Bibliografie tematiche / Roman Polanski

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Letteratura scientifica selezionata sul tema "Roman Polanski"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 11 giugno 2025

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Articoli di riviste sul tema "Roman Polanski"

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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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 and reinvigorated debates around definitions of rape. In this paper, I analyse online discussions on a feminist blog using discourse analysis (Parker, 2014) and the importance of considering the interrelated concepts of consent/non-consent, pleasure/distress and power in understanding the complexity and diversity of experiences of sexual violence.
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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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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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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 René Magritte’s paintings to show how the director depicts the experience of the main character and the blurring of boundaries between the perpetrator and the victim. Also, colors, props, and landscape motifs associated with each character are analyzed to explain their symbolic and dramatic function in the film.
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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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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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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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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 Polanski and Komeda developed already in their first short films. In Fearless Vampire Killers and Rosemary’s Baby, the jointly developed director-composer method evolved greatly, and Polanski’s collaboration with Komeda took on a very distinctive style, which the author of this article attempts to describe and define. The text is a translation of an excerpt from the chapter "Nieustraszeni zabójcy wampirów i Dziecko Rosemary, czyli filmowe wyzwanie dla jazzmana, który przestaje nim być” [The Fearless Vampire Killers and Rosemary’s Baby, or a film challenge for a soon-to-be ex-jazzman] in the book Reżyser na ścieżce dźwiękowej. Funkcje muzyki w twórczości filmowej Romana Polańskiego [The director on the soundtrack: functions of music in Roman Polański’s films] published by Wydawnictwo Naukowe UAM, Poznań 2018.
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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 article sera ainsi d’interroger de quelle manière et dans quelle mesure la musique apparaît pour le personnage principal comme un moyen de survivre et de résister face au processus de déshumanisation nazi. Nous montrerons aussi que la vision de la musique qu’offre Polanski, éloignée de tout angélisme naïf et candide, s’avère fondamentalement ambivalente.
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Tesi sul tema "Roman Polanski"

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Caputo, Davide. "Polanski and perception." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3183.

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Filmmaker Roman Polanski declares in his autobiography that he was greatly influenced by renowned neuropsychologist Richard L. Gregory (1923-2010), whose work, Polanski claims, gave scientific confirmation to many of his own beliefs regarding the nature of perception. Gregory was a strong advocate for what is referred to as the ‘indirect’ theory of perception, a theoretical model that stresses the agency of cognition, specifically hypothesisation, in the act of perceiving. This analysis of Polanski’s cinema is guided by an exploration of perceptual psychology, with special attention paid to how the theory of indirect perception differs from competing, and often more intuitive, models of perception. The two main focuses of this thesis are: a) to identify the ways in which Polanski’s cinematography is actively informed by neuropsychological research on perception, and b) to discuss the various ways in which the key philosophical implications of the theory of indirect perception find expression in his cinema. My analysis will focus primarily on two (unofficial) ‘trilogies’, what I refer to as the ‘Apartment Trilogy’ of Repulsion (1965), Rosemary’s Baby (1968), and The Tenant (1976), and the ‘Investigation Trilogy’ of Chinatown (1974), Frantic (1988) and The Ninth Gate (1999). Also included are minor case studies of Knife in the Water (1962), Death and the Maiden (1994), and The Ghost (2010). This thesis hopes to demonstrate the manner in which Polanski’s cinematic engagement with perceptual psychology evolves over his career, from more psychologically intimate explorations of the perceptual mechanism via portrayals of schizophrenia in his earlier films, to more distant studies of highly proficient perceiving bodies who are nevertheless confronted with serious challenges to their perceptual (and epistemological) frameworks.
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Girling, Christine. "Auteurs of Macbeth : Akira Kurosawa, Orson Welles and Roman Polanski." Thesis, University of Birmingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.633098.

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Akira Kurosawa, Orson Welles and Roman Polanski: three very different filmmakers in whose hands Macbeth becomes three very different films. For Kurosawa, who admits himself to being obsessed with exploring the "extraordinary things that lie in human hearts," the play becomes a humanist drama concerned with man's inner evil and ambition; in the hands of Welles - whose chief agenda was always extravagance and spectacle rather than character development -Macbeth becomes a more symbolic fight between good and evil; whereas Polanski, whose major concern is often with the "confrontation of evil," presents Macbeth as a gritty, psychological thriller. All three directors have remarkable filmographies - often being nominated for and winning prestigious awards as well as experiencing professional low-points which not only counterbalance this, but at times have even seemed out of sync with the rest of their careers. They have also had remarkable personal lives, variously tinged with tragedy, which often seems to be reflected in their films. Kurosawa, born in 1910, experienced first hand the Great Kanto Earthquake, which devastated Japan in 1923, killing more than 100,000, and lived through the Second World War, which cost more than 2 million Japanese lives. He also suffered great personal loss during his lifetime - one of his brothers and one of his sisters died during childhood; and both of his older brothers died when Kurosawa was in his twenties, the younger of whom committed suicide at the age of twenty-seven. Later in life, the director's personal difficulties became so great that at one point he even attempted suicide himself. Welles was born five years after Kurosawa, although his living in America meant that he was less affected by the Second World War. In other ways however, his upbringing was unconventional and not without tragedy. When he was four his parents divorced due to 'irreconcilable differences' - the reality of which was that his father was an alcoholic and his mother had had a live-in-lover for some time. He was considered a child 'prodigy' but as a result of this special treatment was somewhat set apart from other children, had very few friends of his own age, and spent a lifetime trying to live up to these early expectations of greatness. When he was nine his mother died, and six years later so did his father - who literally drank himself to death - leaving his upbringing to his mother's lover, who would act as a secondary father figure to him for the rest of his life. Like Kurosawa, Polanski grew up in politically catastrophic times, although his life may be said to have been the most affected by tragedy and controversy. Jewish, he was born in 1933 and was living in Warsaw during the German invasion of Poland, so was no stranger to the harsh realities of war. His mother was executed in a concentration camp when he was six; years later he was to relive this loss when his pregnant wife was brutally murdered by members of a crazed cult; and when he was still recovering from this tragedy, he was arrested and charged with the rape of a 13 year-old girl. This thesis aims to explore the ways in which these different personal factors affecting Kurosawa, Welles and Polanski have contributed over the years to their films and in particular, to their interpretations of Macbeth. As the play's primary concerns are the mechanisms of evil and human iniquity - subject matter they were all, in varying degrees, personally familiar with the occurrence of these themes throughout the three directors' films will be examined alongside the representation of them in their adaptations of Macbeth.
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Tylski, Alexandre. "Les génériques d'ouverture au cinéma : les longs-métrages de Roman Polanski." Toulouse 2, 2007. http://www.theses.fr/2007TOU20099.

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En quoi les génériques d'ouverture au cinéma peuvent-ils (re)présenter l'identité audiovisuelle et thématique d'un film et d'un cinéaste ? Ainsi, l'ultime question pourrait être : ne pouvons-nous pas étudier l'oeuvre d'un cinéaste (Roman Polanski) par le biais de ses génériques d'ouverture ? Pour y répondre, la première partie de cette thèse propose une synthèse historique des génériques d'ouverture au cinéma (condensé de périodes et autres évolutions des génériques à travers l'histoire du cinéma), puis une synthèse théorique (condensé d'écrits et de définitions autour des enjeux sonores, visuels, scripturaires et structurels des génériques). Ensuite, après la description du corpus (les génériques d'ouverture des dix-sept longs-métrages de R. Polanski), la seconde partie soumet une synthèse autour des figures audiovisuelles (son, image et montage) du générique d'ouverture en lien avec le style de chacun des dix-sept films, puis un examen des thèmes révélés par l'étude de ces génériques<br>Can opening title sequences (re)present the audiovisual and thematic identity of a film and of a film maker ? Can we study the work of a movie maker (Roman Polanski) through the opening credits of his film ? To answer these questions, the first part of this thesis is divided into two main chapters : one chapter synthesizes the evolutions of film credits through the history pictures, the other chapter condenses diverse writings and definitions on the roles of credits in terms of sound, image, word and strucure. In the second part, a desciption of the main corpus (the opening title sequences of R. Polanski's seventeen feature-length films) leads to a synthesis of the audiovisual devices used in these main titles to serve the style of each film (through sound, images and editing), as well as an analysis on the themes revealed by the study of these film credits
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RIBEIRO, Douglas Deó. "Os sujeitos e o mundo: Notas sobre a encenação no cinema de Roman Polanski." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/18082.

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Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2016-12-15T14:37:08Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) dissertação catalogação 2.pdf: 5341781 bytes, checksum: f9713e9d6e453efce7ed74f5bd1492f1 (MD5)<br>Made available in DSpace on 2016-12-15T14:37:08Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) dissertação catalogação 2.pdf: 5341781 bytes, checksum: f9713e9d6e453efce7ed74f5bd1492f1 (MD5) Previous issue date: 2016-06-30<br>Este trabalho realiza um estudo estilístico da obra do cineasta franco-polonês Roman Polanski a partir de recorrências encontradas na encenação – e entendendo-se a encenação como a relação estabelecida entre corpos e espaços nas imagens de um filme. Partindo-se de uma análise que identifica a penetração do real na cena ficcional polanskiana, o estudo atravessa as questões presentes no posicionamento dos corpos no espaço até alcançar a encenação do próprio corpo enquanto matéria expressiva.<br>This paper makes a stylistic study of the oeuvre of the French-Polish filmmaker Roman Polanski from recurrences founded in staging – and understanding the staging as the relation between bodies and spaces in the images of a film. Starting with an analysis that identifies the penetration of reality in the Polanski’s scene, the study permeates the questions presents in the placement of the bodies in the space to reach the staging of the own body as an expressive subject.
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Spooner, Kristin. ""This is not Dickens" fidelity, nostalgia, and adaption /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4608.

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Thesis (M.A.) University of Missouri-Columbia, 2006.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (June 27, 2007) Includes bibliographical references.
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Uutela, Robin. "”Alla dessa häxor” – En jämförande analys av Ira Levins Rosemarys Baby och Roman Polanskis filmatisering." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-73014.

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Uppsatsen analyserar och jämför hur den psykologiska skräcken och hur de suggestiva effekterna framställs i Ira Levins roman Rosemarys baby och Roman Polanskis filmatisering. Syftet med analysen är att söka svar på just denna fråga. Uppsatsen metoder utgår från närläsning, som är en noggrann och djupgående läsning utav verket, samt adaptionsteori, som är en metod som skapar förståelse för vilka likheter och skillnader som skapas när en roman överförs till film. Analysen visar att filmatiseringens berättande har många likheter med romanen då få scener plockats bort. Analysen visar också att mycket av den psykologiska skräck som existerar i romanen även framställs i filmatiseringen genom ljud, musik och visuella bilder. Trots likheterna mellan roman och film finns det även skillnader, då analysen visar att Polanskis version innehåller större symbolik som kan kopplas till katolicismen och kan således också ses som en tydligare kritik mot den tidens normer och samhällsfrågor.
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Wearne, Olivia, and oliviawearne@hotmail com. "Crater Lake: A Study of the Monster Within." RMIT University. Creative Media, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20081209.160136.

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Lupo, Joshua Scott. "Can We Be Forgiven?: On "Impossible" and "Communal" Forgiveness in Contemporary Philosophy and Theology." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/rs_theses/27.

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This essay traces two trends in current philosophical and theological debates concerning forgiveness. One, advocated by Vladimir Jankélévitch and Jacques Derrida, I label “impossible” forgiveness. The second, advanced by John Milbank and L. Gregory Jones, I label “communal” forgiveness. I explore and critically examine each of these positions in the first two sections of the thesis. In the last section of the thesis I examine a recent conversation amongst religious ethicists against the background of the theoretical conversations described in the first half of the essay. Bringing the theoretical conversation together with the religious ethicists’ conversation, I argue that whether or not we embrace forgiveness depends in large part in what tradition, religious or secular, we place ourselves.
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Brassard, Félix. "Vers un cinéma de l'absurde : les films de Roman Polanski." Thèse, 2014. http://hdl.handle.net/1866/11580.

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La notion de l'absurde a pris dans la pensée et le langage courant un très grand nombre de significations, parfois très éloignées les unes par rapport aux autres. Il est arrivé à au moins deux reprises que le terme « absurde » soit entendu dans le sens d'un courant : dans la philosophie absurde théorisée par Albert Camus en 1942, et dans le Théâtre de l'absurde (Beckett, Ionesco, etc.), qui lui a connu son apogée dans les années cinquante. Ces deux mouvements pourraient être envisagés comme l'expression d'un seul et même courant, l'absurde, qui prend ses racines dans une Europe ébranlée par les horreurs de la guerre et l'affaissement de la religion chrétienne. Pour les contemporains, l'hostilité et le désordre de l'univers, de même que la solitude irrémédiable de l'individu apparaissent comme des vérités à la fois douloureuses et difficile à ignorer. Roman Polanski (1933-), cinéaste à la fois prolifique et éclectique, ouvre à l'absurde de nouveaux horizons, ceux du septième art. L'analyse de son oeuvre (et des éléments autobiographiques qui la sous-tendent parfois) met à jour d'indéniables parentés avec les figures-clés de l'absurde que sont Camus, Kafka, Nietzsche et les dramaturges européens de l'après-guerre. Ces parentés se repèrent tout autant dans les thématiques récurrentes de ses films que dans leurs obsessions formelles.<br>The idea of absurd has taken a huge amount of different meanings in thought and current speech. Some of these meanings may present important differences with others. There is at least two occurrences where the word “absurd” has been understood as a current: first, in the philosophie absurde, theorized by Albert Camus in 1942, and second, in the Theater of the Absurd (Beckett, Ionesco and others), who had his hours of glory during the 1950s. These two movements can be seen as two branches of a single current, the Absurd, who has its roots in Europe after World War II. The horrors of the conflict and the loss of faith in Christianity pushed the intellectuals and artists of this period to become very sensitive to ideas such as hostility (of men, of world...) and loneliness. Roman Polanski (1933-), film director well-known for the eclecticism of his work, showed very notable acquaintances with Absurd in many of his movies. The analysis of his art (and of the autobiographical elements that sometimes appear in it) proves a clear relation with important figures of the Absurd current, such as Camus, Kafka, Nietzsche, and European playwrights of the post-war era. This relation can be observed in themes as well as in the mise en scène of Polanski's films.
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"Personalizing film adaptation: literature into cinema in the work of Roman Polanski." 2005. http://library.cuhk.edu.hk/record=b5892511.

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Fung Tat-yeung.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.<br>Includes bibliographical references (leaves 144-145).<br>Abstracts in English and Chinese.<br>Introduction --- p.1<br>Chapter 1 --- "The ""Polanskian"" Style as Established in Knife in the Water, Repulsion, Cul-de-sac and The Fearless Vampire Killers" --- p.10<br>Chapter (I) --- Knife in the Water and Cul-de-sac --- p.11<br>Chapter (II) --- Repulsion --- p.22<br>Chapter (III) --- The Fearless Vampire Killers --- p.26<br>Chapter 2 --- The Breakdown of Human Relationships --- p.32<br>Chapter (I) --- Friendlessness --- p.33<br>Chapter (II) --- Unfulfilled Marriages --- p.37<br>Chapter 3 --- The Extreme Sense of Superiority That Destroys Others --- p.67<br>Chapter (I) --- The Villains' Lust for Power --- p.69<br>Chapter (II) --- The Victims for the Villains --- p.78<br>Chapter (III) --- The Villains' Methods of Victimization --- p.84<br>Chapter 4 --- The Vulnerability of the Victims to Fight Against Evil --- p.90<br>Chapter (I) --- The Victims' Inability to Fight Back --- p.90<br>Chapter (II) --- Hallucinations as the Victims' Most Vulnerable Moments --- p.108<br>Chapter 5 --- The Extremely Pessimistic Endings --- p.119<br>Chapter (I) --- The Emphasis of the Evil's Ultimate Domination --- p.121<br>Chapter (II) --- The Recurrence of Events --- p.129<br>Conclusion --- p.139<br>Works Cited --- p.144
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Libri sul tema "Roman Polanski"

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Avron, Dominique. Roman Polanski. Rivages, 1987.

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1953-, Jacobsen Wolfgang, ed. Roman Polanski. Hanser, 1986.

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3

Stefano, Francia di Celle, Polanski Roman, and Torino Film Festival (26th : 2007), eds. Roman Polanski. Torino Film Festival, 2008.

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Cappabianca, Alessandro. Roman Polanski. Le mani, 1997.

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Edoardo, Bruno, ed. Roman Polanski. Gremese, 1993.

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Avron, Dominique. Roman Polanski. Rivages, 1987.

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Wexman, Virginia Wright. Roman Polanski. Columbus, 1987.

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Koch, Michelle. Roman Polanski. Edition text + kritik, 2010.

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Roman, Polanski, and Cronin Paul, eds. Roman Polanski: Interviews. University Press of Mississippi, 2005.

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10

Batkiewicz, Andrzej. Scigany Roman Polanski. Wydawnictwo BZiW Bronislaw Spadek, 2006.

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Capitoli di libri sul tema "Roman Polanski"

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Rachman, Arnold Wm. "Celebrity privilege and sexual abuse: the case of Roman Polanski." In Psychoanalysis and Society's Neglect of the Sexual Abuse of Children, Youth and Adults. Routledge, 2021. http://dx.doi.org/10.4324/9780429298431-26.

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Grimm, Bruno. "Rosemary's Baby und Blue Velvet." In Ästhetische Eigenlogiken des europäischen Genrebildes. Bielefeld University Press / transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839468982-013.

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Eine Vielzahl von niederländischen Genregemälden bietet neben der ersten, offensichtlichen Deutungsebene eine zweite, tiefergehendere an. Es stellt sich die Frage, wie diese Analysekonzepte ambiger Interpretationsmöglichkeiten auch auf andere Medien übertragen werden können, in denen eine häusliche Darstellung mit einer zweiten Deutungsebene aufgeladen wird. Folgend werden für das Medium Film exemplarisch Rosemary's Baby von Roman Polanski und Blue Velvet von David Lynch auf ambige Erzählstrategien sowie Visualisierungen mit Rückgriff auf diese Konzepte untersucht.
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Royster, Francesca. "Riddling Whiteness, Riddling Certainty: Roman Polanski’s Macbeth." In Weyward Macbeth. Palgrave Macmillan US, 2010. http://dx.doi.org/10.1007/978-0-230-10216-3_20.

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Schneider, Gerhard. "»Der Mieter« – Roman Polanskis filmische Analyse eines psychotischen Universums." In Projektion und Wirklichkeit. Vandenhoeck & Ruprecht, 2006. http://dx.doi.org/10.13109/9783666451799.220.

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Ng, Andrew Hock Soon. "Housing Secret Selves: William Friedkin’s The Exorcist and Roman Polanski’s Repulsion." In Women and Domestic Space in Contemporary Gothic Narratives. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137532916_4.

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Kolitzus, H. "Roman Polanskis „Ekel“(1965) — Konglomerat von Horror und Sex — oder subtile Darstellung einer schizophrenen Psychose?" In Perspektiven des Videos in der klinischen Psychiatrie und Psychotherapie. Springer Berlin Heidelberg, 1993. http://dx.doi.org/10.1007/978-3-642-77188-0_23.

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"Introduction : An Elusive Film Maker." In Roman Polanski. I.B.Tauris, 2007. http://dx.doi.org/10.5040/9780755695904.0005.

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"Conclusion : The Cinema of a Cultural Traveller." In Roman Polanski. I.B.Tauris, 2007. http://dx.doi.org/10.5040/9780755695904.0006.

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"Notes." In Roman Polanski. I.B.Tauris, 2007. http://dx.doi.org/10.5040/9780755695904.0008.

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"Bibliography." In Roman Polanski. I.B.Tauris, 2007. http://dx.doi.org/10.5040/9780755695904.0009.

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Atti di convegni sul tema "Roman Polanski"

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Tylski, Alexandre. "Étude des génériques dans l’œuvre cinématographique de Roman Polanski." In Le début et la fin. Roman, théâtre, B.D., cinéma. Fabula, 2007. http://dx.doi.org/10.58282/colloques.664.

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