Matka może odejść. Obrazy macierzyństwa i katastrofy w filmach "Wieża. Jasny dzień" (2017) Jagody Szelc oraz "Fuga" (2018) Agnieszki Smoczyńskiej
Bibliographic Data
| ID | 21781617 |
|---|---|
| Authors | Adam Domalewski (0000-0002-4313-5146, Adam Mickiewicz University in Poznań), Agnieszka Powierska (0000-0003-3879-9033, Państwowa Wyższa Szkoła Zawodowa we Włocławku) |
| Year | 2022 |
| Issue | 27 |
| Pages | 155-174 |
| Publication date | 2022-12-19 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Panoptikum (JOURNAL) |
| Journal identifiers | ISSN: 1730-7775 |
| Publisher | Uniwersytet Gdanski (PUBLISHER) |
| DOI | 10.26881/pan.2022.27.08 |
| OpenAlex | W4366964445 |
| Language | EN |
| Citations received | 1 |
| References cited | 1 |
In the paper, two recent Polish movies about motherhood are considered: Tower. A Bright Day (2017) by Jagoda Szelc and The Fugue (2019) by Agnieszka Smoczynska. The authors argue that both movies transform the classic plot of a maternal melodrama to depict its heroines as mothers who can make their decision to leave. Simultaneously both main female characters – Kaja and Kinga – are portrayed as somewhat dysfunctional, “abjective”, and monstrous. However, the narration of the movies seems to sympathize with them. As a result, Tower. A Bright Day and The Fugue bring uneasy and provocative images of motherhood as well as the vision of upcoming catastrophe (in social and even extraterrestrial sense)
Archaeology · Art · Literature · Narrative · Tower · Catholicism, Bioethics, Media, Education · Diverse Academic Research Studies · Education and Cultural Studies · History · Mathematics
| Citations per year | 1 |
|---|---|
| Citation span | 2025 - 2025 (1) |
| Highly cited | No |