scholarly journals Trudna przestrzeń. O filmie Roberta Stando Strach ma wielkie oczy

Author(s):  
Marek Hendrykowski

The article analyses and interprets Robert Stando’s little-known educational film Strach ma wielkie oczy [Fear has large eyes]. The film was made in 1965 and produced by the Documentary Film Studio in Warsaw. The author explores the original character of the film, reconstructing the stylistic and compositional techniques used by filmmakers, among others, in the field of cinematography (underwater photography), editing, word function, music, sound effects etc.

2012 ◽  
Vol 18 (1) ◽  
pp. 99-119 ◽  
Author(s):  
Janet Harbord

After a century of cinema, accounts of this cultural form see it as divided between documentation and animation (the real and the magical). Yet the challenge that cinema presented in terms of a relocation of perception from the eye to the machine has become occluded. The shock of cinema in its earliest manifestations resided in the body of the spectator, no longer the site of primary perception, but dependent on an other (the camera, the projector) lacking in human qualities. This article argues that the newly configured body–machine relationship provided by cinema became a marginalized feature of cinematic culture, an ex-centric cinema relegated to the sub-fields of science and educational film. In the mid-20th century the project surfaces spectacularly in the work of pioneering designers Charles and Ray Eames, most poignantly in their film Powers of Ten (first made in 1968, remade in 1977) , a journey into the cosmos and back again into the body of a man. Bringing together discourses of space travel, cartography, physics and cinema, the film moves us towards an understanding of visual culture as an apparatus of calculated possibilities, where visualization replaces representation. If we take the Powers of Ten as a non-representational film, an ex-centric cinematic practice, we uncover non-linear and non-representational ways of apprehending the relationship between bodies and matter. This literal line of flight is one path that cinema may have taken. Its presence, however, is detectable outside of the cinema, in the software programs of electronic cartography copyrighted as Google Earth. The human body is not made virtual by its engagement with calculated visualization but is in turn part of the field of enquiry, equally porous, and definable in various scales and in different dimensions.


2012 ◽  
Vol 46 (2) ◽  
pp. 423-439 ◽  
Author(s):  
IMRE SZEMAN

How does the problem of oil appear in documentary film? I provide an answer to this question by examining the narrative and aesthetic choices through which the problem of oil is framed in three recent “feature” documentaries: Basil Gelpke and Ray McCormack's A Crude Awakening (2006), Joe Berlinger’s Crude: The Real Price of Oil (2009), and Shannon Walsh's H2Oil (2009). My aim is to understand not only the specific politics enacted through the formal and aesthetic choices made in each film, but to map out what these documentaries tell us about the social life of oil today, and the capacity for films such as these to meaningfully intervene in the looming consequences of our dependence on oil. The essay proceeds in three parts. First, by offering readings of the discursive, narrative and aesthetic strategies of these documentaries, I draw out the ways in which each comes to understand the problem of oil. In the second part, I identify the key insights that these films offer regarding the specific social contradictions and political blockages that emerge from their attempt to name and understand oil. Finally, I conclude with an exploration of the insights these films provide for addressing the antinomies that define and separate the anticapitalist and environmental movements.


2021 ◽  
Vol 10 (12) ◽  
pp. 471
Author(s):  
Jane Plastow

In the context of consistently poor provision of state maternity services to impoverished women in western Kenya over many decades, this article discusses the use of arts in relation to researching subaltern perspectives and enabling subaltern voices to be heard by the powerful. The argument is made that behaviour change agendas are almost always top down, while requirements for the authorities to engage with subaltern voices are minimal and frequently resisted. Case studies are offered of two artistic interventions—a play and a documentary film, made in 2018 and 2019 respectively, which sought to engage medical authorities and the middle classes regarding the consequences of the, sometimes very weak, implementation of Kenya’s excellent policies in relation to maternal health for the poor. In conclusion, the question of how to more effectively enable the powerless to speak to power is discussed.


2016 ◽  
Vol 5 (10) ◽  
pp. 131-154
Author(s):  
Miguel González Rodríguez

A partir del concepto de Zona Gris de Giorgio Agamben, se analiza las traiciones, memorias y militancias en dos películas documentales realizadas en tiempos posdictatoriales en Chile y Argentina. Extendiendo un cruce entre ambas, la figura de la traición de La Flaca Alejandra, en el film de Carmen Castillo, y de Ana en Montoneros, una historia; de Andrés Di Tella, nos permiten observar las representaciones de la memoria militante cuyas narraciones del horror, por efecto de la violencia dictatorial, las fracturas identitarias entran en escena por causa de la violación a los Derechos Humanos. Este cruce permite observar las diferencias históricas de ambos países y las formas de representación de la memoria en el cine documental en un nuevo contexto de democracia posdictatorial. From the concept Zona Gris of Giorgio Agamben, it´s analized the betrayals, memories and militancy in two documentary films made in posdictatorial times in Chile and Argentina. Exending a cross between them, the figure of La Flaca Alejandra, in the film of Carmen Castillo, and of Ana in Montoneros, una historia; of Andrés Di Tella, allow us to observe the representations of the militant memory whose narrations of horror, by effect od dictatorial violence, the fractures identity come on the scene for caused the violation of Human Rights. This acrossing allows us to observe the historical differences of both countries and the forms of representations of memory in the documentary film in a new context of posdictatorial democracy.


Author(s):  
Peter J. Bloom

In his chapter, Peter Bloom elaborates on the process of decolonisation in this region and the complex relationships between the coloniser and the colonised that process entailed. In his chapter, he analyses how the mobilisation of official documentary film, radio language and sound effects became a critical site in authenticating the legitimacy of the British-led campaign against the communist insurgency, and the extent to which these also contributed to Cold War realignments during the post-war era.


Author(s):  
Aylish Wood

This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. In Watchmen (Zack Snyder, 2009) and Inception (Christopher Nolan, 2010), characters navigate the unusual spatiotemporal realities of fourth dimensional time and multiple-level dreams. The sound designs of each film shift between seamless and overt organizations, inviting audiences to also experience unstable spatio-temporalities. As the sound and image relations mediate between both coherent action and also potentially destabilized spatiotemporal realities, they work to hold contradictory tendencies in balance. The argument made in this essay is that sound bridges contribute to the transmission of knowledge about the unusual spatiotemporal realities of Inception and Watchmen. Even as the soundtrack is seamless in the sense that its transitions are smoothly achieved, bridging more than one location, the balance of the mix among music, sound effects, and dialogue sits unusually with the images. Consequently, the sound-image relations coordinate and generate a perspective on time and space.


Author(s):  
Michał Krotowski

Manggha (Feliks Jasieński) – on a little-known film by Kazimierz Mucha This article contains an analysis of an educational documentary film released in 1981 and directed by Kazimierz Mucha. The film is not accessible to a wider public, and a copy (not of the highest quality) is stored in the archive of the Wytwórnia Filmów Oświatowych (Educational Film Studio) in Łódź. However, this film is an interesting and unique example of the interest of Polish filmmaking in Japanese art. Despite what the title might suggest, this is not a biographical documentary. In it, only a few selected facts drawn from the life of Feliks Jasieński are presented, frequently interspersed with quotations. Above all, the makers of the film focused on a presentation of the collection of Japanese art gathered by Manggha (Jasieński’s artistic pseudonym), and also on its reception in Poland during Jasieński’s period of activity, that is at the turn of the nineteenth and twentieth centuries. Because it is a short film (this was surely a requirement imposed on the majority of educational films), the film refers to the abovementioned issues in a synthetic and incomplete fashion. Besides offering an analysis of the film, this article throws light on the somewhat forgotten figure of Jasieński and the Promethean ideas that he espoused of grafting several models drawn from Japanese culture on to Polish art, at a time when a broad Polish public encountered Japanese culture for the first time.


2020 ◽  
Vol 14 (Supplement_1) ◽  
pp. S221-S221
Author(s):  
T Mahmood ◽  
T Mahmood

Abstract Background Patients with IBD have already travelled a long journey before they muster up courage to speak about their symptoms with their doctor or the family. During this period they may undergo enormous suffering. This educational film, part sponsored by Crohn’s and Colitis UK, highlights this issue for the first time. It recognises that doctors and nurses are not trained to address pre-consultation journey of IBD patients. Methods This 40 min long drama documentary film was made with the help of a filming crew. Script was written, directed, produced and co-edited by the two authors with the help of the filming experts. It was part sponsored by the Crohn’s and Colitis UK. The film tells three touching stories that aim to educate patients and medical professionals. It shows physical, emotional, social and relational effects of silent sufferers with IBD. Results It is highlighted that patient journeys before they muster up courage to speak to anybody about their symptoms have a massive bearing on their general outcomes. The doctors and nurses so frequently are naïve about this aspect of patient care, as we are neither taught about it nor trained to deal with it. Conclusion This film is first of its kind. There is need for the Medical education curriculum to incorporate training and awareness about suffering of IBD patients before having medical consultations, and prior to sharing their stories with relatives and friends. The film has educational elements for all; doctors and nurses as well as the patients.


Author(s):  
Andrii Nikitin

S. Zoruk was a bright representative of the artistic circle with an original view and individual ap- proach to art. His innovative methodological theories on academic drawing are organically included in the concept of scientific and methodological base of the Department of Drawing NAOMA and drawing school in general. S. Zoruk constantly studied and improved the technique of drawing, built his personal style. It is in the pictorial compositions that his authorial style with an emphatically refined aesthetic and philosophical subtext is most vividly revealed. The line, the stroke, the spot are combined and intertwined, creating elegant images of his paintings. His style of drawing is characterized by a light, free line. It is extremely interesting to see the evolution of the Zoruk artist: "Game-4" (1991), "Breath of the Wind" (1993), diptychs "Farewell to the Hat" (1993) on carnival themes and "Time to scatter stones, time to collect stones" (1993) for biblical motives. They are made in the technique of drawing. Thanks to the compositional techniques of including large sizes of clean planes of paper and the clarity of the line, the artist achieves the effect when the viewer’s imagination continues to paint the plastic life of the image. S. Zoruk’s creative style is characterized by refinement and detail of the image, elegance and lightness of the line and, at the same time, there is a pause, a colon in the story, which gives space for plot fantasizing. An important place in the artist’s creative activity was occupied by his teaching work, which he began in 1989 at the Department of Drawing KDHI. He alternately taught drawing at the Faculty of Architecture, and later at the restoration, theater, and graphic departments. He took a direct part in the forma- tion of the scientific and theoretical basis for the methods of teaching drawing and introduced methodological development, namely "Double productions in the 5th year" in the working program of the drawing. The level of professional qualification of the artist was marked in 1986 by admission to the National Academy of Arts, the rank — Honored Artist of Ukraine (1996), in 2000 the academic rank of associate professor, and since 2003 S. Zoruk held the position of professor. He successfully combined pedagogical and exhibition activities, repeatedly visited and collaborated with art galleries in Suzhou, Wu Xi (PRC). He has about 40 exhibitions in Ukraine and abroad. His works are in the funds of the Ministry of Culture of Ukraine, the National Union of Artists of Ukraine, the museum "Kachanivka" and the Museum of Contemporary Art (Kaliningrad), in private collections in the Netherlands, Russia, Belgium, France, Germany, Austria, USA, China. S. Zoruk’s creative and pedagogical activity were awarded in 2002 by the award of the Ministry of Culture of Ukraine "For out- standing merits in the development of culture and art". Philosophical sound in combination with intellectual- ism, together with high professional skill gave S. Zoruk’s works of extraordinary artistic value, made them an important phenomenon of Ukrainian art of the last quarter of the XX — beginning of the XXI century. His works have a sense of the space of the theatrical stage: the images, which is raised up to generalization are united by a certain game moment, the artist slowly unfolds in front of the spectator the dramaturgy of the plot, leaving a field for his own interpretations.


2021 ◽  
Vol 18 (4) ◽  
pp. 423-441 ◽  
Author(s):  
Sadie Wearing

To Be a Woman is a short campaigning film made in 1950–1 by documentary film-maker Jill Craigie. This article offers an account of the film which aims to recover the affective life of both the film text and the archival correspondence between Craigie and the General Secretary of the National Union of Women Teachers, which refers to its production history. The article analyses the ‘feeling tones’ of the letters that describe both Craigie's attempts to get the film made and her difficulties in distributing it. It is argued that paying attention to these affective aspects of the archive and the film together enables a recalibration of (in a variant of Raymond Williams's formulation) the structure of feminist feeling in both the film and, to an extent, the wider public realm in the immediate post-war period. Paying attention to the film's affective dynamics in this way is also revealing, it is suggested, of its class and race positionality, enabling a more nuanced critical account of its politics.


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