Pytanie 9

POLISH FILM INSTITUTE

POLSKI INSTYTUT SZTUKI FILMOWEJ (PISF)

The Polish Film Institute carries out statutory tasks relating to state policy in the field of cinema.
Among its other duties, it is responsible for creating favourable conditions for the development of
Polish film production and international co-productions. The Institute provides subsidies and loans to
entities operating in the fields of film production, education and the promulgation of film culture,
the development of cinemas and the international promotion of Polish films.

MINISTRY OF CULTURE AND NATIONAL HERITAGE

MINISTERSTWO KULTURY I DZIEDZICTWA NARODOWEGO (MKiDN)

The Ministry of Culture and National Heritage is the government department responsible for culture
and national heritage at the central level.

NATIONAL FILM ARCHIVE

FILMOTEKA NARODOWA

The National Film Archive is a state cultural institution. It is responsible for the protection of the
national cultural heritage in the field of cinema and for the promulgation of film culture

NATIONAL AUDIOVISUAL INSTITUTE

NARODOWY INSTYTUT AUDIOWIZUALNY (NInA)

The National Audiovisual Institute is a state cultural institution. It is responsible for collecting and
archiving Polish audiovisual heritage and for providing access to its holdings. The Institute runs
NinAteka, an online library of audiovisual and audio materials from its own archives and from film
studios, television, cultural institutions and producers. It also releases CDs and DVDs and publishes
biweekly.pl, an online magazine devoted to culture.

ADAM MICKIEWICZ INSTITUTE

INSTYTUT ADAMA MICKIEWICZA

The Adam Mickiewicz Institute is engaged in the international promotion of Polish culture and
establishing cultural collaboration with other countries. It also runs the national Creative Europe
Desk.

Film socjety

A film society is a membership-based club where people can watch screenings of films
which would otherwise not be shown in mainstream cinemas. In Spain, Ireland and Italy, they
are known as "cineclubs", and in Germany they are known as "filmclubs". They usually have
an educational aim, introducing new audiences to different audiovisual works through an
organized and prepared program of screenings.

Famous film societies include Amos Vogel's Cinema 16, Cinémathèque Française, and the Film
Society of Lincoln Center in New York City.

The American Society of Cinematographers (ASC),

founded in Hollywood in 1919, is a cultural, educational, and professional organization.

The society was organized with a purpose to not only progress and advance the science and art of
cinematography, but also gather a wide range of cinematographers together to collaboratively
discuss and exchange techniques and ideas and to advocate for motion pictures as a type of art
form. This mission is still ongoing.[

Pytanie 10

Zawód krytyka filmowego umiera?

Krytycy filmowi wymierają – mówi Michał Burszta, krytyk filmowy. – Zastępowani są przez
recenzentów, którzy mają przedstawić potencjalnym widzom prosty opis filmu, bez
dogłębnej analizy, odniesień. Krytyk to zawód elitarny, a recenzent - użytkowy.

Zdaniem Michała Burszty, krytyka filmowego, ten zawód ewoluował, a jego rola w kulturze
masowej na przestrzeni lat uległa zmianie. Należy też odróżniać zawód krytyka filmowego,
od profesji recenzenta. – Teraz często jesteśmy recenzentami – mówi gość Czwórki. – Mamy
po prostu przystępnie przedstawić film i zwrócić uwagę ludzi na elementy, które mogą ich
zainteresować. Krytyk to zawód elitarny, a recenzent, użytkowy. Ludzie szukają dziś prostych
klasyfikacji, nie pogłębionych analiz, dlatego krytycy filmowi "wymierają".

Z jednej strony oczekuje się od krytyka filmowego, by miał wiedzę merytoryczną, by potrafił
skonstruować tekst, oraz by przy informacji o filmie był zaznaczony kontekst kulturowy –
tłumaczy Karolina Sulej, kulturoznawca. – Z drugiej strony pojawiają się pretensje, że krytycy
popisują się swoją wiedzą, zamiast po prostu opisywać filmy.

Tylko, czy w dzisiejszych czasach, w dobie internetu i możliwości oglądania filmów przed ich
oficjalnymi premierami, jest jeszcze miejsce dla ludzi, którzy będą wskazywać nam te
najważniejsze obrazy? Okazuje się, że tak. – Mam nadzieję, że ludzie, którzy korzystają z
internetu nie "wsysają" bezmyślnie, jak wieloryb, wszystkiego, co się tam znajduje – mówi
Sulej. – Że potrzebują kogoś, kto przeprowadzi ich przez gąszcz plików. Codziennie jesteśmy
zalewani taką ilością informacji, że sami nie jesteśmy w stanie ich segregować.
Film schools
1. London Film School
2. Academy of Performing Arts’ Film and TV School (Czech Republic)
3. University of Television and Film Munic
4. La Fémis
5. Lodz Film School

Media in film education

Według Brytyjskiego Instytutu Filmowego edukacja filmowa polega na ułatwianiu

dzieciom i młodym ludziom dostępu do filmów - w szkole i w kinie; kształtowaniu
umiejętności krytycznego odbioru sztuki filmu i nauki dyskusji o problemach,
które porusza i emocjach, jakie wywołuje; zachęcaniu młodych ludzi, aby używali
filmu jako środka wyrazu ich osobowości i wyobraźni, co wiąże się z nauką
praktycznej realizacji różnych form filmowych.

Pytanie 11

Film festival

A film festival is an organized, extended presentation of films in one or more cinemas or

screening venues, usually in a single city or region. Increasingly, film festivals show some
films outdoors.[1] Films may be of recent date and, depending upon the festival's focus, can
include international and domestic releases. Some festivals focus on a specific film-maker or
genre (e.g., film noir) or subject matter (e.g., horror film festivals). A number of film festivals
specialise in short films of a defined maximum length. Film festivals are typically annual
events. Some film historians, including Jerry Beck,[2] do not consider film festivals official
releases of film.

The most prestigious film festivals in the world are generally considered to be Cannes,
Berlin, and Venice.[3] These festivals are sometimes called the "Big Three."[4][5][6] The Toronto
International Film Festival is North America's most popular festival in terms of attendance;

Cannes Film Festival

The Cannes Festival (/kæn/; French: Festival de Cannes), until 2002 called the
International Film Festival (Festival international du film) and known in English as the
Cannes Film Festival, is an annual film festival held in Cannes, France, which previews new
films of all genres, including documentaries from all around the world. Founded in 1946.
("Golden Palm"), Grand Prix

Venice Film Festival

The Venice Film Festival or Venice International Film Festival (Italian: Mostra
Internazionale d'Arte Cinematografica della Biennale di Venezia, "International Exhibition
of Cinematographic Art of the Venice Biennale") is the oldest film festival in the world and
one of the "Big Three" film festivals, alongside the Cannes Film Festival and Berlin
International Film Festival.[1][2] The Big Three are internationally acclaimed for giving creators
the artistic freedom to express themselves through film. Founded in Venice, Italy, in August
1932, Golden Lion, Silver Lion

Berlin International Film Festival

The Berlin International Film Festival (German: Internationale Filmfestspiele Berlin),

usually called the Berlinale, is a film festival held annually in Berlin, Germany.[1] Founded in
West Berlin in 1951,[2] the festival has been held every February since 1978 and is one of the
"Big Three" alongside the Venice Film Festival and Cannes Film Festival. Has the largest
public attendance of any annual film festival.[3] Up to 400 films are shown in several sections
across cinematic genres. Around twenty films compete for the festival's top awards, called the
Golden Bear and several Silver Bears.

International Festival of Independent Cinema Off Camera , Kraków

International Festival of Independent Cinema Off Camera is a film festival held in

Kraków, Poland, with up to 400 screenings annually, seminars, international stars, guests and
jury.

The most important event of the Off Plus Camera Festival is its Main Competition named
"Making Way" (Wytyczanie drogi). In it, the films from all over the world compete for the
Kraków Film Award in the sum of $100,000 presented by the President of the City of
Kraków. The main criteria for the rating by the festival programmers are the quality and the
artistic merit of the films, the use of traditional and avant-garde filming techniques as well as
the directors' sensibilities and artistic maturity in their productions.[4]

Pytanie 12

Amateur film

Amateur film is the low-budget hobbyist art of film practised for passion and enjoyment and
not for business purposes.

W filmie liczy się opowieść, emocje, zaskoczenia, dramaturgia, postacie, nadzieja, miłość, gniew,
strach, śmiech, styl, piękno i parę innych podobnych rzeczy, które można mieć bez pieniędzy. Kino
amatorskie ma znaczenie społeczne- tego jak się zylo, jak mieszkało , w co się ubieralo

And this is the meaning from which the amateur filmmaker should take his clue.
Instead of envying the script and dialogue writers, the trained actors, the elaborate
staffs and sets, the enormous production budgets of the professional film, the
amateur should make use of the one great advantage which all professionals envy
him, namely, freedom–both artistic and physical.

Artistic freedom means that the amateur filmmaker is never forced to sacrifice visual
drama and beauty to a stream of words, words, words, words, to the relentless
activity and explanations of a plot, or to the display of a star or a sponsor’s product;
nor is the amateur production expected to return profit on a huge investment by
holding the attention of a massive and motley audience for 90 minutes.
Like the amateur still photographer, the amateur filmmaker can devote himself to capturing
the poetry and beauty of places and events and, since he is using a motion picture camera,
he can explore the vast world of the beauty of movement. (One of the films winning
Honorable Mention in the 1958 Creative Film Awards was Round and Square, a poetic,
rhythmic treatment of the dancing lights of cars as they streamed down highways, under
bridges, etc.) Instead of trying to invent a plot that moves, use the movement of wind, or
water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your
freedom to experiment with visual ideas; your mistakes will not get you fired.

Pytanie 3

French New Wave

New Wave (French: La Nouvelle Vague) is a French film movement which emerged in the
1950s and 1960s. It is a form of European art cinema,[2] and is often referred to as one of the
most influential movements in the history of cinema. New Wave filmmakers were linked by
their self-conscious rejection of the traditional film conventions then dominating France, and
by a spirit of iconoclasm. Common features of the New Wave included radical
experimentation with editing, visual style, and narrative, as well as engagement with the
social and political upheavals of the era.[2]

The term was first used by a group of French film critics and cinephiles associated with the
magazine Cahiers du cinéma in the late 1950s and 1960s, who rejected the Tradition de
qualité ("Tradition of Quality") of mainstream French cinema,[3] which "emphasized craft
over innovation, privileged established directors over new directors, and preferred the great
works of the past to experimentation."[4] This was apparent in a manifesto-like essay written
by François Truffaut in 1954, Une certaine tendance du cinéma français, where he
denounced the adaptation of safe literary works into unimaginative films.[5]

Using portable equipment and requiring little or no set up time, the New Wave way of
filmmaking presented a documentary style. The films exhibited direct sounds on film stock
that required less light. Filming techniques included fragmented, discontinuous editing, and
long takes. The combination of objective realism, subjective realism, and authorial
commentary created a narrative ambiguity in the sense that questions that arise in a film are
not answered in the end.[6]

French New Wave Cinema, called "La Nouvelle Vague" in France, encompassed a group of French
film directors primarily during the late 1950s and early 1960s who rejected what they saw as the
formalistic conventions of traditional filmmaking and strove toward what they considered a more
naturalistic, cinematic technique. Inspired by directors as diverse as Jean Renoir and John Ford, the
New Wave directors included such well-known names in cinema as Jean-Luc Godard, François
Truffaut and Claude Lelouch.

Cinematography and Editing

One notable technique to emerge from the New Wave was the jump cut, in
which two discontinuous images are juxtaposed. While jump cuts are regularly
used in film and television editing today, at the time, they were very jarring to
audiences, who were used to a smooth flow of images onscreen, rather than to
editing that calls attention to itself.

Budgetary Restrictions
French New Wave directors usually shot their films on an extremely low budget.
Budgetary restrictions often produced many of the characteristics attributed to
the New Wave. For instance, since directors had limited equipment available to
them, they shot quickly, often with hand-held cameras, resulting in a less-
polished, more naturalistic look to their films. In addition, directors often only
had one camera available for use, which led to long tracking shots and fluid
panning. Budgetary restrictions also often forced them to improvise with their
locations and scheduling, and forced them into editing choices now considered
to be representative of the New Wave. For instance, if a single, long shot wasn't
usable and couldn't be reshot due to budget issues, the director might turn it
into a series of jump cuts.

Use of Location
Unlike the controlled studio sound stage and back lot shooting that
characterized Hollywood filmmaking during this era, the French New Wave
directors were dedicated to shooting in natural locations and using natural
lighting as much as possible. Sound was also recorded live on the scene, which
was unusual during this era.

Story and Dialogue

In their revolt against what they perceived as Hollywood-style filmmaking, New
Wave directors often leaned toward story lines that were open-ended and not
tidily wrapped up at the climax. Stories tended to be unpolished and loosely
structured. Characters were often eccentric or odd, and usually included a focus
on young men dealing with personal chaos. Directors often allowed actors to
improvise dialogue and even to make changes in the plot, a technique which was
virtually unheard of at the time in Hollywood. During this improvisation, to
achieve a natural sense, actors were also encouraged to talk over each other.

Italian neorealism

Italian neorealism (Italian: Neorealismo), also known as the Golden Age, is a national film
movement characterized by stories set amongst the poor and the working class, filmed on location,
frequently using non-professional actors. Italian neorealism films mostly contend with the difficult
economic and moral conditions of post-World War II Italy, representing changes in the Italian psyche
and conditions of everyday life, including poverty, oppression, injustice, and desperation.

Open City established several of the principles of neorealism, depicting clearly the struggle of normal
Italian people to live from day to day under the extraordinary difficulties of the German occupation
of Rome, consciously doing what they can to resist the occupation. The children play a key role in
this, and their presence at the end of the film is indicative of their role in neorealism as a whole: as
observers of the difficulties of today who hold the key to the future. Vittorio De Sica's 1948 film The
Bicycle Thief is also representative of the genre, with non-professional actors, and a story that details
the hardships of working-class life after the war.

Free Cinema

Free Cinema was a documentary film movement that emerged in the United Kingdom in the mid-
1950s. The term referred to an absence of propagandised intent or deliberate box office appeal. Co-
founded by Lindsay Anderson, (though he later disdained the 'movement' tag), with Karel Reisz,
Tony Richardson and Lorenza Mazzetti, the movement began with a programme of three short films
at the National Film Theatre, London, on 5 February 1956. The programme was such a success that
five more programmes appeared under the ‘Free Cinema’ banner before the founders decided to
end the series. The last event was held in March 1959. Three of the screenings consisted of work
from overseas film makers. [1]

The films were 'free' in the sense that they were made outside the confines of the film industry and
were distinguished by their style and attitude and the conditions of production. All of the films were
made cheaply, for no more than a few hundred pounds, mostly with grants from the British Film
Institute's Experimental Film Fund. Some of the later films were sponsored by the Ford Motor
Company or funded independently. They were typically shot in black and white on 16mm film, using
lightweight, hand-held cameras, usually with a non-synchronised soundtrack added separately. Most
of the films deliberately omitted narration. The film-makers shared a determination to focus on
ordinary, largely working-class British subjects. They felt these people had been overlooked by the
middle-class-dominated British film industry of the time.
Angry young men

The "angry young men" were a group of mostly working- and middle-class British
playwrights and novelists who became prominent in the 1950s. The group's leading figures
included John Osborne and Kingsley Amis. The phrase was originally coined by the Royal
Court Theatre's press officer in order to promote Osborne's 1956 play Look Back in Anger. It
is thought to be derived from the autobiography of Leslie Paul, founder of the Woodcraft
Folk, whose Angry Young Man was published in 1951.

Following the success of the Osborne play, the label "angry young men" was later applied by
British media to describe young writers who were characterised by a disillusionment with
traditional British society. The term, always imprecise, began to have less meaning over the
years as the writers to whom it was originally applied became more divergent, and many of
them dismissed the label as useless.

Angry Young Men, various British novelists and playwrights who emerged in the 1950s and expressed
scorn and disaffection with the established sociopolitical order of their country. Their impatience and
resentment were especially aroused by what they perceived as the hypocrisy and mediocrity of the upper
and middle classes.

The Angry Young Men were a new breed of intellectuals who were mostly of working class or of lower
middle-class origin. Some had been educated at the postwar red-brick universities at the state’s expense,
though a few were from Oxford. They shared an outspoken irreverence for the British class system, its
traditional network of pedigreed families, and the elitist Oxford and Cambridge universities. They showed
an equally uninhibited disdain for the drabness of the postwar welfare state, and their writings frequently
expressed raw anger and frustration as the postwar reforms failed to meet exalted aspirations for genuine
change.
Their novels and plays typically feature a rootless, lower-middle or working-class male protagonist who
views society with scorn and sardonic humour and may have conflicts with authority but who is
nevertheless preoccupied with the quest for upward mobility.

Polish Film School

Polish Film School (Polish: Polska Szkoła Filmowa) refers to an informal group of Polish
film directors and screenplay writers active between 1956 and approximately 1963.

The group was under heavy influence of Italian neorealists. It took advantage of the liberal
changes in Poland after 1956 Polish October to portray the complexity of Polish history
during World War II and German occupation. Among the most important topics were the
generation of former Home Army soldiers and their role in post-war Poland and the national
tragedies like the German concentration camps and the Warsaw Uprising. The political
changes allowed the group to speak more openly of the recent history of Poland. However,
the rule of censorship was still strong when it comes to history after 1945 and there were very
few films on the contemporary events. This marked the major difference between the
members of the Polish Film School and Italian neorealists.

The Polish Film School was the first to underline the national character of Poles and one of
the first artistic movements in Central Europe to openly oppose the official guidelines of
Socialist realism. The members of the movement tend to underline the role of individual as
opposed to collectivity. There were two trends within the movement: young directors such as
Andrzej Wajda generally studied the idea of heroism, while another group (the most notable
being Andrzej Munk) analysed the Polish character via irony, humor and a dissection of
national myths.

 Andrzej Wajda
o Kanał (1956)
o Ashes and Diamonds (Popiół i diament 1958)
 Andrzej Munk
o Man on the Tracks (Człowiek na torze, 1956)
o Heroism (Eroica, 1958)
o Bad Luck (Zezowate szczęście, 1959)

Passenger (Pasażerka, 1963, finished by Witold Lesiewicz)

This was a tight-knit group of film grads who emerged from the famous Lodz Film
School in the late '50s. They’d gathered in the school’s rectorate building to watch
American and European films that had been allowed into the country after
Khrushchev’s post-Stalin thaw, and those influences are visible in works that
addressed the scars of war and repression with stylish elan, like jazz musicians
playing a requiem mass.

They worked together as graduates too. Jerzy Skolimowski and Roman Polanski
collaborated on Knife In The Water, Skolimowski and Andrzej Wajda on Innocent
Sorcerers, and they had each had been bereaved by the war: Wadja’s father had
been killed by the Russians, Skolimowski’s by the Germans, while Roman Polanski’s
mother was murdered in Auschwitz. Their films, while differing in focus (Polanski’s
interest was psychology, Wajda’s identity), shared a flair that would make the
movement’s name outside Poland. Tragedy struck in 1961 when Andrzej Munk was
killed driving back from Auschwitz where he was filming Passenger.

What did it influence? The so-called Polish ‘cinema of moral anxiety’ – a fun-loving bunch
– emerged from Lodz with names like Krzysztof Kieslowski, Krzysztof Zanussi and
Agnieszka Holland to the fore. Polanski, of course, conquered Hollywood in the '70s.

Pytanie 1

First Motion Picture Documentation

The history of silent movies begins with the history of cinema itself; as all movies made in
those times did not have sound. Eadweard Muybridge's Sallie Gardner at a Gallop was the
first silent film ever to be made. It documented equine motion and was released in 1878. The
film consisted of a series of 24 photographs that were projected on the Zoopraxiscope
(considered the first movie projector) in succession at high speeds to create the illusion of
motion. Muybridge's Zoopraxiscope was the inspiration behind the Kinetoscope, which was
meant for individual viewing. It used the same basic technique of relaying successive
photographs to create the illusion of motion. However, in spite of being a 'motion'-picture,
Sallie Gardner at a Gallop cannot be really called a 'film', as it was merely a relay of
successive photographs that created the 'illusion' of motion.
First Narrative Film
The first narrative film ever, Roundhay Garden Scene was made by Louis Aimé Augustin Le
Prince. It was released on 14 October 1888, and was only 2 seconds long! Louis Le Prince is
considered the true father of motion picture. Motion pictures matured into full-length feature
films in the 1920s, but still lacked sound. It is this short period of a few decades that is
referred to as the era of silent cinema.
Silent movies were at their peak by the 1920s - the decade saw the birth of many a legend and
many a masterpiece. By the 1920s, people had mastered the art of speaking volumes without
saying a word. In fact, so adept was the film fraternity with the concept of silent films, that
for quite a few years after the 'talkies' arrived, movies failed to create the impact they did in
the silent era, for directors and actors alike could not deal with all the sound!
Acting
Charlie Chaplin, one of the geniuses of the silent era, very correctly once said that "Cinema is
pantomimic art". No sound meant no dialogs, so your body language and facial expressions
had to do all the talking. Many actors hence adopted hyperbole in their acting. You may
notice many actors exaggerate their actions in silent films - you fall, it has to be dramatic; you
are sad, you have to be melodramatic; you are falling in love, you have to bat your eye-lashes
and blush! Exaggeration worked especially well for comedies. Exaggerating grief is
something that can very quickly and easily go wrong. But they all managed to do it
beautifully; and that is sheer brilliance.

The Lumière brothers (UK: /ˈluːmiɛər/, US: /ˌluːmiˈɛər/; French: [lymjɛːʁ]), Auguste Marie Louis
Nicolas ([oɡyst maʁi lwi nikɔla]; 19 October 1862 – 10 April 1954) and Louis Jean ([lwi ʒɑ̃ ]; 5 October
1864 – 7 June 1948),[1][2] were among the first filmmakers in history. They patented an improved
cinematograph, which in contrast to Thomas Edison's "peepshow" kinetoscope allowed
simultaneous viewing by multiple parties

The Lumières held their first private screening of projected motion pictures in 1895. This first
screening on 22 March 1895 took place in Paris, at the "Society for the Development of the
National Industry", in front of an audience of 200 people – among which Léon Gaumont,
then director of the company the Comptoir géneral de la photographie. The main focus of this
conference by Louis Lumière were the recent developments in the photograph industry,
mainly the research on polychromy (colour photography). It was much to Lumière's surprise
that the moving black-and-white images retained more attention than the coloured stills
photographs.[7] The American Woodville Latham had screened works of film 2 months later
on 20 May 1895.[8] The first public screening of films at which admission was charged was a
program by the Skladanowsky brothers that was held on 1 November 1895, in Berlin.[9]

The Lumières gave their first paid public screening on 28 December 1895, at Salon Indien du
Grand Café in Paris.[10] This history-making presentation featured 10 short films, including
their first film, Sortie des Usines Lumière à Lyon (Workers Leaving the Lumière Factory).[11]
Lumières La Sortie de l'Usine Lumière à Lyon 1895

Each film is 17 meters long, which, when hand cranked through a projector, runs
approximately 50 seconds.