EnergaCAMERIMAGE 2023 EnergaCAMERIMAGE 2023

International Film Festival

Toruń, 11 - 18 November 2023

Polski English
EnergaCAMERIMAGE 2023 EnergaCAMERIMAGE 2023

International Film Festival

Toruń, 11 - 18 November 2023

EnergaCAMERIMAGE 2023 EnergaCAMERIMAGE 2023 a
  • Home
  • EnergaCAMERIMAGE 2023
  • About Us
  • Partners
  • Photos
  • Guests
  • Archive
  • GDPR
  • Sponsors
  • Contact
Polski English
EnergaCAMERIMAGE 2023 EnergaCAMERIMAGE 2023
  • General Information
  • Competitions
    • Konkurs Główny
    • Polish Films Competition
    • Film and Art School Etudes Competition
    • Documentary Competitions
    • Debuts Competitions
    • TV Series Competition
    • Music Videos Competition
    • Konkurs Spotów Reklamowych „Fundusze Europejskie W Kadrze”
  • Talent demo
  • Guide
    • Festival Locations
    • Accommodation
    • Toruń
    • Getting there
    • For students
  • Program
a
EnergaCAMERIMAGE 2023 EnergaCAMERIMAGE 2023
  • 2006
  • 2007
  • 2008
  • 2009
  • 2010
  • 2011
  • 2012
  • 2013
  • 2014
  • 2015
  • 2006
  • Awards
  • Guests
  • Workshops & seminars
  • Varia
  • 2007
  • Awards
  • Guests
  • Workshops & seminars
  • Miscalleanous
  • 2008
  • Awards
  • Guests
  • Workshops & seminars
  • Camerimage Market
  • Miscalleanous
  • 2009
  • Awards
  • Guests
  • Workshops & seminars
  • Camerimage Market
  • Miscalleanous
  • 2010
  • Awards
  • Workshops & seminars
  • Guests
  • Camerimage Market
  • Miscalleanous
  • 2011
  • Awards
  • Guests
  • Workshops, seminars & market
  • fotografowie.com
  • Miscalleanous
  • 2012
  • Awards
  • Guests
  • Workshops, seminars & market
  • fotografowie.com
  • Miscalleanous
  • 2013
  • Camerimage Market
  • Guests
  • Awards
  • Workshops & seminars
  • Miscalleanous
  • 2014
  • Guests
  • Awards
  • Camerimage Market
  • Workshops & seminars
  • Miscalleanous
  • 2015
  • Guests
  • Awards
  • Workshops & seminars
  • Camerimage Market
  • Miscalleanous
a
EnergaCAMERIMAGE 2023 EnergaCAMERIMAGE 2023
  • EnergaCAMERIMAGE 2023
  • EnergaCAMERIMAGE 2022
  • EnergaCAMERIMAGE 2021
  • EnergaCamerimage 2020
  • EnergaCamerimage 2019
  • EnergaCamerimage 2018
  • Camerimage 2017
  • Camerimage 2016
  • Camerimage 2015
  • Camerimage 2014
  • Camerimage 2013
  • Plus Camerimage 2012
  • Plus Camerimage 2011
  • Plus Camerimage 2010
  • Plus Camerimage 2009
  • Plus Camerimage 2008
  • Plus Camerimage 2007
  • Camerimage 2006
  • Camerimage 2005
  • Camerimage 2004
  • Camerimage 2003
  • Camerimage 2002
  • Camerimage 2001
  • Camerimage 2000
  • Camerimage 1999
  • Camerimage 1998
  • Camerimage 1997
  • Camerimage 1996
  • Camerimage 1995
  • Camerimage 1994
  • Camerimage 1993
  • Camerimage 1993 - 2000
  • Bez kategorii
  • EnergaCAMERIMAGE 2023
  • News
  • EnergaCAMERIMAGE 2022
  • News
  • EnergaCAMERIMAGE 2021
  • News
  • EnergaCamerimage 2020
  • News
  • EnergaCamerimage 2019
  • News
  • EnergaCamerimage 2018
  • News
  • Camerimage 2017
  • Forum Prawnicze
  • News
  • Camerimage 2016
  • News
  • Award
  • Legal Forum
  • Camerimage 2015
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Camerimage 2014
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
  • Camerimage 2013
  • News
  • Poster
  • Award
  • Summary
  • Plus Camerimage 2012
  • News
  • Poster
  • Award
  • Exhibitions
  • Summary
  • Plus Camerimage 2011
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
  • Plus Camerimage 2010
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
  • Plus Camerimage 2009
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
  • Plus Camerimage 2008
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
  • Plus Camerimage 2007
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
  • Camerimage 2006
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
  • Camerimage 2005
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
  • Camerimage 2004
  • Poster
  • Award
  • Summary
  • Camerimage 2003
  • Poster
  • Award
  • Exhibitions
  • Summary
  • Camerimage 2002
  • Poster
  • Award
  • Summary
  • Camerimage 2001
  • Poster
  • Award
  • Summary
  • Camerimage 2000
  • Poster
  • Award
  • Camerimage 1999
  • Poster
  • Award
  • Exhibitions
  • Camerimage 1998
  • Poster
  • Award
  • Camerimage 1997
  • Poster
  • Award
  • Camerimage 1996
  • Poster
  • Award
  • Camerimage 1995
  • Poster
  • Award
  • Camerimage 1994
  • Exhibitions
  • Award
  • Camerimage 1993
  • Poster
  • Award
  • Camerimage 1993 - 2000
  • Summary
  • Bez kategorii
a
EnergaCAMERIMAGE 2023 EnergaCAMERIMAGE 2023
  • 2022
  • 2021
  • 2020
  • 2019
  • 2018
  • 2017
  • 2022
  • Main Competition
  • Polish Films Competition
  • Film And Art School Etudes Competition
  • Cinematographers' Debuts Competition
  • Directors' Debuts Competition
  • Documentary Features Competition
  • Documentary Shorts Competition
  • TV Series Competition
  • Music Videos Competition
  • OKO Film Festival
  • International Ethnographic Film Festival OKO - National Short Films Competition
  • Baltic Cinema Review
  • Special Screening
  • Documentary Special Screening
  • Contemporary World Cinema
  • Panorama Etiud Studenckich Szkół Filmowych i Artystycznych
  • HFF Munich Film School Review
  • Stephen H. Burum Retrospective
  • Alex Gibney Retrospective
  • Ulrike Ottinger Retrospective
  • Ukrainian Poetic Cinema
  • Ukrainian Film Festival of Art of Cinematography KINOKO presents
  • OKO Film Festival
  • Inspiring Images
  • 2021
  • Main Competition
  • Polish Films Competition
  • Film And Art School Etudes Competition
  • Music Videos Competition
  • Documentary Features Competition
  • Documentary Shorts Competition
  • Cinematographers' Debuts Competition
  • Directors' Debuts Competition
  • TV Series Competition
  • Mistrzowie, którzy odeszli
  • Panorama Etiud Studenckich Szkół Filmowych i Artystycznych
  • Special Screening
  • Baltic Cinema Review
  • Przegląd szkoły filmowej La Fémis
  • Documentary Special Screening
  • Retrospektywa Josta Vacano
  • Retrospektywa Philippe Rousselota
  • Talent Demo Showcase
  • Contemporary World Cinema
  • Zaakceptować nieznane
  • 2020
  • Main Competition
  • Polish Films Competition
  • Cinematographers' Debuts Competition
  • Directors' Debuts Competition
  • Documentary Features Competition
  • Documentary Shorts Competition
  • Student Etudes Competition
  • First Look - TV Pilots Competition
  • Music Videos Competition
  • Retrospektywa Philippe'a Rousselota
  • Special Screenings
  • Pokazy Specjalne Filmów Dokumentalnych
  • Contemporary World Cinema
  • Baltic Cinema Review
  • Student Etudes Panorama
  • FINA-l Film Restorations
  • Meetings and Q&A
  • Workshops and seminars
  • Other events
  • 2019
  • Main Competition
  • Polish Films Competition
  • Cinematographers' Debuts Competition
  • Directors' Debuts Competition
  • Documentary Features Competition
  • Documentary Shorts Competition
  • Music Videos Competition
  • First Look - TV Pilots Competition
  • Student Etudes Competition
  • John Bailey Retrospective
  • Peter Greenaway Retrospective
  • Lech Majewski Retrospective
  • Helena Třeštíkova Retrospective
  • Danny DeVito Retrospective
  • Ewa Dałkowska Retrospective
  • Special Screenings
  • Pokazy Specjalne Filmów Dokumentalnych
  • Contemporary World Cinema
  • Baltic Cinema Review
  • Films for Art - Art for Films
  • Student Etudes Panorama
  • ICG ECA Winners
  • ARRI workshops and seminars
  • PANAVISION seminars and workshops
  • SONY seminars and workshops
  • PANASONIC Seminars
  • ZEISS Seminars
  • CANON seminar and workshop
  • Seminaria, prezentacje, dyskusje
  • Meetings and Q&A
  • Exhibitions and other events
  • 2018
  • Main Competition
  • Polish Films Competition
  • Student Etudes Competition
  • Music Videos Competition
  • Documentary Features Competition
  • Documentary Shorts Competition
  • Cinematographers' Debuts Competition
  • Directors' Debuts Competition
  • First Look - TV Pilots Competition
  • Witold Sobociński Retrospective
  • Special Screenings
  • Contemporary World Cinema
  • Pokazy Specjalne Filmów Dokumentalnych
  • Czech Cinema Review
  • Baltic Cinema Review
  • Mistrzowie, którzy odeszli
  • Freedom With No Borders
  • Student Etudes Panorama
  • Best of AGRFT
  • ICG ECA Winners
  • Advocate For Our Rights
  • Seminaria i warsztat ARRI
  • Warsztaty PANAVISION
  • ZEISS Seminars
  • Seminarium i warsztat SONY
  • Seminaria i warsztat CANON
  • Seminarium PANASONIC
  • Seminaria, prezentacje, dyskusje
  • Meetings and Q&A
  • Exhibitions and other events
  • 2017
  • Seminars, meetings and workshops
  • Main Competition
  • Polish Films Competition
  • Student Etudes Competition
  • Documentary Features Competition
  • Music Videos Competition
  • Documentary Shorts Competition
  • Cinematographers' Debuts Competition
  • Directors' Debuts Competition
  • First Look - TV Pilots Competition
  • John Toll Retrospective
  • Frederick Wiseman Retrospective
  • Remembering the Masters: Raoul Coutard
  • Special Screenings
  • Contemporary World Cinema
  • European Panorama
  • Baltic Cinema Review
  • Irish Cinema Review
  • Music Videos Special Screening
  • Pokazy Specjalne Filmów Dokumentalnych
  • The Best of HBO
  • ICG ECA Winners
  • Student Etudes Panorama
  • The Best Of The National Film School at IADT
  • ARRI workshops and seminars
  • VANTAGE seminar
  • PANAVISION seminar and workshop
  • ZEISS seminar
  • RED seminars
  • PANASONIC Seminars
  • CANON seminars and workshops
  • Seminarium i warsztat SONY
  • Seminaria, prezentacje, dyskusje
  • Meetings and Q&A
  • Accompanying Exhibitions
  • Other events
a
EnergaCAMERIMAGE 2023 EnergaCAMERIMAGE 2023
  • a
  • b
  • c
  • d
  • e
  • f
  • g
  • h
  • i
  • j
  • k
  • l
  • Ł
  • m
  • n
  • o
  • p
  • q
  • r
  • s
  • t
  • u
  • v
  • w
  • y
  • z
  • ż
a
  • Home
  • EnergaCAMERIMAGE 2023
  • About us
  • Partners
  • Guests
  • Archives
  • Sponsor Guide
  • Contact
Generic selectors
Exact matches only
Search in title
Search in content
Post Type Selectors
Filter by Categories
EnergaCAMERIMAGE 2023
News
Poster
Poster
News
Poster
EnergaCAMERIMAGE 2022
News
Poster
News
News
Poster
News
Poster
News
Poster
News
Poster
News
Poster
News
Poster
Forum Prawnicze
News
Summary
News
News
News
Exhibitions
News
News
News
Poster
News
Award
EnergaCAMERIMAGE 2021
Poster
Award
News
Poster
Poster
Poster
Poster
Poster
Award
Award
Award
Award
Poster
Award
Poster
Award
Poster
Award
Poster
Award
Poster
Award
Award
Award
Award
Award
Award
Award
Award
Award
Award
Exhibitions
Award
Summary
Award
Summary
Award
Exhibitions
Award
Summary
EnergaCamerimage 2020
Legal Forum
Legal Forum
Legal Forum
Legal Forum
Legal Forum
Legal Forum
Legal Forum
Legal Forum
Exhibitions
Summary
Legal Forum
EnergaCamerimage 2019
Summary
Legal Forum
Exhibitions
Exhibitions
Exhibitions
Exhibitions
Exhibitions
Summary
Exhibitions
Exhibitions
EnergaCamerimage 2018
Exhibitions
Exhibitions
Summary
Camerimage 2017
Summary
Summary
Summary
Summary
Summary
Summary
Summary
Camerimage 2016
Camerimage 2015
Camerimage 2014
Camerimage 2013
Plus Camerimage 2012
Plus Camerimage 2011
Plus Camerimage 2010
Plus Camerimage 2009
Plus Camerimage 2008
Plus Camerimage 2007
Camerimage 2006
Camerimage 2005
Camerimage 2004
Camerimage 2003
Camerimage 2002
Camerimage 2001
Camerimage 2000
Camerimage 1999
Camerimage 1998
Camerimage 1997
Camerimage 1996
Camerimage 1995
Camerimage 1994
Camerimage 1993
Camerimage 1993 - 2000
Bez kategorii
Reset password Create an account
EnergaCAMERIMAGE 2023
  • News
EnergaCAMERIMAGE 2022
  • News
EnergaCAMERIMAGE 2021
  • News
EnergaCamerimage 2020
  • News
EnergaCamerimage 2019
  • News
EnergaCamerimage 2018
  • News
Camerimage 2017
  • Forum Prawnicze
  • News
Camerimage 2016
  • News
  • Award
  • Legal Forum
Camerimage 2015
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
Camerimage 2014
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
Camerimage 2013
  • News
  • Poster
  • Award
  • Summary
Plus Camerimage 2012
  • News
  • Poster
  • Award
  • Exhibitions
  • Summary
Plus Camerimage 2011
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
Plus Camerimage 2010
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
Plus Camerimage 2009
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
Plus Camerimage 2008
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
Plus Camerimage 2007
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
Camerimage 2006
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
Camerimage 2005
  • News
  • Poster
  • Award
  • Legal Forum
  • Exhibitions
  • Summary
Camerimage 2004
  • Poster
  • Award
  • Summary
Camerimage 2003
  • Poster
  • Award
  • Exhibitions
  • Summary
Camerimage 2002
  • Poster
  • Award
  • Summary
Camerimage 2001
  • Poster
  • Award
  • Summary
Camerimage 2000
  • Poster
  • Award
Camerimage 1999
  • Poster
  • Award
  • Exhibitions
Camerimage 1998
  • Poster
  • Award
Camerimage 1997
  • Poster
  • Award
Camerimage 1996
  • Poster
  • Award
Camerimage 1995
  • Poster
  • Award
Camerimage 1994
  • Exhibitions
  • Award
Camerimage 1993
  • Poster
  • Award
Camerimage 1993 - 2000
  • Summary
Bez kategorii

KATARZYNA TARAS ABOUT FILMS OF MIECZYSŁAW JAHODA

Wednesday November 13th, 2013

Katarzyna Taras
Mieczysław Jahoda - a demon and educator


Writing about a distinguished cinematographer who, because of his achievements, has been ascribed to an equally distinguished director, is connected with quite a dangerous issue: “does the cinematographer has his/her own style?" However, more important than style, which I believe exists (in spite of cinematographers' incantations, that there is no such thing), are probably some psychological predispositions, kinship of imagination, whether a director and a cinematographer are able to communicate.

Mieczysław Jahoda and Wojciech Jerzy Has had to be - to put it colloquially - on the same wavelength, since they made four films (and how magnificent they are!) together (Has more often worked only with Stefan Matyjaszkiewicz, with whom he created five films). The Saragossa Manuscript enchanted Bunuel in person to such an extent that he was to see it three times (I. Grodź, Encrypted in the Image. On Wojciech Jerzy Has' Films, Gdańsk 2008, p. 485), Francis Ford Coppola and Martin Scorsese considered this production a cult film (I. Grodź, an article in the catalogue of Era New Horizons International Film Festival, 22.07-1.08.2010, p. 410), and David Lynch devoted to it an essay The Story Behind the Story of The Saragossa Manuscript (I. Grodź, Encrypted..., p. 485). In turn, the organizers of Has' retrospective at New York Film Festival did not believe that The Noose (1957) was a debut (M. Kornatowska, I don't like surprises on the set - an interview with W.J. Has, in: Debuts in Polish Cinema, ed. M. Hendrykowski, Konin 1998, p. 53). The Codes astound with the smoothness of transition from realistic sequences, taking place in post-war Cracow (both Has and Jahoda's place of birth) to sequences with the father (Jan Kreczmar) being tormented by visions, who sinned of omission - during the Second World War he fought on the West, then he shaped his new life there. By the way, when I took a closer look at Vadim Yusov and Mieczysław Jahoda's output, I was struck by the kinship of their imaginations (noticeable especially in Ivan's Childhood and The Codes), visible in the way of portraying children infected with death and the similar way of thinking about an image. Both Has and Tarkovsky were interested in transcendence and they could not find for themselves better collaborators than Jahoda and Yusov; for what happens in the 27th minute of The Noose cannot be denied as one of the most transcendental shots in the world cinema, can it?

Still from "The Saragossa Manuscript"
If I referred earlier to manoeuvring between what is oniric and what is real, in a way that a viewer does not feel lost but guided through the meanders of narration, then this smooth transition can be considered the second characteristic feature of Jahoda's style (the first one is the above-mentioned ability to point out the transcendence), noticeable not only in The Saragossa Manuscript and The Codes, but also in Tadeusz Konwicki'sHow Far, How Near (1971). Jahoda collaborated with Has also on Farewells (1958), and, allegedly, it was the cinematographer who called the director's attention to Dygat's novel (I. Grodź, Encrypted..., p. 53).

Films he made with Has constitute a proof that Mieczysław Jahoda was also a master of chiaroscuro (and that may be the third feature adding to the description of His style), which he manipulated in such a casual manner as if he had been a painter, as if it had not been connected with setting lamps and activating this whole film pandemonium. Let us recall what happens with light in the studio/flat of Kuba (Gustaw Holoubek) from The Noose, or in countess Rose's residence, where Paweł (Tadeusz Janczar) from Farewells arrives, let us reminisce afterimages of huge open-works of shutters, stairs, Venetian blinds, which all mark the characters' faces. In the Polish cinema there is no other director whose phenomenon people have tried to describe with equally many “isms", as it was done with Wojciech Jerzy Has. And what about his cinematographer? The first trail is indicated by the director of The Noose, in which film “Mietek [Mieczysław Jahoda - trans.] excelled himself. He was handling the light so exquisitely, boosting the climate. He had his eyes fixed on Carné. (...) After the war, in 40s and 50s, we were all watching Carné and he kept charming us" (M. Kornatowska, op. cit., p. 70). We will be able to find out whether it continues during this year's edition of Camerimage. Moreover, a retrospective of films with Roger Hubert's (Marcel Carné's collaborator) cinematography will be presented, although researchers point out to the kinship of The Noose with films having other cinematographers behind them (I. Grodź, op. cit., p. 435). And speaking of handling the chiaroscuro, I need to mention Jahoda's debut, namely Stanisław Lenartowicz'sWinter Twilight, a film which significantly broadens our understanding of what we call Polish film school.

Still from "The Noose"
Has and Jahoda were describing their relation as follows: “With Mietek we knew each other inside out" (M. Kornatowska, op. cit., p. 70); “The two of us and our later production designer, Jerzy Skarżyński, knew one another from pre-war Cracow. (...) we were agreeable, which did not exclude discussions and disputes" (Wojciech Jerzy Has, Farewells, M. Jahoda's quote, “FILM" 11/2000, p. 13). The director used to call his cinematographer a demon, he talked about his disobedience, crankiness and the fact that the set was a scene for many rows (J. Słodowski, T. Wijata, Rupieciarnia marzeń [Lumber-room of Dreams - trans.], Warsaw 1994, p. 11); he described him as a rebellious cinematographer, who did not listen to a director and always had his own opinion (M. Kornatowska, op. cit., p. 70). The fact that Jahoda stuck to his views was also confirmed by Gustaw Holoubek, who - what we find out from Tadeusz Bystram and Stanisław Zawiśliński's documentary film Między prawdą a wyobraźnią [Between Truth and Imagination - trans.] - might not have played Kuba, because during screen tests the cinematographer did not take to him (nevertheless, later Jahoda became Holoubek's friend and a cinematographer behind his Mazepa). Jahoda was heavily disciplined by Has, Holoubek got the role and became Has' probably most important actor.

Mieczysław Jahoda admitted that he achieved most in Has' films: “My acquaintance and cooperation with Wojtek Has is a peculiarity, which, when it comes to director-cinematographer relation, does not seem to have an equivalent in our cinema. (...) The war has even strengthened my friendship with Wojtek, as in occupation times we were put in similar positions, we experienced similar dangers. (...) The Saragossa Manuscript was a moment of artistic dreams coming true. There was something amazing in this intertwining of lives, something closer to literature than reality" (W.J. Has. Farewells, op. cit., p. 13). It should be mentioned, generally, that these two giants of world cinema started their adventure with film in Cracow at two-year (!) Film Preparatory Courses, where - according to Wojciech Jerzy Has' memories - filmmaking was taught “with chalk and board. (...) You started as an assistant, carrying equipment and watching how things were being shot. The methods were domestic - this is how I made animated parts of Skroplone Powietrze [Liquid Air - trans.] (J. Słodowski, T. Wijata, op. cit., p. 7). The example of Has and Jahoda's relation shows perfectly that a film is a synthesis of a teamwork (still, one needs to be aware that the director has the last word), since it is not possible to estimate how much of Jahoda is in Has' films, or to what extent Has mitigated his cinematographer, especially as we know for sure that the artists used to quarrel.

Still from "Knights of the Black Cross"
Despite all my love to Has' films, about which I most often feel helpless like Iwaszkiewicz's “smitten kitten", despite the fact that even Mieczysław Jahoda himself considered this part of his biography most important, I would not want the cinematographer behind The Saragossa Manuscript to be perceived only as Has' cinematographer. I have already written about Winter Twilight, also it should not be forgotten that Mieczysław Jahoda is a cinematographer of the first Polish historical “blockbuster", the first Polish wide-screen film, the first Polish film made on Eastman Color Kodak negative, that is of Aleksander Ford'sKnights of the Black Cross (1960) (T. Lubelski, Historia kina polskiego. Twórcy, filmy, konteksty [The History of Polish Cinema. Filmmakers, Films, Contexts - trans.], Katowice 2009, pp. 225-226). And that he co-created one of few films concerning the Polish-Ukrainian relations, that is Czesław and Ewa Petelski'sThe Artillery Sergeant Kalen (1961) with Wiesław Gołas' perfect and unusual role, an adaptation of Łuny w Bieszczadach [Glows in Bieszczady - trans.] by Jan Gerhard.

Andrzej Brzozowski, in turn, while reminiscing the atmosphere at film school in Łódź in the 50s, indicates Mieczysław Jahoda as the most elegant student - “He was wearing an American camel-wool sailor coat. Of course, he also had a yellow scarf and a beret. At some point we started to be stigmatized for wearing yellow scarves. But they were just the cheapest ones. They cost only seventeen Zloty" (K. Krupski, M. Miller, Z. Turowska, W. Wiśniewski, Filmówka. Powieść o łódzkiej szkole filmowej [Filmówka. A Novel about Film School in Łódź - trans.] Warsaw..., pp. 67-68).

At some point I juxtaposed Mieczysław Jahoda and Vadim Yusov, indicating their ability to capture transcendence. It turns out that they also had educating bent in common - both of them were teaching and both are remembered as charismatic educators.

CO-FINANCED BY: THE MINISTRY OF CULTURE AND NATIONAL HERITAGE OF THE REPUBLIC OF POLAND, THE CITY OF TORUŃ, KUJAWSKO-POMORSKIE REGION AND POLISH FILM INSTITUT

PROJECT IS CO-FINANCED BY THE EUROPEAN REGIONAL DEVELOPMENT FUND WITHIN THE REGIONAL OPERATIONAL PROGRAMME FOR KUJAWSKO-POMORSKIE REGION FOR THE YEARS 2014-2020

 

  • Co-financed by
  • Hosted by
  • Co-financed by
  • Strategic Sponsor
  • Main Partner
  • Official Sponsors and Partners
  • Industry Partners and Sponsors
  • Press
  • Sponsors
  • Partners

Partners

  • MKiDN en
    Unia Europejska
  • torun
  • PISF
  • energa
  • kujawy pomorze
    urząd marszałkowski
    partner główny tekst
  • ARRI
    HAWK
    canon
    Sony
    creamsource
    Panavision
    angenieux
    zeiss
    cinemacity
    mercedes
    tvp
  • sfp
    filmlight
    fujifilm
    leitz
    harkness
    panalux
    B&H
    otto
    cooke
    desisti
    pictureshop
    lightcraft
    lg
    Bvk
    Theasc
    Bsc
    AFC
    acs
  • PR3
    PAP
    rzeczpospolita
    rp.pl
    polskapress
    ipl
    nowosci
    Wp.pl
    filmweb
    ams
    Kino Polska
    Filmbox
    sundance
    amc
    Kino
    Film Pro
    TelePro
    ekrany
    presto
    Film&Tv Kamera
    thr
    American Cinematographer
    ICG
    Film&Tv Kameramann
    British Cinematographer
    cineworld
    definition
    camera&light
  • carlsberg
    william grant
    schweppes
    trendspirits
    bzk
    napar
    paluszek
    corso
  • jordanki
    horzycy
    XLO
    kpfr
    infostrada
    kultura2_0
    ezdrowie
    exea
    mab
    exon
    BZG
    zaiks
    kancelaria
Go up  
Desc overwritten by jQuery
EnergaCAMERIMAGE 2023
  • General information 2023
  • SUBMIT A FILM, MUSIC VIDEO OR A TV SERIES EPISODE
  • About Us
  • Partners
  • Contact
  • GDPR
  • Photos
  • Guests
  • Archive
© Energa Camerimage International Film Festival 2023. All rights reserved.
realizacja 052b