{"id":15184,"date":"2018-08-23T11:21:08","date_gmt":"2018-08-23T09:21:08","guid":{"rendered":"https:\/\/archive.camerimage.pl\/?p=15184"},"modified":"2018-08-23T11:21:08","modified_gmt":"2018-08-23T09:21:08","slug":"witold-sobocinski-z-nagroda-za-caloksztalt-tworczosci","status":"publish","type":"post","link":"https:\/\/archive.camerimage.pl\/en\/witold-sobocinski-z-nagroda-za-caloksztalt-tworczosci\/","title":{"rendered":"WITOLD SOBOCI\u0143SKI WITH CAMERIMAGE LIFETIME ACHIEVEMENT AWARD"},"content":{"rendered":"

<\/p>\n

We are very proud to announce that the legendary Polish cinematographer Witold Soboci\u0144ski<\/strong> will be the recipient of Camerimage Lifetime Achievement Award<\/strong> during the upcoming 26th edition of the International Film Festival of the Art of Cinematography<\/strong>, which will be held in Bydgoszcz between 10th and 17th November 2018.<\/span><\/p>\n

\"\"Witold Soboci\u0144ski na Camerimage 2013,
\n zdj. Anna Konop<\/p>\n

“Witold Soboci\u0144ski<\/strong> is one of the most distinguished Polish cinematographers, and his world-famous camerawork has contributed to over 90 feature films, documentaries, and series. The cinematography for one of the first etudes \u2013 a film in the style of Italian neorealism, The Boats Depart At Dawn<\/em><\/span> (dir. R. Ber<\/strong>, 1955), where he illustrated the unity of humans and the elements \u2013 brought him international acclaim.<\/p>\n

During his time at the Film School, he was a musician in the legendary jazz band Melomani<\/em>. An ear for music, a sense of rhythm, and the ability to improvise have all made their way into his cinematography. Rhythm, harmony, dynamism, and subtlety in the composition of an image are what makes Soboci\u0144ski\u2019s<\/strong> camerawork unique.<\/p>\n

In the films Hands Up <\/em><\/span>(dir. J. Skolimowski<\/strong>, 1967) and Everything for Sale<\/em><\/span> (dir. A. Wajda<\/strong>, 1968) he employed original forms of expression with the camera, showing the inner experiences of a character. He shot subsequent films alongside Krzysztof Zanussi<\/strong>, Jerzy Kawalerowicz<\/strong>, Roman Pola\u0144ski<\/strong>, and Jerzy W\u00f3jcik<\/strong>.<\/span><\/p>\n

\"\"Still from “Frantic”
\n [Witold Soboci\u0144ski’s private archive]<\/p>\n

 <\/p>\n

\"\"
\n Still from “Pirates”
\n [Witold Soboci\u0144ski’s private archive]<\/p>\n

Colour and light play an important part in Soboci\u0144ski\u2019s camerawork. He gives colour a dramaturgic function and makes chromatic arrays for particular scenes, telling a story about the outer world and the characters\u2019 inner space. His choice of colours is inspired by painters of different eras. One can find examples of this in films such as The Third Part of the Night<\/em><\/span> (dir. A. \u017bu\u0142awski<\/strong>, 1971), Hospital of the Transfiguration<\/em><\/span> (dir. E. \u017bebrowski<\/strong>, 1978), The Phantom<\/em><\/span> (dir. M. Nowicki<\/strong>, 1983), and O-Bi, O-Ba: The End of Civilization<\/em><\/span> (dir. P. Szulkin<\/strong>, 1983).<\/p>\n

The Wedding <\/em><\/span>(dir. A. Wajda<\/strong>, 1972) and The Hourglass Sanatorium<\/em><\/span> (dir. W.J. Has<\/strong>, 1973) are among the peak achievements of cinematography due to their approach to colour and the method of illustrating space.<\/p>\n

In search of the form of an image, Soboci\u0144ski <\/strong>obeys the rule of not repeating methods that he has used in films before. He strives to create an original, unrepeatable form of art in every film he shoots. Whenever he chooses a style, he retains it throughout the entire film, while following established aesthetic foundations.<\/p>\n

Since 1980, he has been a lecturer at the PWSFTiTv in \u0141\u00f3d\u017a, and a master for numerous generations of Polish cameramen. Soboci\u0144ski<\/strong> is also the head of a family of camera operators. He is the father of cameraman Piotr Soboci\u0144ski<\/strong>, who died in 2001, and the grandfather of Piotr Soboci\u0144ski Jr<\/strong> and Micha\u0142 Soboci\u0144ski<\/strong>, who also are cameramen.”<\/span><\/p>\n

Written on the basis of the article by Seweryn Ku\u015bmierczyk<\/span><\/em><\/p>\n

\"\"Still from “The Wedding”
\n [photo: INPLUS \/ East News]<\/p>\n

\"\"On the set of “The Hourglass Sanatorium”
\n [Witold Soboci\u0144ski’s private archive]<\/p>\n

This year\u2019s recipient of Camerimage Lifetime Achievement Award <\/strong>will be more than glad to share his knowledge and experiences with the festival\u2019s participants during a series of meetings that will take place in Bydgoszcz. Witold Soboci\u0144ski<\/strong> will also sign Commemorative Albums <\/strong>that Camerimage <\/strong>organizers will publish as a tribute to his work. We sincerely invite you to join those events.<\/span><\/p>\n

<\/p>","protected":false},"excerpt":{"rendered":"

Legendary Polish cinematographer Witold Soboci\u0144ski will be the recipient of Camerimage Lifetime Achievement Award during the upcoming 26th edition of the International Film Festival of the Art of Cinematography.<\/p>\n","protected":false},"author":3,"featured_media":15186,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[402],"tags":[],"class_list":["post-15184","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-wiadomosci-camerimage-2018"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/15184"}],"collection":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/comments?post=15184"}],"version-history":[{"count":11,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/15184\/revisions"}],"predecessor-version":[{"id":15210,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/15184\/revisions\/15210"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media\/15186"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=15184"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=15184"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=15184"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}