Film Krzyżacy Aleksandra Forda. W uścisku rozmaitych ideologii
Abstrakt
The article discusses various ideological conditionings in whose clutch Ford’s film “Knights of the Teutonic Order” is located. They cause that it is impossible to perceive the film onesidedly.
“Ideological conditionings,” close to the notion of “discourse,” are defined in this article in accordance with the research in cultural studies as all social sets of convictions
and imaginations of reality which create a socially defined identity, determine the way of conceptualization of the surrounding world – also the forms of the cinematic expression of this world. Ideological discourses which determined the artistic, formal and philosophical shape of “Knights of the Teutonic Order” were mainly: the original text of Henryk Sienkiewicz’s novel, his model of literature and the model of a specific philosophy of history that results from it; recipients’ expectations characteristic for common rationality with their typical reception
models, the accepted understanding of the film adaptation of literature, the acknowledged model of intersemiotic translation, genre features of a historical film and the set of formal
ways of film expression used, current policy of the Communist government in 1960 and the original strategy of Alexander Ford, the film director.
“Ideological conditionings,” close to the notion of “discourse,” are defined in this article in accordance with the research in cultural studies as all social sets of convictions
and imaginations of reality which create a socially defined identity, determine the way of conceptualization of the surrounding world – also the forms of the cinematic expression of this world. Ideological discourses which determined the artistic, formal and philosophical shape of “Knights of the Teutonic Order” were mainly: the original text of Henryk Sienkiewicz’s novel, his model of literature and the model of a specific philosophy of history that results from it; recipients’ expectations characteristic for common rationality with their typical reception
models, the accepted understanding of the film adaptation of literature, the acknowledged model of intersemiotic translation, genre features of a historical film and the set of formal
ways of film expression used, current policy of the Communist government in 1960 and the original strategy of Alexander Ford, the film director.
Słowa kluczowe
historia Polski, bitwa grunwaldzka, Zakon Krzyżacki, film, Aleksander Ford
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