Starring – Photos: On Polish Iconographic Films Made from Photos
Short iconographic films made from photos constitute a separate trend of the Polish school of documentary. It has been expanding with new titles over several dozen years. Fleischer’s Album (1962) by Janusz Majewski and A Working Day of Gestapo Man Schmidt (1963) have taught Polish documentary filmm...
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| Format: | Article |
| Language: | English |
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Institute of Art of the Polish Academy of Sciences
2013-12-01
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| Series: | Kwartalnik Filmowy |
| Subjects: | |
| Online Access: | https://czasopisma.ispan.pl/index.php/kf/article/view/1898 |
| _version_ | 1827804390378962944 |
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| author | Mikołaj Jazdon |
| author_facet | Mikołaj Jazdon |
| author_sort | Mikołaj Jazdon |
| collection | DOAJ |
| description |
Short iconographic films made from photos constitute a separate trend of the Polish school of documentary. It has been expanding with new titles over several dozen years. Fleischer’s Album (1962) by Janusz Majewski and A Working Day of Gestapo Man Schmidt (1963) have taught Polish documentary filmmakers how to explore the possibilities of this form of film art. The two documentaries played a pivotal role in paving the way for a whole series of films based on pictures taken by the German troops and officials from World War 2, which presented the private look of the Nazis on the war and its victims. The subject matter of films made from pictures was gradually broadening. These films told the story of the Holocaust and of lack of the victims’ look on the Holocaust, embalmed in photography. Films on the Polish resistance movement were also made, with particular emphasis on the Warsaw Uprising. The turn of the 19th and 20th century became the subject of documentaries at the turn of the 1970s and 1980s. Pictures used in almost all of Kazimierz Karabasz’s films are regarded as a medium enriching the documentary with a new reality dimension that cannot be captured by the camera. His films, Summer in Żabno (1977) and Portrait in a Drop of Water (1997), show that films made from photos are perfectly suitable for depicting the present day. [originally published in Polish in Kwartalnik Filmowy 2006, no. 54-55, pp. 212-230]
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| first_indexed | 2024-03-11T21:09:17Z |
| format | Article |
| id | doaj.art-c41acca4430243f08752df4737bb6ea4 |
| institution | Directory Open Access Journal |
| issn | 0452-9502 2719-2725 |
| language | English |
| last_indexed | 2024-03-11T21:09:17Z |
| publishDate | 2013-12-01 |
| publisher | Institute of Art of the Polish Academy of Sciences |
| record_format | Article |
| series | Kwartalnik Filmowy |
| spelling | doaj.art-c41acca4430243f08752df4737bb6ea42023-09-29T07:07:30ZengInstitute of Art of the Polish Academy of SciencesKwartalnik Filmowy0452-95022719-27252013-12-01Special Issue10.36744/kf.1898Starring – Photos: On Polish Iconographic Films Made from PhotosMikołaj Jazdon0Adam Mickiewicz University, Poznań Short iconographic films made from photos constitute a separate trend of the Polish school of documentary. It has been expanding with new titles over several dozen years. Fleischer’s Album (1962) by Janusz Majewski and A Working Day of Gestapo Man Schmidt (1963) have taught Polish documentary filmmakers how to explore the possibilities of this form of film art. The two documentaries played a pivotal role in paving the way for a whole series of films based on pictures taken by the German troops and officials from World War 2, which presented the private look of the Nazis on the war and its victims. The subject matter of films made from pictures was gradually broadening. These films told the story of the Holocaust and of lack of the victims’ look on the Holocaust, embalmed in photography. Films on the Polish resistance movement were also made, with particular emphasis on the Warsaw Uprising. The turn of the 19th and 20th century became the subject of documentaries at the turn of the 1970s and 1980s. Pictures used in almost all of Kazimierz Karabasz’s films are regarded as a medium enriching the documentary with a new reality dimension that cannot be captured by the camera. His films, Summer in Żabno (1977) and Portrait in a Drop of Water (1997), show that films made from photos are perfectly suitable for depicting the present day. [originally published in Polish in Kwartalnik Filmowy 2006, no. 54-55, pp. 212-230] https://czasopisma.ispan.pl/index.php/kf/article/view/1898iconographic filmphotographyHolocaust |
| spellingShingle | Mikołaj Jazdon Starring – Photos: On Polish Iconographic Films Made from Photos Kwartalnik Filmowy iconographic film photography Holocaust |
| title | Starring – Photos: On Polish Iconographic Films Made from Photos |
| title_full | Starring – Photos: On Polish Iconographic Films Made from Photos |
| title_fullStr | Starring – Photos: On Polish Iconographic Films Made from Photos |
| title_full_unstemmed | Starring – Photos: On Polish Iconographic Films Made from Photos |
| title_short | Starring – Photos: On Polish Iconographic Films Made from Photos |
| title_sort | starring photos on polish iconographic films made from photos |
| topic | iconographic film photography Holocaust |
| url | https://czasopisma.ispan.pl/index.php/kf/article/view/1898 |
| work_keys_str_mv | AT mikołajjazdon starringphotosonpolishiconographicfilmsmadefromphotos |