Topos of Human Body in Julien Bryan’s “Siege”
Abstract
Marek Hendrykowski’s close-reading study remembers and re-discovers one of the most influenced documentaries of the 1930s. Julien H. Bryan (1899-1974) was widely experienced American correspondent, photographer and documentary filmmaker. His Siege (released 12 February 1940 in New york City) gave unique two-week personal report from Warsaw during German invasion in September 1939. All dramatic pictures presented in this movie are based on true events filmed by Bryan with authenticity of every detail connected with civilians who try to survive in the bombed and ruined city. Siege as first documentary of World War II is charged with powerful emotions, since it is difficult to pass by the tragedies, pains and misery of real people.
Keywords:
Julien H. Bryan, World War II, war documentaryReferences
Lukrec, Henryk. 1939. Piszcie kroniki w ogniu! „Robotnik”. Nr 264.
Google Scholar
Sontag, Susan. 2010. Widok cudzego cierpienia. Tłum. S. Magala, Kraków.
Google Scholar
Authors
Marek Hendrykowskikwartalnik.filmowy@ispan.pl
Adam Mickiewicz University in Poznan Poland
Filmoznawca, medioznawca, profesor w Katedrze Filmu, Telewizji i Nowych Mediów Uniwersytetu Adama Mickiewicza w Poznaniu. Autor książek: Słowo w filmie. Historia - teoria - interpretacja (1982), Autor jako problem poetyki filmu (1988), Język ruchomych obrazów (1999), Film jako źródło historyczne (2000) oraz monografii Stanisława Różewicza, Marcela Łozińskiego, Andrzeja Munka, Krzysztofa Komedy i Janusza Morgensterna. Założyciel i redaktor międzynarodowego czasopisma „IMAGES”. Ekspert Polskiego Instytutu Sztuki Filmowej.
Statistics
Abstract views: 0PDF downloads: 0
License
Copyright (c) 2013 Marek Hendrykowski
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)
- Marek Hendrykowski, Can Leni Riefenstahl Be Forgiven? , Kwartalnik Filmowy: No. 89-90 (2015): Redefinitions of the Classics
- Marek Hendrykowski, How the Polish Film School Was Terminated , Kwartalnik Filmowy: No. 103 (2018): Young Polish Cinema – Confrontation of Generations
- Marek Hendrykowski, The Metaphysics in “The Labyrinth” by Jan Lenica , Kwartalnik Filmowy: No. 96 (2016): Film and Metaphysics
- Marek Hendrykowski, Taking Off to the Other Side of Atlantic: The American Debut of Miloš Forman , Kwartalnik Filmowy: No. 93-94 (2016): American Cinema
- Marek Hendrykowski, Universalism and Ethnocentrism in Polish Cinema , Kwartalnik Filmowy: No. 95 (2016): Transnational Dimension of Polish Cinema
- Marek Hendrykowski, Cinema and Theatre – Cultural Collision of the Media (1895-1914) , Kwartalnik Filmowy: No. 87-88 (2014): Film and Theatre
- Marek Hendrykowski, Fractal Time: On Evolution of the Notions of Time in Contemporary Cinema , Kwartalnik Filmowy: No. 86 (2014): Dimensions of Time
- Marek Hendrykowski, Migratory Themes as the Memory of Cinema , Kwartalnik Filmowy: No. 97-98 (2017): Wandering Motifs
- Marek Hendrykowski, Song in the Polish Film of the Socialist Era , Kwartalnik Filmowy: No. 91 (2015): Film Between Pop Music and Pop Culture
- Marek Hendrykowski, The Poetics of “Holiday” by Zbigniew Rybczyński , Kwartalnik Filmowy: No. 100 (2017): On Celebrating
