЕНЕДЖМЕНТ»Российская кинокомпания «Всемирные Русские Студии» Продюсер№№ 4 3 (62): (62)Юрий 21 7 Сапронов.февраля, 2013 «ВСЕМИРНЫЕ 30 января объявила о начале съемок нового 16-серийного режиссер: Артем Антонов. детектива «Майор полиции». Съемочные работы пройдут сцеНарий: Виктор Ольшанский, РУССКИЕ СТУДИИ» в Санкт-Петербурге, Гатчине, Пушкине, Шлиссельбурге, Михаил Бартенев. Media«»«МЕДИ ResourcesА РЕСУРСЫ МManagementЕНЕДЖМЕНТ» Кронштадте, а также на питерской студии RWS. в ролях№ №131(9): Андрей №213 JuneИльин, января, 1 April, Анна30, 20132011 2012 ТЕМА НОМЕРА СЛОВО РЕДАКЦИИ Банщикова, Дмитрий Блохин, тема номераFOCUS DEARслово COLLEAGUESредакциСинопсис:и Честный и принципиальный майор милиции Ольга Калмыкова, Елизавета Андрей Камышин из провинциального городка Тишинска Кутузова, Юрис Лауциньш, Инна ОСОБЕННОСТИ Уважаемыекому-то коллеги!очень сильно
    [Show full text]
  • Westminsterresearch the Artist Biopic
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.
    [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]
  • September / October
    AMERICAN SOCIETY FOR YAD VASHEM Vol. 46-No. 1 ISSN 0892-1571 September/October 2019-Tishri/Cheshvan 5780 “TWO ARE BETTER THAN ONE… AND A THREEFOLD CORD CANNOT QUICKLY BE BROKEN” n Sunday, November 17, 2019, the are leaders of numerous organizations, including membrance for their grandparents, and to rein- American Society for Yad Vashem AIPAC, WIZO, UJA, and American Friends of force their commitment to Yad Vashem so that will be honoring three generations of Rambam Hospital. the world will never forget. Oone family at our Annual Tribute Din- Jonathan and Sam Friedman have been ll three generations, including ner in New York City. The Gora-Sterling-Fried- deeply influenced by Mona, David and their ex- David’s three children — Ian and his man family reflects the theme of this year’s traordinary grandparents, Jack and Paula. Grow- wife Laura, Jeremy and his wife Tribute Dinner, which comes from Kohelet. “Two ing up, they both heard Jack tell his story of AMorgan, and Melissa — live in the are better than one… and a threefold cord can- survival and resilience at the Yom HaShoah pro- greater New York City area. They gather often, not quickly be broken” (4:9-12). All three gener- ations are proud supporters of Yad Vashem and are deeply committed to the mission of Holo- caust remembrance and education. Paula and Jack Gora will receive the ASYV Remembrance Award, Mona and David Sterling will receive the ASYV Achievement Award, and Samantha and Jonathan Friedman and Paz and Sam Friedman will receive the ASYV Young Leadership Award.
    [Show full text]
  • Reminder List of Productions Eligible for the 86Th Academy Awards
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 86TH ACADEMY AWARDS ABOUT TIME Notes Domhnall Gleeson. Rachel McAdams. Bill Nighy. Tom Hollander. Lindsay Duncan. Margot Robbie. Lydia Wilson. Richard Cordery. Joshua McGuire. Tom Hughes. Vanessa Kirby. Will Merrick. Lisa Eichhorn. Clemmie Dugdale. Harry Hadden-Paton. Mitchell Mullen. Jenny Rainsford. Natasha Powell. Mark Healy. Ben Benson. Philip Voss. Tom Godwin. Pal Aron. Catherine Steadman. Andrew Martin Yates. Charlie Barnes. Verity Fullerton. Veronica Owings. Olivia Konten. Sarah Heller. Jaiden Dervish. Jacob Francis. Jago Freud. Ollie Phillips. Sophie Pond. Sophie Brown. Molly Seymour. Matilda Sturridge. Tom Stourton. Rebecca Chew. Jon West. Graham Richard Howgego. Kerrie Liane Studholme. Ken Hazeldine. Barbar Gough. Jon Boden. Charlie Curtis. ADMISSION Tina Fey. Paul Rudd. Michael Sheen. Wallace Shawn. Nat Wolff. Lily Tomlin. Gloria Reuben. Olek Krupa. Sonya Walger. Christopher Evan Welch. Travaris Meeks-Spears. Ann Harada. Ben Levin. Daniel Joseph Levy. Maggie Keenan-Bolger. Elaine Kussack. Michael Genadry. Juliet Brett. John Brodsky. Camille Branton. Sarita Choudhury. Ken Barnett. Travis Bratten. Tanisha Long. Nadia Alexander. Karen Pham. Rob Campbell. Roby Sobieski. Lauren Anne Schaffel. Brian Charles Johnson. Lipica Shah. Jarod Einsohn. Caliaf St. Aubyn. Zita-Ann Geoffroy. Laura Jordan. Sarah Quinn. Jason Blaj. Zachary Unger. Lisa Emery. Mihran Shlougian. Lynne Taylor. Brian d'Arcy James. Leigha Handcock. David Simins. Brad Wilson. Ryan McCarty. Krishna Choudhary. Ricky Jones. Thomas Merckens. Alan Robert Southworth. ADORE Naomi Watts. Robin Wright. Xavier Samuel. James Frecheville. Sophie Lowe. Jessica Tovey. Ben Mendelsohn. Gary Sweet. Alyson Standen. Skye Sutherland. Sarah Henderson. Isaac Cocking. Brody Mathers. Alice Roberts. Charlee Thomas. Drew Fairley. Rowan Witt. Sally Cahill.
    [Show full text]
  • Elenco Film Dal 2015 Al 2020
    7 Minuti Regia: Michele Placido Cast: Cristiana Capotondi, Violante Placido, Ambra Angiolini, Ottavia Piccolo Genere: Drammatico Distributore: Koch Media Srl Uscita: 03 novembre 2016 7 Sconosciuti Al El Royale Regia: Drew Goddard Cast: Chris Hemsworth, Dakota Johnson, Jeff Bridges, Nick Offerman, Cailee Spaeny Genere: Thriller Distributore: 20th Century Fox Uscita: 25 ottobre 2018 7 Uomini A Mollo Regia: Gilles Lellouche Cast: Mathieu Amalric, Guillaume Canet, Benoît Poelvoorde, Jean-hugues Anglade Genere: Commedia Distributore: Eagle Pictures Uscita: 20 dicembre 2018 '71 Regia: Yann Demange Cast: Jack O'connell, Sam Reid Genere: Thriller Distributore: Good Films Srl Uscita: 09 luglio 2015 77 Giorni Regia: Hantang Zhao Cast: Hantang Zhao, Yiyan Jiang Genere: Avventura Distributore: Mescalito Uscita: 15 maggio 2018 87 Ore Regia: Costanza Quatriglio Genere: Documentario Distributore: Cineama Uscita: 19 novembre 2015 A Beautiful Day Regia: Lynne Ramsay Cast: Joaquin Phoenix, Alessandro Nivola, Alex Manette, John Doman, Judith Roberts Genere: Thriller Distributore: Europictures Srl Uscita: 01 maggio 2018 A Bigger Splash Regia: Luca Guadagnino Cast: Ralph Fiennes, Dakota Johnson Genere: Drammatico Distributore: Lucky Red Uscita: 26 novembre 2015 3 Generations - Una Famiglia Quasi Perfetta Regia: Gaby Dellal Cast: Elle Fanning, Naomi Watts, Susan Sarandon, Tate Donovan, Maria Dizzia Genere: Commedia Distributore: Videa S.p.a. Uscita: 24 novembre 2016 40 Sono I Nuovi 20 Regia: Hallie Meyers-shyer Cast: Reese Witherspoon, Michael Sheen, Candice
    [Show full text]
  • Przekładaniec, 2019
    Przekładaniec, special issue, “Translation and Memory” 2019, pp. 175–191 doi:10.4467/16891864ePC.19.016.11391 www.ejournals.eu/Przekladaniec MAŁGORZATA TRYUK■ https://orcid.org/0000-0002-6925-2711 University of Warsaw [email protected] THE CINEMATIC FIGURE OF AN INTERPRETER AT A NAZI CONCENTRATION CAMP: MARTA WEISS IN THE LAST STAGE BY WANDA JAKUBOWSKA* Abstract Despite a massive amount of archival material on Nazi concentration camps, references to camp translators and interpreters are random, brief, and laconic. They usually consist of dry facts as related in ontological narratives of the Nazi regime victims. In the present paper, these records will be confronted with the portrayal of Marta Weiss, a fictional camp interpreter presented in the 1948 docudrama Ostatni etap (The Last Stage) by the Polish film director Wanda Jakubowska, herself a former prisoner of the concentration camp in Birkenau. To this day, The Last Stage remains a “definitive film about Auschwitz, a prototype for future Holocaust cinematic narratives”. The Last Stage is also called “the mother of all Holocaust films”, as it establishes several images easily discernible in later narratives on the Holocaust: realistic images of the camp; passionate moralistic appeal; and clear divisions between the victims and the oppressors. At the same time, The Last Stage is considered to be an important work from the perspective of feminist studies, as it presents the life and death of female prisoners, femininity, labour and motherhood in the camp, women’s solidarity, and their resistance to the oppressors. The Last Stage constitutes a unique quasi-documentary source for the analysis of the role of translators and interpreters working in extreme conditions.
    [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]
  • „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]
  • Print This Article
    Tryuk, M. (2016). Interpreting and translating in Nazi concentration camps during World War II. Linguistica Antverpiensia, New Series: Themes in Translation Studies, 15, 121–141. Interpreting and translating in Nazi concentration camps during World War II Małgorzata Tryuk University of Warsaw, Poland [email protected] This article investigates translation and interpreting in a conflict situation with reference to the Nazi concentration camps during World War II. In particular, it examines the need for such services and the duties and the tasks the translators and the interpreters were forced to execute. It is based on archival material, in particular the recollections and the statements of former inmates collected in the archives of concentration camps. The ontological narratives are compared with the cinematic figure of Marta Weiss, a camp interpreter, as presented in the docudrama “Ostatni Etap” (“The last Stage”) of 1948 by the Polish director Wanda Jakubowska, herself a former prisoner of the concentration camp. The article contributes to the discussion on the role that translators and interpreters play in extreme and violent situations when the ethics of interpreting and translation loses its power and the generally accepted norms and standards are no longer applicable. 1. Introduction Studies on the roles of translators and interpreters in conflict situations have been undertaken by numerous scholars since 1980. They have produced valuable insights into the subject which include various types of study of an empirical, analytical
    [Show full text]