Traces of Unmade Movies
Abstract
Syska discusses the usefulness of the reflection on unmade films in the context of film studies. The author considers four possible reasons why the analysis of unmade films can be useful. Firstly, it permits a more in depth, than in the case of realised films, description of the mechanism of script writing, the creation of subsequent versions of scenes, the casting process, experiments with locations - in short the evolution of the film project. Secondly, it permits the analysis of the genesis of certain artistic solutions, which were not designed for films that were made, but for earlier works, that were not ultimately produced. Thirdly, it permits the creation of a wide net of citations and appropriations, as other films, often by other directors are inspired by the abandoned film projects. Fourthly, it permits the analysis of the film production process using the tools of the now popular production studies.
Keywords:
unmade movies, production studies, history of filmReferences
Arystoteles, Metafizyka, w Dzieła wszystkie, tom 2. Tłum. K. Leśniak. Warszawa: Państwowe Wydawnictwo Naukowe, 1990.
Google Scholar
Bielańska, Anita, Zaświaty Felliniego. Podróż G. Mastrony. „EKRANy” 11 (2013): 96-98.
Google Scholar
Boorman, John, Adventures of a Suburban Boy. London: Faber and Faber, 2003.
DOI: https://doi.org/10.5040/9780571344307
Google Scholar
Carlo, Carlo Di, i Giorgio Tinazzi, Unfinished Business: Screenplays, Scenarios, and Ideas. New York: Marsilio, 1998.
Google Scholar
Combs, Richard, Nostromo. An unmade project sheds new light on David Lean’s creative imperatives. „Film Comment” 4 (2008).
Google Scholar
Fomin, Walerij, Kino i włast. Sowietskoje kino: 1965–1985. Moscow 1996: 272–273.
Google Scholar
Gołuński, Tycjan, La Genès Roberta Bressona. „EKRANy” 13-14 (2013): 98-109.
Google Scholar
Grazzini, Giovanni, Federico Fellini o filmie. Tłum. Wanda Wertenstein, (Warszawa: Wydawnictwo Artystyczne i Filmowe 1989).
Google Scholar
Kazana, Bartosz, Nasz człowiek z Costaguana. Ostatnia filmowa wizja Davida Leana. „EKRANy” 9 (2012): 95.
Google Scholar
Loska, Krzysztof, Alfred Hitchcock i opowieść o duchu kobiety. „EKRANy” 8 (2012): 94-97.
Google Scholar
Loska, Krzysztof, Pearl Harbor według Kurosawy. „EKRANy” 17 (2014): 92-95.
Google Scholar
Lubelski, Tadeusz. Historia niebyła kina PRL. Kraków: Znak, 2012: 279.
Google Scholar
Lubelski, Tadeusz, Nowa fala. O pewnej przygodzie francuskiego kina. Kraków: Universitas, 2000: 64.
Google Scholar
Petit, Chris, „Kino utracone i postkino”. Tłum. Miłosz Stelmach, „EKRANy” 18 (2014): 62-67.
Google Scholar
Sławiński, Janusz, Analiza, interpretacja i wartościowanie dzieła literackiego, w Próby teoretycznoliterackie. Warszawa: „PEN”, 1992.
Google Scholar
Stasiowski, Maciej, Wyobraźnia bez defektów. „The Defective Detective” Terry’ego Gilliama. „EKRANy” 19-20 (2012): 111.
Google Scholar
Stelmach, Miłosz, Wojna o pierścień Johna Boormana. „EKRANy” 22 (2014): 96.
Google Scholar
Szczepański, Tadeusz, Jezus – projekt Carla Theodora Dreyera. „EKRANy” 18 (2014): 102-107.
Google Scholar
Tarkowski, Andriej, Dzienniki. Tłum. S. Kuśmierczyk, Warszawa: IS PAN, 1998.
Google Scholar
Tosogawa, Hiroshi, All the Emperor’s Men. Kurosawa’s Pearl Harbor. Milwaukee: Applause Theatre and Cinema Book, 2012.
Google Scholar
Waldman, Harry, Scenes Unseen. Unreleased and Uncompleted Films from the World’s Master Filmmakers 1912-1990. Jefferson: McFarland, 1991.
Google Scholar
Wojnicka, Joanna, Proust według Viscontiego. „EKRANy” 3-4 (2011): 92.
Google Scholar
Authors
Rafał Syskakwartalnik.filmowy@ispan.pl
Jagiellonian University Poland
Historyk filmu, dr hab. w Instytucie Sztuk Audiowizualnych Uniwersytetu Jagiellońskiego. Autor książek: Film i przemoc. Sposoby obrazowania filmowych aktów przemocy (2003), Zachować dystans. Filmowy świat Roberta Alt- mana (2008), Poezja obrazu. Filmy Theo Angelo- poulosa (2008), Filmowy neomodernizm (2014). Redaktor Słownika filmu i współredaktor wielotomowych publikacji Mistrzowie kina amerykańskiego i Historia kina. Stypendysta m.in. Fundacji na rzecz Nauki Polskiej. W 2012 r. przebywał jako Scholar Visiting na Columbia University. Założyciel i redaktor naczelny magazynu „Ekrany”.
Statistics
Abstract views: 35PDF downloads: 22
License
Copyright (c) 2015 Rafał Syska
This work is licensed under a Creative Commons Attribution 4.0 International License.
The author grants the publisher a royalty-free non-exclusive licence (CC BY 4.0) to use the article in Kwartalnik Filmowy, retains full copyright, and agrees to identify the work as first having been published in Kwartalnik Filmowy should it be published or used again (download licence agreement). The journal is published under the CC BY 4.0 licence. By submitting an article, the author agrees to make it available under this licence.
In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
Most read articles by the same author(s)
- Rafał Syska, To Touch a Movie: Technical Conditions of the Phenomenon of Film in a Museum , Kwartalnik Filmowy: No. 113 (2021): Film and Technology
- Rafał Syska, The Memory of Film: Memorative Art in Cinema Museums , Kwartalnik Filmowy: No. 125 (2024): Cinema as a Memory Machine
- Rafał Syska, Smart Cinema: Wise Cinematography From Indieworld , Kwartalnik Filmowy: No. 93-94 (2016): American Cinema
- Rafał Syska, Charm of a Harlot: “Maddalena” by Jerzy Kawalerowicz , Kwartalnik Filmowy: No. 95 (2016): Transnational Dimension of Polish Cinema
- Rafał Syska, Film as a Building Site , Kwartalnik Filmowy: No. 91 (2015): Film Between Pop Music and Pop Culture
