Fotofilm. Fotografia w polskim kinie dokumentalnym
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Date
2019
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The photofilm. Photography in Polish documentary film
Abstract
Celem niniejszej pracy doktorskiej było zbadanie powstania oraz charakterystyka wyjątkowego, mało znanego gatunku, określanego przez autorkę pracy jako „fotofilm”. Jak to zostało określone w rozprawie, termin dotyczy filmów, których narracja została zbudowana z nieruchomych fotografii, przy wykorzystaniu formalnego i symbolicznego znaczenia medium fotograficznego. Podczas analizy polskich filmów dokumentalnych autorka prezentuje rozwój formalny, struktury narracyjne, zasadnicze motywy gatunku, w szczególności podkreślając jego intermedialną naturę. Z tego względu materiał badawczy został omówiony przy wykorzystaniu teorii filmu i teorii fotografii.
Pierwszy rozdział przedstawia analizę filmów Miasto złota (1958) Colina Lowa i Wolfa Koeniga oraz Pomost (1962) Chrisa Markera, uznawanych za pierwsze filmy dokumentalne i fikcjonalne, które oparto na nieruchomych zdjęciach.
W rozdziale drugim, „W stronę definicji”, zreferowano obecny stan badań w literaturze przedmiotu, w szczególności zwracając uwagę na podobieństwa i różnice w definiowaniu gatunku przez różnych badaczy. Brak jednolitej i precyzyjnej definicji gatunku prowadzi do teoretycznych rozważań nad kontekstem historycznym, możliwymi wpływami innych mediów, które także opierają się na fotografii, ale nie są uważane za fotofilmy.
Ostatni rozdział jest poświęcony analizie polskich filmów dokumentalnych ze zdjęć.
The current doctoral thesis purpose was to examine forming and describe specificity of little-known movie genre named the photofilm by the author of this thesis. As stated in the dissertation, the term concerns films which narrative is entirely composed of still photographs due to formal and symbolic meaning of photographic medium. By conducting an analysis of Polish documentary films, the author presents formal development, narrative structures, common themes and most specifically intermedia nature of this movie genre. For this reason, research material is discussed in terms of both film and photography theory. The first chapter of the thesis introduces City of Gold (1958) by Colin Low, Wolf Koenig and The Jetty (1962) by Chris Marker, which are considered the first documentary and fiction films based on series of still photographs. The second chapter, “Towards the definition”, examines the current state of knowledge and research literature in the field, particularly the similarities and differences in defining the genre, as well as derivation of terms applied by other researchers. Lack of clear and precise definition leads to theoretical investigation of historical background, possible impacts of alternate types of media, which are also made from photographs, but are not considered as a photofilms. The aim of the third chapter is to focus on the analysis of Polish documentary films recognized as the photofilms.
The current doctoral thesis purpose was to examine forming and describe specificity of little-known movie genre named the photofilm by the author of this thesis. As stated in the dissertation, the term concerns films which narrative is entirely composed of still photographs due to formal and symbolic meaning of photographic medium. By conducting an analysis of Polish documentary films, the author presents formal development, narrative structures, common themes and most specifically intermedia nature of this movie genre. For this reason, research material is discussed in terms of both film and photography theory. The first chapter of the thesis introduces City of Gold (1958) by Colin Low, Wolf Koenig and The Jetty (1962) by Chris Marker, which are considered the first documentary and fiction films based on series of still photographs. The second chapter, “Towards the definition”, examines the current state of knowledge and research literature in the field, particularly the similarities and differences in defining the genre, as well as derivation of terms applied by other researchers. Lack of clear and precise definition leads to theoretical investigation of historical background, possible impacts of alternate types of media, which are also made from photographs, but are not considered as a photofilms. The aim of the third chapter is to focus on the analysis of Polish documentary films recognized as the photofilms.
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Wydział Filologii Polskiej i Klasycznej
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Keywords
film dokumentalny, film polski, fotofilm, fotografia i film, documentary film, polish cinema, photofilm, photography and cinema