scholarly journals Dokumentarzyści i krytyk. Zygmunt Kałużyński a dokumentaliści „nowej zmiany”

2017 ◽  
Vol 20 (29) ◽  
pp. 15-46
Author(s):  
Mikołaj Jazdon
Keyword(s):  
Short Film ◽  
Documentary Films ◽  
New Wave ◽  
Film Festival ◽  
Political Situation ◽  
Television Documentary ◽  
Film Critic ◽  
Krzysztof Kieslowski

The article offers the analysis of how Zygmunt Kałużyński, the film critic of Polityka weekly magazine, described and stigmatized documentary films by Krzysztof Kieślowski, Tomasz Zygadło, Grzegorz Królikiewicz and Krzysztof Gradowski presented at the Cracow short film festival in 1971. Kałużyński criticized and mocked the aesthetics of the Polish “new wave” documentary cinema in a series of articles published in Spring and Summer of 1971. He presented films by brave and talented directors, contradicting the current social and political situation, as the unreflective imitation of the banal television documentary style based on in-front-of-the-camera interviews. The author compares Kałużyński’s proceedings to actions of a British journalist Robert Pitmann described by Tadeusz Różewicz in his essay A Journalist and the Poet. Pitmann conducted a sneering interview with T.S. Eliot for Sunday Express in 1958 and Różewicz comments on the possible effects of his text for its readers.

Sen, Mrinal (1923--)

2018 ◽  
Author(s):  
Rea Amit
Keyword(s):  
Documentary Films ◽  
New Wave ◽  
Film Festival ◽  
Art Cinema ◽  
World Cinema ◽  
The Government ◽  
Simple Narrative

Mrinal Sen is an Indian film director closely associated with the Indian New Wave (alternatively known as the Parallel Cinema). Born in Faridpur, now Bangladesh, he moved to Calcutta in 1940. Although Sen began directing films in 1955, it was his 1969 film, BhuvanShome, that earned him recognition among those associated with India’s independent art cinema. While the simple narrative emphasizes progressive socialist ideas, the film is most notable for its cinematic form, which incorporates live footage and documentary-like filmmaking with fast editing and several animated sequences. In the early 1970s Sen’s films become more radical politically, glorifying violent demonstrations against the government. This shift is visible in his "Calcutta Trilogy" (Interview, Calcutta 71, and Padatik) and Chorus (1975), the latter earning Sen the Silver Prize at the 1975 Moscow International Film Festival. In the latter half of the 1970s Sen turned to more mainstream filmmaking. He has also directed several documentary films, among them a film produced for the British Film Institute’s series on world cinema, And the Show Goes On—Indian Chapter (1999).

Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema

Somatechnics ◽  
2019 ◽  
Vol 9 (1) ◽  
pp. 58-83
Author(s):  
Akkadia Ford
Keyword(s):  
Life Experiences ◽  
Private Life ◽  
First Century ◽  
Short Film ◽  
New Wave ◽  
Privileged Access ◽  
Feature Film ◽  
Theoretical Issues ◽  
Over Time ◽  
Film Change

Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.

The iAnimal Film Series

Screen Bodies ◽  
2021 ◽  
Vol 6 (1) ◽  
pp. 44-61
Author(s):  
Holly Cecil
Keyword(s):  
Animal Studies ◽  
Documentary Film ◽  
Academic Research ◽  
Short Film ◽  
Film Festival ◽  
Embodied Experience ◽  
Critical Animal Studies ◽  
Advocacy Organizations ◽  
Film Series

This article explores the innovative use of virtual reality (VR) technology in nonfiction documentary film formats by animal-advocacy organizations. I examine the potential of the VR medium to communicate the living and dying environments of factory-farmed animals, and to generate viewer empathy with the animal subjects in their short, commodified lives from birth to slaughterhouse. I present a case study of the iAnimal short film series produced by Animal Equality, which made its public debut at the 2016 Sundance Film Festival. Employing a critical animal studies framework, I engage Kathryn Gillespie’s work on witnessing of the nonhuman condition as a method of academic research, and apply to it the embodied experience of virtual witnessing through virtual realty.

Transforming the Schizophrenic through Cinematic Therapy

2020 ◽  
pp. 43-52
Author(s):  
Eileen Anastasia Reynolds
Keyword(s):  
Mental Health ◽  
Production Process ◽  
Mental Wellbeing ◽  
Short Film ◽  
Film Festival ◽  
Creative Project ◽  
The Past ◽  
Mental Health Patients ◽  
Film Making

The author shares her directorial experience in the making of her short film where she invited her aunt to participate in the production process. As her aunt had been diagnosed with schizophrenia in the past and was going through depression when the film was planned, it was supposed that perhaps the film-making process would help improve her mental health with her being part of a creative project. From script-writing, to acting, and even animating, the author had fully engaged her aunt from start to finish. The essay documents the author’s reflections of her aunt’s participation and how her sense of mental wellbeing improved dramatically as the film project progressed. The issue of exploitation is also considered in the essay as there is a difference between engagement and empowerment as opposed to deception and participation. Though the film did not win any awards at the 48-Hour Film Festival; the cinematic therapy experience highlighted the potential of seeking new pathways in supporting mental health patients.

No Farewell to Yesterday

2019 ◽  
pp. 218-226
Author(s):  
Alexander Kluge
Keyword(s):  
Organizational Politics ◽  
Final Demand ◽  
Short Film ◽  
Funding Agency ◽  
Film Festival ◽  
German Film ◽  
German Cinema ◽  
Film Education ◽  
History Of ◽  
New Millennium

This chapter studies Alexander Kluge's reflections on the organizational politics that gave rise to New German Cinema as seen through the uncertainty of cinema's future in the new millennium. It has been nearly fifty years since a group of young filmmakers, who up until that point had distinguished themselves only with shorts, spoke up at the Short Film Festival in Oberhausen. In their now-famous Oberhausen Manifesto they demanded a renewal of the intellectual attitude in filmmaking in a direction toward authenticity and away from commerce; an intellectual center for German film, meaning film education; and opportunities for young filmmakers to make their first films. The Kuratorium junger deutscher Film (Board for Young German Film) emerged out of the final demand with an endowment of five million marks. North Rhine-Westphalia's funding agency for short film, which formed the foundation of the Oberhausen group, added up to 800,000 marks distributed over six years. A shift in German film occurred right from the start. At that point, the history of film was seventy years old. What later grew out of the Oberhausen movement up until Rainer Werner Fassbinder's death filled a quarter of this history. This included lots of mistakes, a lot of claims to fame, variety, enthusiasm, and many works that have enriched the history of film.

Romania: Transnational and National Tensions Beyond the New Wave

2020 ◽  
pp. 172-189
Author(s):  
Raluca Iacob
Keyword(s):  
New Wave ◽  
Film Festival ◽  
Popular Films ◽  
Limited Output ◽  
Romanian Cinema

The chapter on Romania examines post 2008 Romanian cinema through the dual prism of its film festival successes and the developing strand of genre-based popular films. Offering an account that goes beyond the critical successes of the New Wave films, the chapter discusses the difficulty of national productions to reach local audiences despite the increased adoption of genre. It also provides some explanations for the limited output of Romanian cinema, which is notable despite the increase in European and Balkan co-productions.

Vigo, Jean (1905–1934)

2018 ◽  
Author(s):  
Thomas Patrick Pringle
Keyword(s):  
Boarding School ◽  
Boarding Schools ◽  
Large Impact ◽  
Short Film ◽  
New Wave ◽  
Short Life ◽  
Dziga Vertov ◽  
French New Wave

Jean Vigo was an anarchist and social realist French filmmaker responsible for four short yet influential works. Famously honored as "the cinema incarnate" by Henri Langlois, Vigo had a large impact on French New Wave [Nouvelle vague] directors despite producing just 165 minutes of film during his short life. Born to militant anarchist parents in 1905, Vigo grew up in boarding schools after his father, radical agitator Miguel Almereyda, died in prison. Plagued by illness throughout his life, Vigo read the impressionist film theories of Jean Epstein and Louis Delluc while in hospital, and there he met his wife "Lydu" Lozinska. The couple moved to Nice and Lydu’s family bankrolled Vigo’s first film, À Propos de Nice (1930), an experimental documentary inspired by Dziga Vertov. Vigo then completed his masterpiece, Zero de Conduite [Zero for Conduct] (1933), a short film about an insurrection enacted by children at a boarding school. The film is autobiographical, referencing his parents’ politics, as well as characters and incidents from Vigo’s life, while aesthetically playing between Realism and a surrealist sensitivity prone to play and mischief. A few weeks after the release of his social realist film about love on a canal barge, l’Atalante (1934), Vigo passed away from tuberculosis.

Rohmer, Éric (1920–2010)

2018 ◽  
Author(s):  
Maria Ionita
Keyword(s):  
New Wave ◽  
Moral Choice ◽  
French Film ◽  
French New Wave ◽  
Eric Rohmer ◽  
Theology And Philosophy ◽  
Film Critic

Éric Rohmer (born Jean-Marie-Maurice Schéer) was a French film director, screenwriter, and film critic, best known for his association with the French New Wave, and his sophisticated films exploring the intersections of romantic desire and moral choice. A student of literature, theology, and philosophy with a degree in history, Rohmer started as a teacher, but soon gravitated, like many future New Wave directors, toward Henri Langlois’ Cinémathèque Française and he also began writing for Cahiers du cinéma in 1951. He was its editor from 1957 to 1963.

Rocha, Glauber (1939–1981)

2018 ◽  
Author(s):  
Peter Baker
Keyword(s):  
New Wave ◽  
Brazilian Cinema ◽  
French New Wave ◽  
Revolutionary Violence ◽  
New Type ◽  
1960S And 1970S ◽  
Brazilian Film ◽  
The 1960S ◽  
New Generation ◽  
Film Critic

Glauber Rocha de Andrade (Vitória da Conquista, 1939–1981) was a Brazilian film critic, screenwriter, producer, and director. Arguably the most important director of the cinema nôvo (New Cinema) movement of the 1960s and 1970s, he began his career as a film critic, writing for well-known Brazilian journals about Italian neorealism and the French New Wave – two crucial influences on his own work. His writings criticized Brazil's commercial cinema and called for a new type of film that would represent the reality of Brazilian life. His most famous essay in this regard is "Estética da Fome" ("An Esthetic of Hunger," 1965). The essay reflects on the neo-colonial condition of Brazilian cinema through the analogy of the starvation of the Brazilian people and the intellectual starvation of its cinematic tradition; anti-colonial revolutionary violence is the only possible solution to these plights. This theoretical viewpoint is reflected in his Deu e o Diabo na Terra do Sol (Black God, White Devil, 1964), a film which earned him recognition on the international scene and in Brazil as the unchallenged leader of a new generation.

scholarly journals Art, human rights activism and a pedagogy of sensibility: the São Paulo Human Rights Short Films Festival-Entretodos

2020 ◽  
Vol 3 (1) ◽  
pp. 69-90
Author(s):  
Eduardo C. B. Bittar
Keyword(s):  
Human Rights ◽  
Sao Paulo ◽  
Global City ◽  
Short Film ◽  
São Paulo ◽  
Film Festival ◽  
Human Right ◽  
Philosophical Perspective ◽  
Short Films ◽  
The Relationship

This article discusses ways in which the São Paulo human rights short film festival-Entretodos developed between 2013 and 2016. It considers the festival from the perspective of a coordinator and promoter, discussing its achievements within the socio-political context of this global city, and of Brazil more broadly, where there has been resistance to advances in human rights culture (HRC). Data from the festival gave rise to an analysis of the relationship between art and emancipation, which is presented here from a philosophical perspective. The author illustrates how the experience of hosting a human rights short film festival in São Paulo has led to the development of a municipal human rights education (HRE) policy and to the conviction that art and citizenship, including learning for citizenship, human right and conviviality, can go hand-in-hand. The article argues for a pedagogy of sensibility, which centres learners’ humanity, as an approach to HRE.

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