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Journal articles on the topic 'Polanski'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2024

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1

Tomczyk-Jarzyna, Izabela. "Polański i symulacje. Na marginesie tekstu Ewy Mazierskiej "Roman Polański (i inni) przed sądem"." Załącznik Kulturoznawczy, no. 10 (December 31, 2023): 607–14. http://dx.doi.org/10.21697/zk.2023.10.27.

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Polanski and Simulations: A Few Remarks on Ewa Mazierska’s essay “Roman Polanski (and Others) on Trial” The text is a commentary on the article by Ewa Mazierska “Roman Polanski (and Others) on Trial.” Using Baudrillard’s concept of simulation, the author shows that discussions on Polanski’s personal conduct do not lead to finding meaning.

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2

Tosh, Jemma. "Celebrity ‘rape-rape’: An analysis of feminist and media definitions of sexual violence." Psychology of Women Section Review 18, no. 1 (2016): 27–42. http://dx.doi.org/10.53841/bpspow.2016.18.1.27.

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In 2009 a US-based television programme,The View, discussed the arrest of film director Roman Polanski. Polanski was wanted for six outstanding charges related to the rape of Samantha Gailey in 1977. During this episode of theThe View, Whoopi Goldberg made a controversial statement that Polanksi was not guilty of ‘rape-rape’. This statement along with the long history of Polanski’s avoidance of incarceration, illustrates the ongoing challenges for feminists to confront the trivialisation of sexual coercion and violence. Goldberg’s comments initiated an enthusiastic response on online forums an

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3

Czanik, Mark. "Mr Polanski." Wasafiri 25, no. 1 (2010): 59–61. http://dx.doi.org/10.1080/02690050903425524.

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4

Callan, Jamie. "Meeting Polanski." Baffler 6 (November 1994): 83–89. http://dx.doi.org/10.1162/bflr.1994.6.83.

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5

Piętka, Aleksandra. "Kat, ofiara i świadek w "Śmierci i dziewczynie" Romana Polańskiego." Załącznik Kulturoznawczy, no. 10 (December 31, 2023): 249–80. http://dx.doi.org/10.21697/zk.2023.10.13.

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The Perpetrator, the Victim, and the Bystander in Roman Polanski’s Death and the Maiden (1994) This paper analyzes the cinematographic means used by Roman Polanski in Death and the Maiden to portray the characters of the movie and the relationship between them. It discusses how Polanski toys with the thriller convention to create a cognitive dissonance in the viewer and uses artistic devices to reflect the process of restoring the identity by the protagonist. In particular, the author examines the frame of the movie and its compositional and semantic functions and compares selected scenes with

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6

Pawłowska-Jądrzyk, Brygida. "Polański, Hitchcock i MacGuffin." Załącznik Kulturoznawczy, no. 9 (2022): 565–75. http://dx.doi.org/10.21697/zk.2022.9.28.

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The main subject of the article is the relationship between the creative method of Roman Polanski and Alfred Hitchcock and the attitude of the Polish director to genre cinema. The author of the text, critically analyzing the earlier diagnoses of Polish monographers of Polanski’s work (Grażyna Stachówna, Mariola Dopartowa), prove that these problems are difficult to reduce to the MacGuffin issue today, because they “loop” at many levels and in various interpretative concepts, consistently eluding easy generalizations.

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7

Cejtlin, Michel. "Le pianistede roman Polanski." Les Temps Modernes 657, no. 1 (2010): 260. http://dx.doi.org/10.3917/ltm.657.0260.

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8

Chilstein, David, and Rémy Libchaber. "Retours sur l’affaire Polanski." Commentaire Numéro128, no. 4 (2009): 999. http://dx.doi.org/10.3917/comm.128.0999.

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9

Etkind, Charlene. "Roman Polanski Interviews (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 37, no. 1 (2007): 101. http://dx.doi.org/10.1353/flm.2007.0012.

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10

Pieterse, Annel. "Polanski and perception: the psychology of seeing and the cinema of Roman Polanski." South African Theatre Journal 27, no. 2 (2014): 151–55. http://dx.doi.org/10.1080/10137548.2014.901646.

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11

Pomostowski, Piotr. "Director–Composer Duo: Polanski & Komeda’s Deconstruction of Film Music Conventions in Horror Cinema. "Fearless Vampire Killers" (1967) and "Rosemary’s Baby" (1968)." Załącznik Kulturoznawczy, no. 10 (December 31, 2023): 315–31. http://dx.doi.org/10.21697/zk.2023.10.15.

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This article looks at the relationship between music and image in the two final films that Roman Polanski made with Krzysztof Komeda. Fearless Vampire Killers and Rosemary’s Baby are cinematic examples of a very close collaboration between a director and a composer. The article deals with the function of music in relation to genre films. The most important question is the extent to which Krzysztof Komeda’s compositions adhere to or depart from the horror film music convention. A key issue in this context, and one that applies to both of the analyzed films, is the technique of leitmotifs which

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12

Álvarez Gómez, Raúl. "La crisis de la modernidad en la narrativa de "Repulsión", de Roman Polanski." Área Abierta 20, no. 3 (2020): 335–51. http://dx.doi.org/10.5209/arab.69465.

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Repulsión (Repulsion, Roman Polanski, 1965) es una de las películas más interesantes de la filmografía de su director por lo significativo de los temas tratados —la alienación del individuo en las sociedades modernas, fundamentalmente— y la narrativa audiovisual que se emplea para expresarlos. La bibliografía de referencia en los estudios sobre Polanski coincide en señalar que las películas del cineasta son representativas de la crisis de la modernidad que se debate en el pensamiento filosófico, particularmente en Francia, a mediados del siglo XX. Hay, sin embargo, pocos análisis que exploren

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13

Boccara, Paolo. "Roman Polanski: A Film Memoir." INTERAZIONI, no. 1 (September 2013): 127–29. http://dx.doi.org/10.3280/int2013-001010.

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14

Sáez-González, Jesús Miguel. "The Ghost Writer (Roman Polanski)." Vivat Academia, no. 111 (June 15, 2010): 108. http://dx.doi.org/10.15178/va.2010.111.108-109.

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15

Sáez-González, Jesús Miguel. "Un dios salvaje (Roman Polanski)." Vivat Academia, no. 117 (December 15, 2011): 160. http://dx.doi.org/10.15178/va.2011.117.160.

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16

Misiak, Anna. "The Unstable Epistemological Territory of Roman Polanski's Cinema/Polanski and Perception: the Psychology of Seeing and the Cinema of Roman Polanski, by Davide Caputo." Studies in Eastern European Cinema 5, no. 2 (2014): 211–13. http://dx.doi.org/10.1080/2040350x.2014.929315.

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17

Pomostowski, Piotr. "Muzyczny eklektyzm w trzech etiudach Romana Polańskiego. Rozbijemy zabawę, Lampa i Gdy spadają anioły." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (2017): 301–11. http://dx.doi.org/10.14746/i.2017.29.19.

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Author of the article, juxtaposing together three studies school of Roman Polanski, discusses the functions of music used in each of them. Due to the fact that the entire work the author of the Pianist’s is characterized by musical eclecticism – which is the main thesis of the article – it is proposed to look at the film music of early Polanski films, and to try to find a specific lineage of this eclecticism. Break Up the Dance, Lamp and When Angels Fall titles, which in the light filmic and musicological investigations differ from each other. Do not change the fact that each of these works “s

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18

Szczypiorska-Chrzanowska, Magdalena. "Dwaj ludzie z lustrem. Metafory fotografii i fotograficzne motywy w etiudach Romana Polańskiego." Załącznik Kulturoznawczy, no. 10 (December 31, 2023): 199–214. http://dx.doi.org/10.21697/zk.2023.10.10.

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Two Men and a Wardrobe: Photographic Motifs and Metaphors in Roman Polanski’s Short Films This paper attempts to explore the photographic metaphors (Bernd Stiegler’s categories) and motifs drawing on photographic techniques and practices in three short films directed by Roman Polanski while still a student (Two Men and a Wardrobe, Teeth Smile, Murder). Metaphors and motifs originating in the technical, practical, mythopoetic, and anthropologic aspect of photography—e.g. mirror, doubling, doppelgänger, shade, voyeurism, murder, mortification/vivification—used in Polanski’s early film narratives

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19

Bausero, Cristina. "El espacio doméstico en arquitectura y cine." ARQUISUR Revista 13, no. 23 (2023): 76–83. http://dx.doi.org/10.14409/ar.v13i23.12414.

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El espacio cinematográfico es resultado de la imbricación entre el espacio arquitectónico y la narrativa y se modifica de acuerdo con la conflictividad del personaje. En Repulsión (Polanski, 1965) esta modificación está representada por la distorsión de la perspectiva espacial. Polanski, en sus filmes, ubica las amenazas del individuo en su propia casa cuestionando las composiciones familiares de la sociedad contemporánea. Repulsión es un filme psicológico que expresa el conflicto de Carol (Catherine Deneuve), quien sufre una repulsión hacia los hombres. Es el retrato escalofriante de una jove

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20

Silva, Jonathan Raphael Bertassi da, and Lucília Maria Sousa Romão. "Procurado e desejado: olhares de/sobre Roman Polanski." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 26 (August 11, 2012): 202. http://dx.doi.org/10.22409/c-legenda.v0i26.26260.

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Com este artigo, interpretamos sob a luz do referencial teórico da Análise do Discurso francesa as regularidades e rupturas discursivas presentes no polêmico episódio envolvendo a condenação, prisão e fuga do cineasta Roman Polanski e os efeitos de sentido inscritos em um de seus filmes, Repulsa ao Sexo (1965). Interessa-nos compreender os sentidos sobre patriarcalismo, violência contra a mulher, liberdade sexual feminina e a memória que sustentam os dizeres do/sobre a polêmica com o cineasta e sobre sua obra. Para enriquecer as análises, mobilizaremos também recortes de blogs e trechos do doc

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21

Huvet, Chloé. "Le pianiste (2002) de Roman Polanski." Revue musicale OICRM 3, no. 2 (2019): 135–56. http://dx.doi.org/10.7202/1060111ar.

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Dans Le pianiste (2002), Polanski présente une vision singulière de la musique et fait de l’engagement artistique le thème principal de son film, qui lui permet en filigrane d’interroger la manière dont l’individu peut faire face au Mal. Si l’utilisation de la musique au sein de ce film n’est pas un champ de recherche inexploré, aucune étude n’a cherché à montrer de façon approfondie comment l’analyse du Pianiste permet d’apporter un nouvel éclairage à la réflexion polanskienne sur le statut et le rôle de la musique, pourtant essentielle dans la filmographie du réalisateur. L’enjeu de notre ar

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22

Murphy, Robert. "Polanski and Skolimowski in ‘Swinging London’." Journal of British Cinema and Television 9, no. 2 (2012): 214–29. http://dx.doi.org/10.3366/jbctv.2012.0080.

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23

Nizam, Hamalna. "Politics of Gender and Power:." Crossings: A Journal of English Studies 6 (August 1, 2015): 112–22. http://dx.doi.org/10.59817/cjes.v6i.216.

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Lady Macbeth is one of the most memorable of all Shakespearean characters. She stands out because of her disregard for social rules and extremely strong personality. In a male dominated society she dares to trade into the masculine world of power and authority. Such a dynamic woman is also interpreted as a psychologically weak character because of her mental ailment at the end of the play. The paper gives an analysis of Lady Macbeth’s quest for power. It also tries to locate the reason of her neurotic behavior in the politics of patriarchal society that tries to subdue her. A parallel analysis

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24

Perrin, André. "Retour sur l’affaire Polanski en cinq questions." Commentaire Numéro170, no. 2 (2020): 363. http://dx.doi.org/10.3917/comm.170.0363.

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25

Neginsky, Rosina, and Daniel J. Goulding. "Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev." Slavic and East European Journal 42, no. 2 (1998): 335. http://dx.doi.org/10.2307/310029.

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26

Vidal-Hall, Judith. "Interview: Roman Polanski: A matter of perception." Index on Censorship 24, no. 6 (1995): 84–90. http://dx.doi.org/10.1080/03064229508535992.

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27

Guyonnet, Damien. "Images de la paranoïa : Buñuel et Polanski." L'Évolution Psychiatrique 75, no. 4 (2010): 597–606. http://dx.doi.org/10.1016/j.evopsy.2010.09.003.

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28

L’Archevêque, Alexandre. "The Pianist, de Roman Polanski : un stratagème pervers ?" Filigrane: Écoutes psychothérapiques 29, no. 2 (2020): 43. http://dx.doi.org/10.7202/1077170ar.

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29

González Sebastiá, Nurieta. ""Basada en hechos reales" (2017) de Roman Polanski." Clínica Contemporánea 9, no. 3 (2018): E27, 1–3. http://dx.doi.org/10.5093/cc2018a23.

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30

Davies, Rob. "Female Paranoia: The Psychological Horror of Roman Polanski." Film Matters 5, no. 2 (2014): 18–23. http://dx.doi.org/10.1386/fm.5.2.18_1.

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31

Jim Welsh. "Roman Polanski: Wanted and Desired (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 39, no. 1 (2009): 69–71. http://dx.doi.org/10.1353/flm.0.0083.

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32

Toth, Naomi. "L’artiste, l’œuvre et nous. Aborder Polanski après #MeToo." Travail, genre et sociétés 50, no. 2 (2023): 163–67. http://dx.doi.org/10.3917/tgs.050.0163.

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33

Torck, Danièle. "The arroseur arrosé or the misfortunes of pathos in a media dialogue." Dialogue and Representation 2, no. 1 (2012): 80–104. http://dx.doi.org/10.1075/ld.2.1.05tor.

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The case study which is presented here refers to the Polanski affair (2009) and the resulting debate in France and is an illustration of the loss of legitimacy that some intellectuals, the so-called media intellectuals, suffer in their relationship to dialogues on the Internet . It also illustrates what has been called by Charaudeau (1997)the pathemization of public discourse and its spectacularization in the media. I will analyze the argumentation in a dialogue (or its refusal) between two philosophers on the French public radio, France Inter. I will describe the discursive ethos of the main

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34

Andrade, Raquel de Matos. ""O pianista", de Wladyslaw Szpilman, e a literatura de testemunho." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 11, no. 21 (2017): 186–97. http://dx.doi.org/10.17851/1982-3053.11.21.186-197.

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Este artigo analisa o livro de memórias O pianista, de Wladyslaw Szpilman, publicado em 1998, e que originou o filme homônimo de Roman Polanski, lançado em 2002, com outros autores que escreveram sobre a memória, a escrita de si e a literatura de testemunho. Lembrar é, no contexto deste trabalho, buscar a cura de mazelas, registrar o que houve e, talvez, por intermédio de algumas reflexões, impedir que atrocidades se repitam.

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35

Maillart, Olivier. "Le kafkaïen : étude de quelques tentatives de traduction cinématographique d’un sentiment littéraire." Figures de l'Art. Revue d'études esthétiques 24, no. 1 (2013): 85–98. http://dx.doi.org/10.3406/fdart.2013.1036.

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Est-il possible de traduire à l’écran un univers qui semble ontologiquement lié à la forme romanesque qui l’a fait naître ? Non, répond abruptement Milan Kundera en s’appuyant sur l’exemple de Franz Kafka et l’adaptation du Procès par Orson Welles (1962). Réponse à nuancer, semble-t-il, en suivant l’interprétation du kafkaïen proposée par l’auteur de La Plaisanterie, et en l’appliquant à des cinéastes tels que Federico Fellini et Roman Polanski.

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36

Pratt, David B. "Five Filmmakers: Tarkovsky, Forman, Polanski, Szabó, Makavejev Daniel J. Goulding." Film Quarterly 49, no. 2 (1995): 56–58. http://dx.doi.org/10.2307/1213316.

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37

Reichmann, B. T. "Bloody Heath and Bloody Chambers in Macbeth, by Roman Polanski." Revista Scripta Uniandrade, no. 7 (December 30, 2009): 195–202. http://dx.doi.org/10.18305/1679-5520/scripta.uniandrade.n7p195-202.

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38

Arboccó de los Heros, Manolo. "El bebé de Rosemary de Roman Polanski (psicopatología y cine)." Revista de Investigación en Psicología 14, no. 2 (2014): 223. http://dx.doi.org/10.15381/rinvp.v14i2.2110.

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El siguiente artículo busca analizar una de las clásicas películas del cine de terror desde la óptica de la Psicología y en particular desde el psicoanálisis. La relación entre el cine y la Psicología es muy particular, así como antigua, y es en la pantalla donde se muestran muchas situaciones propias de las dinámicas más oscuras y extrañas del acontecer humano. La conducta proyecta al exterior lo que la mente privilegia dentro de uno y el cine proyecta en la pantalla, muchas veces, nuestro lado más inquietante, nuestros miedos, temores, deseos y parte de eso que se ha dado en llamar mente sub

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39

Pratt, David B. ": Five Filmmakers: Tarkovsky, Forman, Polanski, Szabo, Makavejev . Daniel J. Goulding." Film Quarterly 49, no. 2 (1995): 56–58. http://dx.doi.org/10.1525/fq.1995.49.2.04a00090.

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40

Crnkovic, Gordana. ": Death and the Maiden . Roman Polanski, Thom Mount, Josh Kramer." Film Quarterly 50, no. 3 (1997): 39–45. http://dx.doi.org/10.1525/fq.1997.50.3.04a00050.

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41

Avanesov, Sergei S. "ATTEMPT TO ESCAPE. “KNIFE IN THE WATER” BY ROMAN POLANSKI." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 4 (2023): 117–28. http://dx.doi.org/10.28995/2686-7249-2023-4-117-128.

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Ultimately, the main subject of research for a person is himself. Anthropology is the basic content of philosophy and the implicit premise of science. At the same time, a person explores himself and publishes the results of the research not only with the help of rational reasoning and a logically organized verbal text, but also through artistic, including visual, narratives. One of the most popular forms of art is cinema. At the same time, cinema has long been one of the most effective tools of anthropological knowledge. Roman Polanski’s film ‘Knife in the Water’ is one of the many artistic il

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42

Tomeniuk, Olena, Andriy Bogucki, and Oleksandr Sytnyk. "To the guardianship over Ukrainian ancientness: Yuriy Polanski and the Museum of Shevchenko Scientific Society." Materials and studies on archaeology of Sub-Carpathian and Volhynian area 21 (November 16, 2017): 11–40. http://dx.doi.org/10.33402/mdapv.2017-21-11-40.

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The main aspects of the scientific activity of famous Ukrainian geologist, geomorphologist and archaeologist Professor Yuriy Polanski that related to his work at the Shevchenko Scientific Society during the interwar period were highlighted. The path of developing a young scientist as a museum employee from a compiler of museum collections to a director of the Museum of Shevchenko Scientific Society is analyzed. Through the prism of scientific work of the scientist, the status of Ukrainian science between two World wars is reflected. The role and significance of the Shevchenko Scientific Societ

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43

Piro, Antonio, and Luca Bidogia. ""Quello che non so di lei" (di Roman Polanski, Francia, 2017)." IPNOSI, no. 1 (June 2018): 57–60. http://dx.doi.org/10.3280/ipn2018-001005.

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44

Wangtae Lim. "Scenes with Witches in Macbeth -Different Adaptations by Welles and Polanski-." Film Studies ll, no. 37 (2008): 301–24. http://dx.doi.org/10.17947/kfa..37.200809.012.

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45

Añó Ayza, Ana, Carme Ferré-Pavia, María Ballester, and Júlia Corbinos. "La cobertura de los abusos sexuales en la prensa en la era Me Too: los casos Polanski, Weinstein y P. Domingo." Quaderns de Filologia - Estudis Lingüístics 26 (December 20, 2021): 19. http://dx.doi.org/10.7203/qf.0.21975.

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Este artículo analiza la cobertura mediática de los abusos sexuales a las mujeres entre 2015 y 2020, en el contexto de la aparición del movimiento MeToo, iniciado el 2017 en los Estados Unidos. La muestra la forman dos diarios generalistas españoles, El País y El Mundo, y se revisa cómo han informado de los casos del productor Harvey Weinstein, del director de cine Roman Polanski y del cantante Plácido Domingo. De 1.625 piezas periodísticas se hace un análisis cualitativo, con categorías periodísticas de protagonismo de víctima y victimario, descripción de personaje y sus acciones, fuentes alu

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46

Crnkovic, Gordana. "Review: Death and the Maiden by Roman Polanski, Thom Mount, Josh Kramer." Film Quarterly 50, no. 3 (1997): 39–45. http://dx.doi.org/10.2307/1213615.

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47

Portuges, Catherine. "Reviews of Books:The Pianist Roman Polanski, Robert Benmussa, Alain Sarde, Ronald Harwood." American Historical Review 108, no. 2 (2003): 622–23. http://dx.doi.org/10.1086/533402.

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48

PADILLA DÍAZ, Alberto Román. "La poética claustrofóbica de los no-hogares en repulsión (Roman Polanski, 1965)." Fonseca, Journal of Communication 14, no. 14 (2017): 147. http://dx.doi.org/10.14201/fjc201714147166.

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49

Jaehyung JUNG. "A Study on the Films of Roman Polanski -Centering on Three Viewpoints." Film Studies ll, no. 52 (2012): 313–36. http://dx.doi.org/10.17947/kfa..52.201206.012.

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50

Tissera, Graciela. "Los castillos y la ficción: la cinematografía del espacio laberíntico." Diablotexto Digital 5 (June 8, 2019): 96. http://dx.doi.org/10.7203/diablotexto.5.13824.

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El presente trabajo tiene el propósito de analizar los espacios laberínticos de los castillos en la manera en que se presentan en las siguientes películas: Ojo del diablo (1966) de J. Lee Thompson (Inglaterra, 1914-2002), basada en la novela Día de la flecha (1964) de Philip Loraine (Inglaterra, 1920-2002), y La novena puerta (1999) de Roman Polanski (Francia, 1933), basada en la novela El Club Dumas (1993) de Arturo Pérez Reverte (España, 1951). En estas películas, las imágenes de castillos recrean simbólicamente los enigmas planteados en los conflictos de los personajes para proyectar una pr

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