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Autor: Barbara Giza, Barbara Gierszewska, Monika Bator (red.) ISBN: 978–83-66849-42-6 Miejsce wydania: Warszawa Rok wydania: 2022 Liczba stron: 330 Oprawa: oprawa miękka, bezszwowa, kolorowe przekładki do rozdziałów Format: A5 ISBN 2: 978-83-950045-7-5 (FINA) Drukuj Konteksty źródłowe w badaniach filmoznawczych
Mamy nadzieję, że niniejsza publikacja jest dobrym przykładem potwierdzającym prymat klasycznych badań źródłowych w uprawianiu historii filmu. Wszyscy autorzy, których teksty prezentujemy, wskazywali w nich na argumenty przemawiające za poszukiwaniami danych do swoich badań przede wszystkim w archiwach filmowych, foto- i fonograficznych oraz w tzw. źródłach drukowanych i pisanych. W trosce o kolejne pokolenia badaczy warto zatem zadbać o materialne zasoby dokumentów składających się na spuściznę polskiej kinematografii, w tym dorobku naukowego oraz jak najszybciej stworzyć ich przemyślane reprezentacje cyfrowe w postaci internetowych baz danych i udostępnić zainteresowanym. To właściwa (demokratyczna i mądra) droga do komplementarności zbiorów i przygotowania nowoczesnego, elastycznego i zawsze dostępnego aparatu do badań nad polską kinematografią. z Przedmowy W tomie publikują: Monika Bator, Adam Cybulski, Andrzej Dębski, Barbara Lena Gierszewska, Barbara Giza, Mariusz Guzek, Małgorzata Kozubek, Radosław Szmatoła, Adam Wyżyński, Piotr Zwierzchowski.
Polish Popular Music on Screen
This book examines the interface between Polish popular music and screen media against the background of Polish history, cinema, and popular culture and situates that interface in a local as well as global context. It looks at Polish musicals, biographical films about musicians, documentary films and, finally, music videos. The author draws attention to the immense popularity of musical comedies in Polish interwar cinema, the enduring appeal of musical genres during the period of state socialism, despite their low status in film criticism, and the re-birth of musicals in the 2010s. Mazierska also discusses the most important stars, directors and authors of songs presented in Polish films, and points to the effect of technological changes on inception and transformation of music-centred genres of screen media, including the effect of YouTube on their growth and preservation. The book is informed by the question of how parochial and universal is Polish popular music and its screen representation.
The Law of the Looking Glass
Polish cinema has produced some of Europe's finest directors, such as Krzysztof Kie´slowski, Roman Polanski, Andrzej Wajda, and Krzysztof Zanussi, but little is known about its origins at the turn of the twentieth century. In The Law of the Looking Glass, Sheila Skaff analyzes the early years of Polish cinema. She looks at local film production, practices of spectatorship, clashes over language choice in intertitles, and the controversies surrounding the first synchronized sound experiments before World War I. Skaff discusses the creation of a national film industry in the newly independent country of the interwar years; silent cinema; the transition from silent to sound film, including the passionate debates in the press over the transition; and the first Polish and Yiddish “talkies.” The Law of the Looking Glass places particular importance on conflicts in majority-minority relations in the region and the types of collaboration that led to important films such as Der dibuk.
The Paradox of Ukrainian Lviv
The Paradox of Ukrainian Lviv reveals the local and transnational forces behind the twentieth-century transformation of Lviv into a Soviet and Ukrainian urban center. Lviv's twentieth-century history was marked by violence, population changes, and fundamental transformation ethnically, linguistically, and in terms of its residents' self-perception. Against this background, Tarik Cyril Amar explains a striking paradox: Soviet rule, which came to Lviv in ruthless Stalinist shape and lasted for half a century, left behind the most Ukrainian version of the city in history. In reconstructing this dramatically profound change, Amar illuminates the historical background in present-day identities and tensions within Ukraine.
The Routledge Companion to Global Film Music in the Early Sound Era
In a major expansion of the conversation on music and film history, The Routledge Companion to Global Film Music in the Early Sound Era draws together a wide-ranging collection of scholarship on music in global cinema during the transition from silent to sound films (the late 1920s to the 1940s). Moving beyond the traditional focus on Hollywood, this Companion considers the vast range of cinema and music created in often-overlooked regions throughout the rest of the world, providing crucial global context to film music history. An extensive editorial Introduction and 50 chapters from an array of international experts connect the music and sound of these films to regional and transnational issues—culturally, historically, and aesthetically—across five parts: Western Europe and Scandinavia Central and Eastern Europe North Africa, The Middle East, Asia, and Australasia Latin America Soviet Russia Filling a major gap in the literature, The Routledge Companion to Global Film Music in the Early Sound Era offers an essential reference for scholars of music, film studies, and cultural history.
Polish Cinema
First published in 2002, Marek Haltof’s seminal volume was the first comprehensive English-language study of Polish cinema, providing a much-needed survey of one of Europe’s most distinguished—yet unjustly neglected—film cultures. Since then, seismic changes have reshaped Polish society, European politics, and the global film industry. This thoroughly revised and updated edition takes stock of these dramatic shifts to provide an essential account of Polish cinema from the nineteenth century to today, covering such renowned figures as Kieślowski, Skolimowski, and Wajda along with vastly expanded coverage of documentaries, animation, and television, all set against the backdrop of an ever-more transnational film culture.
Poland Daily
Like many Eastern European countries, Poland has seen a succession of divergent economic and political regimes over the last century, from prewar “embedded liberalism,” through the state socialism of the Soviet era, to the present neoliberal moment. Its cinema has been inflected by these changing historical circumstances, both mirroring and resisting them. This volume is the first to analyze the entirety of the nation’s film history—from the reemergence of an independent Poland in 1918 to the present day—through the lenses of political economy and social class, showing how Polish cinema documented ordinary life while bearing the hallmarks of specific ideologies.
