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  This is an Open Access Journal Open Access journal
ISSN (Print) 1730-7775
Published by Uniwersytetu Gdańskiego Homepage  [20 journals]
  • Wstęp

    • Authors: Michał Piepiórka
      Pages: 7 - 11
      PubDate: 2022-12-19
  • Arytmetyka polskich debiutów fabularnych (2006-2021)

    • Authors: Michał Piepiórka
      Pages: 15 - 46
      Abstract: The author used the quantitaive method to examine the full-lenght feature polish debuts from 2006-2021. The aim of the article is to present the dynamics of the field of young polish cinema in the reality of Polish cinematography after the founding of the Polish Film Institute. The author examines the rookie’s profile in terms of age, gender and education. He also checks which entities from the audiovisual industry most willingly produced debuts, which companies most often distributed them, and what results did this type of films achieve in the box office. The research is also accompanied by an attempt to recreate the institutional environment in which young filmmakers have operated for the last 16 years.
      PubDate: 2022-12-19
      DOI: 10.26881/pan.2022.27.01
  • Program Sześćdziesiąt Minut Studia Munka SFP jako nowy model realizacji
           fabularnego filmu niskobudżetowego

    • Authors: Anna Wróblewska
      Pages: 47 - 66
      Abstract: The aim of the article is to recreate, on the basis of existing and available data and information, a feature film production model characteristic of the „Sixty Minutes” programme, which is realised at the Munk Studio, operating at the Polish Filmmakers Association. This programme has been operating since 2017 and has resulted in such films as „Supernova” by Bartosz Kruhlik, „Eastern” by Piotr Adamski, „Wiarołom” by Piotr Złotorowicz, „Chleb i sól” by Damian Kocur and „Braty” by Marcin Filipowicz. This model consists of factors of a programmatic and ideological nature, resulting from the assumptions and goals of the programme as well as the specificity of the producer; on the other hand, the production of „60s” in specific financial, social and environmental conditions requires the producer and the production department to apply specific implementation practices and use creative solutions, thanks to which the author’s vision of the debutante will be able to materialise despite budget constraints.
      PubDate: 2022-12-19
      DOI: 10.26881/pan.2022.27.02
  • W kleszczach transnarodowości. 1983

    • Authors: Mateusz Katner
      Pages: 68 - 88
      Abstract: Netflix, which is the worldwide American streaming platform available globally, produces numerous serious not only in the United State but outside the country as well. Those specific projects have wide audience all around the world, and, what needs to be emphasized, are particularly appealing to the users in each region respectively. However, the 1983, first Polish series by Netflix Original, has met quite cold reception especially in the country of its production. In this paper author states that this kind of the series’ perception stems from its transnational formula which in this case results in disappointing effects in several dimensions: preproduction, implementation, and further publicity.
      PubDate: 2022-12-19
      DOI: 10.26881/pan.2022.27.03
  • Dubbing filmów animowanych jako przekaz kulturowy. O współczesnym
           podejściu do translacji dubbingowej w Polsce

    • Authors: Gabriela Jędrusik
      Pages: 89 - 101
      Abstract: The process of dubbing a production does not end at the direct translation of the text into the target language, but involves adapting and localising the verbal and choral contents of the film. Moreover, the finished product has to stay intact with the represented visual layer. This analysis researches upon dubbing as a form of translation regarding its function as a channel of conveying culture. In this study some of the animated films released in the past 20 years have been analysed. The discourse is focused on the importance of translation in the reception of the mainstream films from the perspective of a Polish viewer. The main aim of the article is to bring attention to the way in which dubbing presents culture by detaching the viewer from the cultural source and conveying the message of the film by focusing on the familiar, target culture.
      PubDate: 2022-12-19
      DOI: 10.26881/pan.2022.27.04
  • Kierunek Wschód. Kulisy realizacji filmu "Mamo, czy kury potrafią

    • Authors: Szymon Szul
      Pages: 104 - 121
      Abstract: The author analyses the first, unsuccessful Polish-Belarusian co-production of the Semafor Film Studio – "Mamo, czy kury potrafią mówić'". The project, which was initially planned as another, simple in terms of complexity of the studio’s film production, became one of the studio’s largest and most demanding projects. The researcher tries to shed some light on what the reasons behind this decision were. Using archive data and information obtained in the process of conducting in-depth interviews with former employees of Semafor, he places the studio in the broader landscape of film production, and indicates what factors determined the final failure of the project as a co-production with the Belarusians.
      PubDate: 2022-12-19
      DOI: 10.26881/pan.2022.27.05
  • Warunki prawne, finansowe i organizacyjne w koprodukcji
           kanadyjsko-polskiej. Przypadek filmu "Przysięga Ireny"

    • Authors: Tomasz Kożuchowski
      Pages: 122 - 140
      Abstract: An international film co-production is a unique organisational event that adds prestige to any cinematographic production in the world. It also proves the transnational nature of the art of filmmaking, which is based on developed organisational, legal and financial models. The subject matters of co-produced films are usually universal stories or those commemorating past events that are important for the world’s history. One of these is the Second World War, which is still discovering its heroes. The article presents the production history of the making of the film Irena’s Vow, about a Polish woman awarded the title of Righteous Among the Nations. The conditions of international film co-productions are analyzed, in the context of financial and organizational assumptions, as well as in the context of geopolitical risks. In doing so, the differences between the production systems in place in Poland and Canada are highlighted.
      PubDate: 2022-12-19
      DOI: 10.26881/pan.2022.27.06
  • Producenckie kino Alka Pietrzaka

    • Authors: Artur Majer
      Pages: 142 - 154
      Abstract: The paper entitled Alek Pietrzak’s Producer’s Cinema focuses on Aleksander Pietrzak, the director of the younger generation, his creative strategies and attitudes. The work’s ethos which he articulates and describes in interviews and press materials indicates his large producer’s awareness. According to him, a film-maker’s task is “the ability to organise work within the set deadline.” He prepares to this work painstakingly in order to fulfill the assumptions of the film set in the most efficient way. He chooses to collaborate not only with other contributors, but also with the institutions and companies whose support – substantive or financial – expedites production processes. Simultaneously, he draws from his personal know-how of the business, as well as makes use of the possibilities which he assumes during the conceptual work on the screenplay and shooting script.
      PubDate: 2022-12-19
      DOI: 10.26881/pan.2022.27.07
  • Matka może odejść. Obrazy macierzyństwa i katastrofy w filmach
           "Wieża. Jasny dzień" (2017) Jagody Szelc oraz "Fuga" (2018) Agnieszki

    • Authors: Adam Domalewski, Agnieszka Powierska
      Pages: 155 - 174
      Abstract: In the paper, two recent Polish movies about motherhood are considered: Tower. A Bright Day (2017) by Jagoda Szelc and The Fugue (2019) by Agnieszka Smoczynska. The authors argue that both movies transform the classic plot of a maternal melodrama to depict its heroines as mothers who can make their decision to leave. Simultaneously both main female characters – Kaja and Kinga – are portrayed as somewhat dysfunctional, “abjective”, and monstrous. However, the narration of the movies seems to sympathize with them. As a result, Tower. A Bright Day and The Fugue bring uneasy and provocative images of motherhood as well as the vision of upcoming catastrophe (in social and even extraterrestrial sense).
      PubDate: 2022-12-19
      DOI: 10.26881/pan.2022.27.08
  • Plebiscyt "Sight and Sound" na najlepszy film: niespodzianki i

    • Authors: Ewa Mazierska
      Pages: 176 - 180
      PubDate: 2022-12-19
  • Recenzja książki "Nóż w wodzie. Non stop" pod redakcją
           Pawłowskiej-Jądrzyk Tomczyk-Jarzyny

    • Authors: Barbara Giza
      Pages: 181 - 184
      PubDate: 2022-12-19
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Heriot-Watt University
Edinburgh, EH14 4AS, UK
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