Ewa Mazierska est professeure d'études cinématographiques dont le travail plonge profondément dans le cinéma et la réalisation. Son style d'auteur se caractérise par un examen pénétrant de la représentation du travail et de la condition humaine dans le cinéma européen, employant souvent des approches postcoloniales. Sa recherche offre des perspectives uniques sur les transformations de la vie professionnelle et des changements sociétaux tels qu'ils sont saisis à l'écran. Ses publications étendues et son travail éditorial contribuent à une compréhension plus riche des traditions cinématographiques et des tendances cinématographiques contemporaines.
J'ai passé une grande partie de ma vie sur des montagnes russes, à négocier d'impossibles virages, à escalader les hauteurs - triomphes immenses, joies et plaisirs - avant de plonger, éperdument, vers des abîmes de tragédie et de douleur. Mais c'est bien ce périple insensé qui m'a conduit vers cet endroit inattendu : un présent de bien-être, et, oserais-je le dire, de bonheur. Voilà pourquoi je ne regrette rien du chemin que j'ai parcouru.
A collection of short stories divided into two parts: 'Neighbours' and 'Tourists'. The first is inspired by author's home village in Poland; the second by her travels.
Exploring the cinematic adaptations of Vladimir Nabokov's works, this book delves into the unique blend of quirky romance and visual storytelling found in his writing. It examines notable film adaptations, including both versions of Lolita and other significant works like Laughter in the Dark and Despair. The analysis highlights Nabokov's distinctive narrative style that lends itself to film, featuring elements such as frames and stage directions. The concluding chapter draws intriguing parallels between Nabokov and filmmaker Jean-Luc Godard.
Gender, especially masculinity, is a perspective rarely applied in discourses on cinema of Eastern/Central Europe.
Focusing on the career of Jerzy Skolimowski, this monograph explores the journey of a distinguished Polish director recognized globally. It chronicles his early works in Poland, including Identification Marks: None and Barrier, and his émigré films like Deep End and Moonlighting. The narrative also highlights his return to Poland and the creation of the acclaimed Four Nights with Anna in 2008, showcasing his unique contributions to cinema and the evolution of his artistic vision.
"The Cinema of Nanni Moretti" provides an analysis and interpretation of the work of the most important Italian film-maker of the past thirty years and an outstanding figure in contemporary European cinema. Interdisciplinary and wide-ranging, the book uses Moretti's films as a lens to view and discuss contemporary phenomena such as the crisis of masculinity and authority, the crisis of the political Left and the transformation of the citizen's relationship to the State. Films discussed include "Aprile, Dear Diary" and "The Son's Room," winner of the Palme d'Or at Cannes 2001.
Black Peters and Men of Marble
Focusing on the representation of masculinity in Polish, Czech, and Slovak cinema, this book explores how these films reflect national identity against a backdrop of shared political history under state socialism. It examines various male archetypes, including soldiers, fathers, and lovers, highlighting the interplay between gender and national narratives. By introducing lesser-known films to an English-speaking audience, it provides a comparative analysis of masculinity in a region often overlooked in cinematic discourse.
Exploring the interplay between electronic music and urban environments, the author delves into Austria and Vienna's rich musical history. The narrative examines music scenes, fandom dynamics, and the impact of the digital shift on stardom in popular music. Additionally, it incorporates postmodern theories to provide a comprehensive understanding of contemporary music culture.
The narrative explores themes of identity and sacrifice through the lens of biblical references. It reflects on the relationship between characters, where one is mistakenly identified as another, drawing parallels to Joseph's role in the life of Mary and her child. The story delves into the complexities of love and the idea of preparing someone for a future without oneself, highlighting emotional depth and introspection.
Focusing on the evolution of Polish cinema since 1989, this book explores the interplay between political and cultural contexts and the film industry. It delves into the institutional changes following the end of communism, examining how these shifts influenced filmmaking. Additionally, it highlights the prominent genres and key directors that have shaped the cinematic landscape in Poland during this period, providing a comprehensive understanding of both industry dynamics and artistic expression.