91滴滴

Absolwentka kulturoznawstwa Uniwersytetu 艁贸dzkiego. Tytu艂 doktora nauk humanistycznych uzyska艂a w 1997 roku na podstawie rozprawy Formalny aspekt konstrukcji przestrzennych w filmie fabularnym. W latach 1988-1997 鈥� pracownik naukowo-dydaktyczny w Katedrze Medi贸w i Kultury Audiowizualnej U艁. W latach 2004-2021 鈥� Associate Lecturer w Department of English and Film Studies Uniwersytetu Alberty w Kanadzie. Obecnie realizuje w Katedrze Medi贸w i Kultury Audiowizualnej U艁 projekt badawczy 鈥濼ransnarodowe kino Agnieszki Holland鈥� finansowany ze 艣rodk贸w Norweskiego Mechanizmu Finansowego na lata 2014-2021.

kino polskie, kino transnarodowe, kino kobiece, feminizm, studia genderowe, kino Europy 艢rodkowo-Wschodniej

Granty:

"Transnarodowe kino Agnieszki Holland" Projekt badawczy finansowany ze 艣rodk贸w Norweskiego Mechanizmu Finansowego na lata 2014-2021, nr 2020/37/K/HS2/02327

Ksi膮偶ki (wyb贸r):

The Films of Agnieszka Holland, Edinburgh: Edinburgh University Press, 2024.

The Cinematic Bodies of Eastern Europe and Russia. Between Pain and Pleasure, ed. Ewa Mazierska, Matilda Mroz, El偶bieta Ostrowska. Edinburgh: Edinburgh University Press, 2016.

Ewa Mazierska, El偶bieta Ostrowska, Women in Polish Cinema. Oxford, New York: Berghahn Books, 2006.

The Cinema of Roman Polanski. Dark Spaces of the World, ed. John Orr, El偶bieta Ostrowska, London: Wallflower Press, 2006.

The Cinema of Andrzej Wajda. The Art of Irony and Defiance, ed. John Orr, El偶bieta Ostrowska. London: Wallflower Press, 2003.

El偶bieta Ostrowska, Przestrze艅 filmowa, Krak贸w: Rabid, 2000.

Artyku艂y/Rozdzia艂y w tomach zbiorowych (ostatnio opublikowane)

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鈥淎nima(l) Moralia , or Righteous Anger: Agnieszka Holland鈥檚 Spoor鈥�, Film-Philosophy vol. 28 , no. 2 , 2024, pp. 202-225.

鈥淎gnieszka Holland's Starburst Career: From Persona non Grata to International Celebrity on Multiple Fronts", [w:] Stardust and Starlight: Slavic Screen Celebrities, red. Helena Goscilo, Boston: Academic Studies Press, 2024, ss. 125-155.

鈥淪ecret Agents, Informers, and Traitors: Agnieszka Holland鈥檚 Fever(骋辞谤膮肠锄办补, 1980)鈥�, Studies in Eastern European Cinema, (2022) DOI:

鈥淧awe艂 Pawlikowski鈥檚 Cold War: Music, Space, and Identity鈥�, in Helena Goscilo, ed.,Singing a Different Tune: The Slavic Film Musical in a Transnational Context, Boston: Academic Studies Press, 2023, pp. 116-140.

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鈥濪uma i uprzedzenie 鈥� krytyczne dyslokacje filmu 芦Zabi膰 ksi臋dza禄 Agnieszki Holland鈥�, Kwartalnik Filmowy, (116), pp. 146-170. doi: 10.36744/kf.918.;

鈥淭he (In)discreet Charm of the Romans: Quo vadis (dir. Jerzy Kawalerowicz, 2001). In: The Novel of Neronian Rome and its Multimedial Transformations: Sienkiewicz鈥檚 Quo vadis. Edited by: Monika Wo藕niak and Maria Wyke, Oxford University Press 2020.

鈥淩eluctant Feminists, Powerless Patriarchs, and Estranged Spectators: Gender in Post-1989 Eastern European Cinema.鈥� Feminist Encounters: A Journal of Critical Studies in Culture and Politics. 4(2), 2020;

鈥淏odily Violence and Resistance in Wojtek Smarzowski鈥檚 Rose (R贸偶a, 2011)鈥�, Baltic Screen Media Review, 6 (1), 2018, 38-55. doi:

鈥淓motional investments: Contemporary Polish romantic comedy and neoliberalism.鈥� Literatura i Kultura Popularna, vol. 28, 2018, pp. 143-153. DOI: 10.19195/0867-7441.24.11

鈥淣egotiating the Aesthetic: The Politics of Polish Postwar Cinema.鈥� Being Poland: A New History of Polish Literature and Culture since 1918 Ed.by Tamara Trojanowska et al., Toronto: University of Toronto Press, 2018, pp. 691-712.

鈥淓xquisite cadaver鈥� according to Stanis艂aw Lem and Andrzej Wajda. Open Cultural Studies, 2:1, 2018, pp. 103-113. doi:10.1515/culture-2018-0010.

鈥淒evelopments in Eastern European Cinemas since 1989 (with Joanna Rydzewska). The Routledge Companion to World Cinema. Eds. at al. London, New York: Routledge. 2018.

鈥淐orporations of Feelings: Romantic Comedy in the Age of Neoliberalism.鈥漣n Contemporary Cinema and Neoliberal Ideology. Eds. , . London, New York: Routledge. 2018. 233-246.

鈥淭he Power of Love: Polish Postcommunist Popular Cinema.鈥� Popular Cinemas in East Central Europe: Film Cultures and Histories. Edited by: Dorota Ostrowska, Francesco Pitassio, Zsuzsanna Varga. New York, London: IB Taurus. 2017.

鈥淰anishing women. 艁贸d藕 women textile workers in Polish documentary cinema鈥�.Studiesin Documentary Film, DOI: 10.1080/17503280.2017.1335565

鈥淲omen Who Eat Too Much: Consuming Female Bodies in Polish Cinema.鈥� in Transgressive Women in Modern Russian and East European Cultures. From the Bad to the Blasphemous Eds. Yana Hashamova, Beth Holmgren, and Mark Lipovetsky. New York, London: Routledge, 2017. 128-142.

鈥淚ntroduction: Shaping the cinematic bodies of Eastern Europe and Russia.鈥� (co-authored with Ewa Mazierska and Matilda Mroz). The Cinematic Bodies of Eastern Europe and Russia. Between Pain and Pleasure. Eds. Ewa Mazierska, Matilda Mroz, and Elzbieta Ostrowska. Edinburgh: Edinburgh University Press, 2016. 1-28.

鈥淲hat Does Poland Want From Me?鈥�: Male Hysteria in Andrzej Wajda鈥檚 War Trilogy.鈥� The Cinematic Bodies of Eastern Europe and Russia. Between Pain and Pleasure. Eds. Ewa Mazierska, Matilda Mroz, Elzbieta Ostrowska. Edinburgh: Edinburgh University Press, 2016. 31-52.

鈥溾�業 will wash it out鈥�: Holocaust Reconciliation in Agnieszka Holland's 2011 Film In Darkness.鈥� Holocaust and Genocide Studies 29: 1 (2015): 57-75.

鈥淔ormless world and 鈥榩aperless people.鈥� Short Film Studies 5: 1 2015, pp. 53鈥�56.

鈥濼ransgressionen und Regressionen. M盲nnlichkeitsdilemmata in den fr眉hen Filmen von Polanski, Skolimowski, 呕u艂awski und Kr贸likiewicz鈥�. Nouvelle Vague Polonaise? Auf der Suche nach einem fl眉chtigen Ph盲nomen der Filmgeschichte. Ed. Margaret Wach. Marburg: Schuren, 2015. 150-166.

鈥淧ost-colonial Fantasies. Imagining the Balkans: the Polish popular cinema of W艂adys艂aw Pasikowski.鈥� Postcolonial Approaches to Eastern European Cinema. Portraying Neighbours On-Screen. Ed. Ewa Mazierska, Lars Christens, Eva Naripea. London, New York: IB Taurus 2014. 175-199.

鈥淎gnieszka Holland鈥檚 Transnational Nomadism.鈥� Polish Cinema in the International Context. Ed. Michael Goddard, Ewa Mazierska. Rochester: Rochester University Press, 2014.

鈥淚nvisible Deaths: Polish Cinema鈥檚 Representation of Women in World War II.鈥�Embracing Arms. Cultural Representation of Slawic and Balkan Women in War. Eds. Helena Goscilo, Yana Hashamova. Budapest, New York: Central University Press 2012. 29-58.