(in Polish) Cudze chwalicie, swego nie znacie” – o Polskim kinie współczesnym 2700-L-FAK-CCSNZ
The course program primarily consists of theoretical knowledge that students will acquire during the classes. The creators of Polish cinema and their works will be presented, followed by the highlighting of currents and changing trends, phenomena in contemporary Polish film. The analysis of these films will be considered from the perspective of the participants in the course. We will consider the artistic and commercial values of the films. In order to distinguish between film genres, themes, as well as movements and the messages that accompany them. An important and integral element that will be presented in the classes will be film interpretation and the basics of film analysis present in the media, as well as in general access – on the internet. We will discuss the power of film communication, its purpose, ideas, and form with the students during the proposed classes.
In the first class, the subject literature, the form of assessment, and the general scope of the presented topic will be introduced. We will start with an introduction to the history of Polish cinema: the most important movements in Polish cinema (the Polish Film School, the Cinema of Moral Anxiety, the New Wave). Next, the characteristics of the Polish film industry will be presented: structure, financing, production, distribution – the market for the distribution of Polish films: streaming platforms, VOD, the role of the festival circuit. An important point will be the introduction to film interpretation – theory and practice (briefly), in order to move on to the topics addressed in Polish cinema, discuss Polish genre and art cinema, and summarize contemporary Polish cinema in terms of production, co-production, and exposure at international festivals.
Working on discussing subsequent films will allow for the development of concepts within film theory, as well as the relationship between image and reality, or emotional identification in the viewer-character relationship. A complete overview of Polish films will not be presented; instead, selected films will be shown that will help us analyze the most important phenomena, trends, and directions emerging or distinguishing themselves in Polish cinema. During the classes, excerpts from films selected by the instructor will be presented. In advance, films will be presented for viewing in order to stimulate an engaging discussion among the students.
Type of course
Mode
Course coordinators
Learning outcomes
After completing the course, students:
KNOWLEDGE:
1. Student has in-depth knowledge of the history of the Polish film
2. Student can point out the most important trends in the Polish film
3. Student has knowledge about contemporary creators, directions, and trends in contemporary cinema.
4. Student can use the terminology related to cinematography
5. Student understands the dynamics of the changes taking place in Polish Cinema
6. Student knows the basic bibliography about the history of Polish Cinema
7. can use terms from the methodology of audiovisual art
SKILLS:
The student is able to:
1. Student make an independent analysis of a given film both socially and culturally
2. Student is able to prepare and document its position in the context of the discussed topic in the field of Polish cinematography
3. Student can use the literature of the subject
4. Student can make an independent analysis of the phenomena occurring in the Polish film
5. Student can name the means of expression in the film.
OTHER COMPETENCES:
SOCIAL COMPETENCE:
1. Student is aware of the social and cultural role of the Polish film
2. Student is aware of the functions of the Polish cinema institution and its activities in the field of national heritage
3. Student understands the role of film interpretation in polish film media as well as in the wider range of media: the Internet
4. The student understands the role of film as a medium of communication in the context of media, media education, and also the internet.
Practical placement
none
Bibliography
1. Bocheńska J., Kossakowski A., Mruklik B., Nowak-Zaorska I., Ozimek S., Palczewska D., Siekierska J., Świeżyński W., Toeplitz J., Ziółkowski B., Historia filmu polskiego, Wydawnictwa Artystyczne i Filmowe, Warszawa, 2013;
2. Giec M., Majer A., Film polski współcześnie: od głównego nurtu do eksperymentu, Wydawnictwo PWSFTviT w Łodzi, 2021.
3. Gębicka E., Między państwowym mecenatem a rynkiem. Polska kinematografia po 1989 roku w kontekście transformacji ustrojowej, Wydawnictwo Uniwersytetu Śląskiego, Katowice, 2006;
4. Janicki S., Film polski od A do Z, Wydawnictwa Artystyczne i Filmowe, Warszawa, 1972;
5. Kozubek M., Szczepański T., Polski film dokumentalny w XXI wieku, Wydawnictwo Uniwersytetu Łódzkiego, Łódź 2016.
6. Lewicki B.W., O filmie, wybór pism, Wydawnictwo Uniwersytetu Łódzkiego, Łódź, 1995;
7. Lubelski T., Historia Kina Polskiego 1895-2014, Universitas, Kraków, 2015;
8. Orliński W., 10 lat emocji. Kino polskie 2005-2015, Wydawnictwo Agora, Warszawa, 2015;
9. Ostaszewski J., Rozumienie opowiadania filmowego, Wydawnictwo Uniwersytetu Jagiellońskiego, Kraków, 1999;
10. Zajicek E., Poza ekranem: Kinematografia polska 1918-1991, wyd. Filmoteka Narodowa, Warszawa, 1992;
11. Zawisza A., Przez obiektyw kamery: postaci osób duchownych i zakonnic w polskim filmie fabularnym, Wydawnictwo SBP, Warszawa 2023.
Additional information
Additional information (registration calendar, class conductors, localization and schedules of classes), might be available in the USOSweb system: