Adam Regiewicz, Polish Kerygmatic Films? Trying to Define a Film Genre
Key words
film genre, kerygma, aesthetics, Polish cinematography
Summary
The author of the article compiles four contemporary Polish films – Chemia (Chemistry, 2015) by Bartosz Prokopowicz; Król życia (A King of Life, 2015) by Jerzy Zieliński; Miłość (Love, 2012) by Sławomir Fabicki; Żyć, nie umierać (Live Not to Die, 2015) by Maciej Migas – and attempts to determine their common characteristics. As it turns out, their common denominator is the presence of the elements of the Apostolic kerygma, although these productions are far from religious films in their traditional sense. Referring to this convention, the author analyzes the question of the scope of the genre of the kerygmatic films. He also exhibits the trends, which are present in the contemporary Polish cinematography, of creating messages with a strong religious potential, even if it is not explained in a direct or obvious manner.