Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.17
Witold Stok
An acclaimed Polish cinematographer and documentary film director describes his meeting with Sergey Paradjanov in the 1970s in Kiev. Stok found himself there in connection with the shooting of Piotr Studziński’s documentary film about one of Ukraine’s mathematicians. Despite the difficulties created by the Soviet totalitarian state to isolate Paradjanov, Stok managed to reach the director and also to watch his documentary film about the frescoes in Kiev at a special secret club screening. In his essay – a memoir – the author describes the differences between life in the Soviet Union and in more liberal Communist-ruled Poland. He characterizes Paradjanov’s artistic profile and his fate in the Soviet Union.
{"title":"Ear to the ground. Searching for ourselves in each other","authors":"Witold Stok","doi":"10.14746/i.2023.34.43.17","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.17","url":null,"abstract":"
 
 
 An acclaimed Polish cinematographer and documentary film director describes his meeting with Sergey Paradjanov in the 1970s in Kiev. Stok found himself there in connection with the shooting of Piotr Studziński’s documentary film about one of Ukraine’s mathematicians. Despite the difficulties created by the Soviet totalitarian state to isolate Paradjanov, Stok managed to reach the director and also to watch his documentary film about the frescoes in Kiev at a special secret club screening. In his essay – a memoir – the author describes the differences between life in the Soviet Union and in more liberal Communist-ruled Poland. He characterizes Paradjanov’s artistic profile and his fate in the Soviet Union.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.23
Agata Jankowska
Since the problem of representing the Holocaust first emerged, philosophers, writers and filmmakers have tried to find appropriate aesthetic methods of expression. Two approaches dominate the thinking about the Shoah: Claude Lanzmann’s claim of “the event without images” and George Didi-Huberman’s “images in spite of all”. The author’s analysis deconstructs these two theoretical approaches through the interpretation of two films: the Polish Kornblumenblau and the Hungarian Son of Saul and the notion of “the images which are not there”, that is, the non-existent photographs of the Nazi “Final Solution”. The main thesis of the essay states that cinematic representation and artistic expression can substitute for the lack of historical and visual (mostly photographic) depictions of the Holocaust. With the inspiration of theory (Giorgio Agamben, Siegfried Kracauer), I consider different methods of dealing with the dilemma of “unimaginable Auschwitz” and the concept of “bare life” as an aesthetical problem.
{"title":"Images which are not there. The Representations of the Final Solution in the Examples of Son of Saul and Kornblumenblau","authors":"Agata Jankowska","doi":"10.14746/i.2023.34.43.23","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.23","url":null,"abstract":"
 
 
 Since the problem of representing the Holocaust first emerged, philosophers, writers and filmmakers have tried to find appropriate aesthetic methods of expression. Two approaches dominate the thinking about the Shoah: Claude Lanzmann’s claim of “the event without images” and George Didi-Huberman’s “images in spite of all”. The author’s analysis deconstructs these two theoretical approaches through the interpretation of two films: the Polish Kornblumenblau and the Hungarian Son of Saul and the notion of “the images which are not there”, that is, the non-existent photographs of the Nazi “Final Solution”. The main thesis of the essay states that cinematic representation and artistic expression can substitute for the lack of historical and visual (mostly photographic) depictions of the Holocaust. With the inspiration of theory (Giorgio Agamben, Siegfried Kracauer), I consider different methods of dealing with the dilemma of “unimaginable Auschwitz” and the concept of “bare life” as an aesthetical problem.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article discusses cinematic depopulation, the strategy of appropriation of the colonized by the colonizer widely used in the Soviet and post-Soviet cinema made in Ukraine and Russia and, until now, never analyzed in academic literature. The cinematic depopulation is a mode of filmic representation whereby a given ethnoscape (Ukraine) is cleansed of its national community (Ukrainians) and instead is populated by the colonizer (Russians) as if it were an integral part of his historical territory. As a form of cultural imperialism, this strategy has, until quite recently, been widely used in both Soviet and post-Soviet Russian and Ukrainian filmmaking to promote the idea of Ukraine conceivable outside of and without the Ukrainian language, culture, and other attributes of Ukrainian identity.
{"title":"Filmmaking as Cultural Aggression","authors":"Yuri Shevchuk","doi":"10.14746/i.2023.34.43.2","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.2","url":null,"abstract":"
 
 
 The article discusses cinematic depopulation, the strategy of appropriation of the colonized by the colonizer widely used in the Soviet and post-Soviet cinema made in Ukraine and Russia and, until now, never analyzed in academic literature. The cinematic depopulation is a mode of filmic representation whereby a given ethnoscape (Ukraine) is cleansed of its national community (Ukrainians) and instead is populated by the colonizer (Russians) as if it were an integral part of his historical territory. As a form of cultural imperialism, this strategy has, until quite recently, been widely used in both Soviet and post-Soviet Russian and Ukrainian filmmaking to promote the idea of Ukraine conceivable outside of and without the Ukrainian language, culture, and other attributes of Ukrainian identity.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135569261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.11
Roman Rosliak
The article reviews the specifics of the surveillance process of the Ukrainian film director Oleksandr Dovzhenko organized by the Soviet secret police. The main focus is on agents’ reports about the director’s work on the films Earth, Ivan, Shchors, and the screenplay for Ukraine in Flames. The article reveals that Dovzhenko was under permanent secret police surveillance, starting from the end of the 1920s until the end of his life in 1956. This surveillance was well organized; it was large-scale and complex in its nature and covered not only his professional but his private life as well. The purpose of the surveillance was to collect and analyze compromising, i.e., anti-Soviet information against the film director and, if necessary, to open a criminal case against him, and make an arrest.
{"title":"Oleksandr Dovzhenko and the Soviet Secret Police","authors":"Roman Rosliak","doi":"10.14746/i.2023.34.43.11","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.11","url":null,"abstract":"
 
 
 The article reviews the specifics of the surveillance process of the Ukrainian film director Oleksandr Dovzhenko organized by the Soviet secret police. The main focus is on agents’ reports about the director’s work on the films Earth, Ivan, Shchors, and the screenplay for Ukraine in Flames. The article reveals that Dovzhenko was under permanent secret police surveillance, starting from the end of the 1920s until the end of his life in 1956. This surveillance was well organized; it was large-scale and complex in its nature and covered not only his professional but his private life as well. The purpose of the surveillance was to collect and analyze compromising, i.e., anti-Soviet information against the film director and, if necessary, to open a criminal case against him, and make an arrest.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.16
Liubov Krupnyk
An interview with the Polish film director Krzysztof Zanussi was conducted on 12 July 2022 at his home on the outskirts of Warsaw. The filmmaker has collaborated with Ukrainian artists, traveled extensively in Ukraine, supported Ukrainians during the war and even sheltered Ukrainian refugees in his home. The conversation focused on his collaborations with Ukrainian artists, in particular the prominent Ukrainian actor Bohdan Stupka (1941–2012). He played the lead role in Krzysztof Zanussi’s film And a Warm Heart (2008), for which he received the Best Actor award at the Third Rome International Film Festival for the first time in the history of Ukrainian cinema. The conversation also touched on the director’s personal ties with Ukraine, his views on the problems of the development of Ukrainian culture, his memories of creative contacts, including those during the Soviet period, and his experience of working with Russian artists. The filmmaker shared his thoughts on the war in Ukraine and its possible consequences, including those for the development of art.
{"title":"Rozmowa z Krzysztofem Zanussim","authors":"Liubov Krupnyk","doi":"10.14746/i.2023.34.43.16","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.16","url":null,"abstract":"
 
 
 An interview with the Polish film director Krzysztof Zanussi was conducted on 12 July 2022 at his home on the outskirts of Warsaw. The filmmaker has collaborated with Ukrainian artists, traveled extensively in Ukraine, supported Ukrainians during the war and even sheltered Ukrainian refugees in his home. The conversation focused on his collaborations with Ukrainian artists, in particular the prominent Ukrainian actor Bohdan Stupka (1941–2012). He played the lead role in Krzysztof Zanussi’s film And a Warm Heart (2008), for which he received the Best Actor award at the Third Rome International Film Festival for the first time in the history of Ukrainian cinema. The conversation also touched on the director’s personal ties with Ukraine, his views on the problems of the development of Ukrainian culture, his memories of creative contacts, including those during the Soviet period, and his experience of working with Russian artists. The filmmaker shared his thoughts on the war in Ukraine and its possible consequences, including those for the development of art.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.12
Larysa Naumova
The filmmakers Oleksandr Dovzhenko and Ivan Kavaleridze created bold avant-garde works at the time when Ukrainian cinema was being established, at the end of the 1920s and early 1930s. In effect, the works of these two directors shaped the defining features of Ukrainian cinema. This article discusses the creative methods used by Dovzhenko in his three films Zvenyhora (1927), Arsenal (1929) and Earth (1930), which clearly depict Ukrainian worldviews and mentality. Kavaleridze’s approach is considered in the light of two of his films, Downpour (1929) and Perekop (1930). Already a recognized sculptor at the time, Kavaleridze sought unique forms of expression in film. The approaches these directors took towards framing scenes, montage, lighting and rhythm underpinned the theoretical propositions of their contemporary, Ukrainian film theorist Leonid Skrypnyk. The author suggests that this testifies to a deliberate and comprehensive search for new means of expression in all phases of filmmaking.
{"title":"Oleksandr Dovzhenko, Ivan Kavaleridze, Leonid Skrypnyk: The avant-garde and philosophical explorations of Ukrainian filmmakers of the 1920s","authors":"Larysa Naumova","doi":"10.14746/i.2023.34.43.12","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.12","url":null,"abstract":"
 
 
 The filmmakers Oleksandr Dovzhenko and Ivan Kavaleridze created bold avant-garde works at the time when Ukrainian cinema was being established, at the end of the 1920s and early 1930s. In effect, the works of these two directors shaped the defining features of Ukrainian cinema. This article discusses the creative methods used by Dovzhenko in his three films Zvenyhora (1927), Arsenal (1929) and Earth (1930), which clearly depict Ukrainian worldviews and mentality. Kavaleridze’s approach is considered in the light of two of his films, Downpour (1929) and Perekop (1930). Already a recognized sculptor at the time, Kavaleridze sought unique forms of expression in film. The approaches these directors took towards framing scenes, montage, lighting and rhythm underpinned the theoretical propositions of their contemporary, Ukrainian film theorist Leonid Skrypnyk. The author suggests that this testifies to a deliberate and comprehensive search for new means of expression in all phases of filmmaking.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.18
Wojciech Sławnikowski
The aim of this article is to analyse the poetics of Antoni Malczewski’s Maria in terms of its cinematic qualities. The author uses various film theories, including those formulated by Siegfried Kracauer, Béla Balázs and Jean Mitry, in order to approximate the meaning of a text being cinematic and to find tools for the analysis of a literary text through this lens. Six features are distinguished: (1) fragmentariness of the plot structure, (2) editing within scenes, (3) a focus on movement, (4) transcending the limitations of human perception, (5) quasi-reproduction of reality and (6) giving images meaning as parts of a larger composition. These can be found in different passages from Maria, the analysis of which leads the author to conclude that the key to the cinematic qualities in Malczewski’s novel is the quasi-impersonal reproduction of reality achieved thanks to the withdrawn narrative perspective, the descriptions of empirical reality and the behavioural characteristics of the characters. In the summary, the cinematic qualities of Maria are put within a context of the history of literature and linked to the break with classicistic poetics and the move towards Romanticism.
{"title":"Filmowość Marii Antoniego Malczewskiego","authors":"Wojciech Sławnikowski","doi":"10.14746/i.2023.34.43.18","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.18","url":null,"abstract":"
 
 
 The aim of this article is to analyse the poetics of Antoni Malczewski’s Maria in terms of its cinematic qualities. The author uses various film theories, including those formulated by Siegfried Kracauer, Béla Balázs and Jean Mitry, in order to approximate the meaning of a text being cinematic and to find tools for the analysis of a literary text through this lens. Six features are distinguished: (1) fragmentariness of the plot structure, (2) editing within scenes, (3) a focus on movement, (4) transcending the limitations of human perception, (5) quasi-reproduction of reality and (6) giving images meaning as parts of a larger composition. These can be found in different passages from Maria, the analysis of which leads the author to conclude that the key to the cinematic qualities in Malczewski’s novel is the quasi-impersonal reproduction of reality achieved thanks to the withdrawn narrative perspective, the descriptions of empirical reality and the behavioural characteristics of the characters. In the summary, the cinematic qualities of Maria are put within a context of the history of literature and linked to the break with classicistic poetics and the move towards Romanticism.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.14
Krzysztof Kornacki
The film Hatred (Wołyń) is a hybrid of a classic historical drama (with elements of discourse) and a modernist anti-war film. Smarzowski created a scenario that complicates the history of Volhynia, and renders it open to ambiguous assessments of Poles, Ukrainians, Jews and Germans. The film was supposed to be conciliatory. But this desire to distance itself from factual and ethical simplifications was doomed to lose in confrontation with the emotional force of the final sequence of the cruel crime. The author of the article does not oppose the macabre. From the Polish perspective, it was rather unavoidable in the first film on this subject, because it was not about the information about the crime itself but rather its emotional experience (probably cathartic for some viewers). The author only points to the fact that thinking in terms of reconciliation in the making of the film, which in the first part approaches a distanced discourse (for the full expression of the “voice of history”), and in the final parts is an immersive anti-war film, could not be successful.
{"title":"Discourse and the Macabre. Creating an Image of the Past in the Film Hatred by Wojciech Smarzowski","authors":"Krzysztof Kornacki","doi":"10.14746/i.2023.34.43.14","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.14","url":null,"abstract":"
 
 
 The film Hatred (Wołyń) is a hybrid of a classic historical drama (with elements of discourse) and a modernist anti-war film. Smarzowski created a scenario that complicates the history of Volhynia, and renders it open to ambiguous assessments of Poles, Ukrainians, Jews and Germans. The film was supposed to be conciliatory. But this desire to distance itself from factual and ethical simplifications was doomed to lose in confrontation with the emotional force of the final sequence of the cruel crime. The author of the article does not oppose the macabre. From the Polish perspective, it was rather unavoidable in the first film on this subject, because it was not about the information about the crime itself but rather its emotional experience (probably cathartic for some viewers). The author only points to the fact that thinking in terms of reconciliation in the making of the film, which in the first part approaches a distanced discourse (for the full expression of the “voice of history”), and in the final parts is an immersive anti-war film, could not be successful.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135569262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-20DOI: 10.14746/i.2023.34.43.19
Marek Hendrykowski
Marshall McLuhan was one of the most significant and influential, not to mention popular, mass media researchers and commentators. The article offers a detailed introduction to the essential methodology of his works. By taking a fresh approach, this study explores and explains the basic structure of McLuhan’s method for describing, analysing and interpreting various themes and phenomena connected with media communication, emphasizing the key relationship between theory and practice as a way leading toward “understanding media”.
{"title":"Okno McLuhana. McLuhan w teorii i praktyce. Jutro widziane dzisiaj","authors":"Marek Hendrykowski","doi":"10.14746/i.2023.34.43.19","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.19","url":null,"abstract":"
 
 
 Marshall McLuhan was one of the most significant and influential, not to mention popular, mass media researchers and commentators. The article offers a detailed introduction to the essential methodology of his works. By taking a fresh approach, this study explores and explains the basic structure of McLuhan’s method for describing, analysing and interpreting various themes and phenomena connected with media communication, emphasizing the key relationship between theory and practice as a way leading toward “understanding media”.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper presents the professional situation of Ukrainian actors after the outbreak of war in February 2022. The data presented here concern the different needs and possibilities of supporting Ukrainian actors living abroad and those displaced within Ukraine. The article presents possible differences in the situation of actors in Ukraine and abroad and how much chance Ukrainian actors currently have to follow up on their acting career.
{"title":"Professional situation of the Ukrainian actors during the Russian aggression against Ukraine","authors":"Anna Huth","doi":"10.14746/i.2023.34.43.8","DOIUrl":"https://doi.org/10.14746/i.2023.34.43.8","url":null,"abstract":"
 
 
 The paper presents the professional situation of Ukrainian actors after the outbreak of war in February 2022. The data presented here concern the different needs and possibilities of supporting Ukrainian actors living abroad and those displaced within Ukraine. The article presents possible differences in the situation of actors in Ukraine and abroad and how much chance Ukrainian actors currently have to follow up on their acting career.
 
 
","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135570269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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