Journals Showcase (Witryna Czasopism.pl)

In “Kino” Sebastian Jagielski accuses the native filmmakers of indifference, if not even of being blind, to the world trends. He rightly brings back the examples from the past, when we managed – like in the case of the Polish school – to talk about our own matters using the universal film language. The Polish artists instead of transforming good, foreign models, “barricade themselves from other cinema and keep creating their quasi-films without style, without any idea, without form and without imagination. As if they did not notice that they do not listen to the rhythm of the contemporary film art, the cannot feel the pounding pulse of the cinema”. A harsh judgment, but not without a reason. We should only wish for a film reanimator to appear in 2007, who might not destroy the barricades but at least open the door slightly and let some light in.

“[fo:pa]” is usually full of curiosities. Take for example the text of Alan Sasinowski Wlepiając ślepia w agonię papieża [Staring at Pope's Agony] or Dom Cupitt's Bajki, religia [Fairy Tales, Religion]. One can also find a lot of translations from English, Russian (but not from more exotic languages). There are, however, such exotic topics like Adam Krawiec's Seksualność, której nie było [Sexuality that did not exist] – a study of the medieval sexuality. And, as the author puts it through, it is not an easy task to research the medieval sexuality, not only due to the amount and variety of sources, but even more for not numerous chronicles and civil and ecclesiastical law. That is why Krawiec looks also into trial minutes, poetry, sermons, theological and medieval treatises.

How many years should pass before a significant, dramatic event can become a subject for a film without its authors risking accusations of opportunism, partiality or desecration of the memory of the victims. This question frequently arises in connection with the fifth anniversary of September 11 and the questions about the relation between cinema and history arise in the context of the August and September anniversaries. One of the first decisions of the Polish Film Institute was to hold a competition for a documentary or a feature film script on the subject of the Warsaw uprising. Wajda, during a debate on a a possible production of such a film, boldly stated that after all it does not have to be made. The audience does not feel the need to see it, while the idea itself is opportunistic. On shot history – in “Kino” and “Film”.