{"id":57797,"date":"2024-10-01T11:53:55","date_gmt":"2024-10-01T09:53:55","guid":{"rendered":"https:\/\/bognaburska.pl\/?post_type=dt_portfolio&p=57797"},"modified":"2024-11-18T12:27:35","modified_gmt":"2024-11-18T11:27:35","slug":"gwiazda","status":"publish","type":"dt_portfolio","link":"https:\/\/bognaburska.pl\/en\/project\/gwiazda\/","title":{"rendered":"Shooting Star<\/i>"},"content":{"rendered":"
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< found footage films<\/a><\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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Shooting Star<\/em><\/h3>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div>
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2006\/2008
\nfound footage video
\nduration:<\/strong> 47’25”
\nfrom the series Game with Moving Mirrors – Part Three<\/em>
\ncollaboration:<\/strong> Micha\u0142 Januszaniec<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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The disassembling and re-assembling of film narratives and images permits Burska to develop a discussion on the ways identity in popular and artistic cinema becomes image, as well as cultural phenomena related to identity as such. As an example, one can quote the work Shooting Star<\/em>, which closes the series called Game with Moving Mirrors<\/em>, and which has both a monographic and mythological character. The series is composed from fragments of films with Al Pacino, showing the repertoire of his incarnations and the possibilities of his acting style. This peculiar monograph is ordered by dominant traits, related to the types of personalities he has acted, their temperament, as well as the types of activities and functions which his characters play in the social sphere. A symbolic gathering of the actor’s filmography into one story makes both him and his output even more intriguing than if each of his roles were admired separately. The effect of the whole, based on juxtaposition and accumulation, corresponds to Burska’s desire to make them non-homogenous and ambiguous in total: “I strive for this ambiguity. I also want my work to be more than a mere collection of images – something which offers the same pleasure we enjoy while watching a film, a story”.

\n\nThis creative presumption, expressed in such words, is linked to another, mythical dimension of Shooting Star<\/em>, which both records an actor’s career and illustrates the American mythology of success. Using different images, Burska composes a hero of many faces, who actualises in various ways the model of masculinity based on career, status, dominance and power. The issue of masculine identity constantly recurs in films with Pacino, whatever the theme or genre of the films may be. Collecting all of these threads into one whole facilitates the game with cultural patterns, translated into stereotyped, popular images and cinematic plots. Therefore, found footage is the artist’s method of working with “narration and against it” in the mode of female directors-experimenters, which gives her the possibility of re-constructing cinematic codes of gender presentation.<\/p>\n

excerpt from the text Games with Moving Frames<\/em> by Ma\u0142gorzata Radkiewicz, catalogue Films. Bogna Burska<\/em>, ed. Aleksandra Grzonkowska, published by Wyspa Art Institute, Bunkier Sztuki Gallery of Contemporary Art, BWA Zielona G\u00f3ra, and the Academy of Fine Arts in Gda\u0144sk, 2014<\/p>\n\n\t\t<\/div>\n\t<\/div>\n

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sources:<\/span><\/p>\n

88 Minutes<\/span><\/i> dir. Jon Avnet<\/span><\/p>\n

…And Justice for All<\/span><\/i> dir. Norman Jewison<\/span><\/p>\n

Angels in America<\/span><\/i> re\u017c. Mike Nichols<\/span><\/p>\n

Any Given Sunday<\/span><\/i> re\u017c. Oliver Stone<\/span><\/p>\n

Author! Author!<\/span><\/i> re\u017c. Arthur Hiller<\/span><\/p>\n

Carlito\u2019s Way<\/span><\/i> re\u017c. Brian De Palma<\/span><\/p>\n

City Hall<\/span><\/i> re\u017c. Harold Becker<\/span><\/p>\n

Cruising<\/span><\/i> re\u017c. William Friedkin<\/span><\/p>\n

Devil\u2019s Advocate<\/span><\/i> re\u017c. Taylor Hackford<\/span><\/p>\n

Dick Tracy<\/span><\/i> re\u017c. Warren Beatty<\/span><\/p>\n

Dog Day Afternoon<\/span><\/i> re\u017c. Sidney Lumet<\/span><\/p>\n

Donnie Brasco<\/span><\/i> re\u017c. Mike Newell<\/span><\/p>\n

Frankie and Johny<\/span><\/i> re\u017c. Garry Marshall<\/span><\/p>\n

Glengarry Glen Ross<\/span><\/i> re\u017c. James Foley<\/span><\/p>\n

Heat<\/span><\/i> re\u017c. Michael Mann<\/span><\/p>\n

Insomnia<\/span><\/i> re\u017c. Christopher Nolan<\/span><\/p>\n

Ocean\u2019 s Thirteen<\/span><\/i> re\u017c. Steven Soderbergh<\/span><\/p>\n

People I Know<\/span><\/i> re\u017c. Daniel Algrant<\/span><\/p>\n

Scarecrow<\/span><\/i> re\u017c. Jerry Schatzberg<\/span><\/p>\n

Scarface<\/span><\/i> re\u017c. Brian De Palma<\/span><\/p>\n

Scent of a Woman<\/span><\/i> re\u017c. Martin Brest<\/span><\/p>\n

Sea of Love<\/span><\/i> re\u017c. Harold Becker<\/span><\/p>\n

Serpico<\/span><\/i> re\u017c. Sidney Lumet<\/span><\/p>\n

Stardust<\/span><\/i> re\u017c. Matthew Vaughn<\/span><\/p>\n

The Fabulous Baker Boys<\/span><\/i> re\u017c. Steve Kloves<\/span><\/p>\n

The Godfather<\/span><\/i> re\u017c. Francis Ford Coppola<\/span><\/p>\n

The Godfather: Part II<\/span><\/i> re\u017c. Francis Ford Coppola<\/span><\/p>\n

The Godfather: Part III<\/span><\/i> re\u017c. Francis Ford Coppola<\/span><\/p>\n

The Insider<\/span><\/i> re\u017c. Michael Mann<\/span><\/p>\n

The Local Stigmatic<\/span><\/i> re\u017c. David F. Wheeler<\/span><\/p>\n

The Panic in Needle Park<\/span><\/i> re\u017c. Jerry Schatzberg<\/span><\/p>\n

The Recruit<\/span><\/i> re\u017c. Roger Donaldson<\/span><\/p>\n

The Story of Us<\/span><\/i> re\u017c. Rob Reiner<\/span><\/p>\n

The Witches of Eastwick<\/span><\/i> re\u017c. George Miller<\/span><\/p>\n

Two for the Money<\/span><\/i> re\u017c. D.J. Caruso<\/span><\/p>\n

What Lies Beneath<\/span><\/i> re\u017c. Robert Zemeckis<\/span><\/p>\n

Wolf<\/span><\/i> re\u017c. Mike Nichols<\/span><\/p>\n\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div>

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