Autor: Choczaj, Małgorzata - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Tribschen – początki burzliwej przyjaźni. Nietzsche vs. Wagner
Autorzy:: Choczaj, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/919767.pdf
Data publikacji:: 2011-01-01
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Richard Wagner
Friedrich Nietzsche
The Birth of Tragedy
Tribschen
Opis:: Tribschen – the Beginning of a Stormy Friendship. Nietzsche vs. Wagner This text is an analysis of a relationship between two outstanding minds of modernist period. The relationship significantly influenced personality and development of the author of The Birth of Tragedy. The main part of the disquisition focuses on Nietzsche’s complex personality which gets revealed not only in his relationship with Wagner but also in his way of thinking and style of writing, which is still a challenge for most readers.
Źródło:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 8, 15-16; 210-218
1731-450X
Pojawia się w:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Film i dramat. "Śmierć i dziewczyna" Romana Polańskiego
Film and Drama. Roman Polanski’s “Death and the Maiden”
Autorzy:: Choczaj, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/920330.pdf
Data publikacji:: 2009-06-13
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: drama and film
the language of film
transposition
adaptation
dialogisation
adaptacja
Śmierć i dziewczyna
Roman Polański
Opis:: Death and the Maiden by Roman Polański is an example of an experimental transposition of Ariel Dorman’s drama into the visual language of film. The merging of words and pictures in the film is compared to Bachtin’s dialogisation which permeates the element of the European novel. The meaning and motivation of the words in the characters’ dialogues influences the development of the action, form and rhythm of the takes as well as their juxtaposition with the characters and props.Polański does not limit himself only to a single-track effect. As dialogisation influences the forms of visualization, so images broaden the meanings of the dialogues, creating new contexts. The film is not only an attempt to prove that the alleged or real rapist was guilty, but also a study of the dishonoured woman’s fight for a right to live without traumatic reminiscences.
Źródło:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 111-121
1731-450X
Pojawia się w:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Dramaturgia barw w Zaginionej dziewczynie Davida Finchera
The Dramaturgy of Colour in David Fincher’s Gone Girl
Autorzy:: Choczaj, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/920470.pdf
Data publikacji:: 2015-01-13
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: colour
Fincher
Gone Girl
dramaturgy
Marschall
Bienk
yellow
blue
colour scheme
perception
Opis:: The Dramaturgy of Colour in David Fincher’s Gone Girl The article is an analysis of colour symbolism in David Fincher’s Gone Girl where yellow, blue and green are symbols of marital breakdown. Colours and their contrasts emphasize competing versions of events in the film and emotional conflicts between the characters. The text refers to the psychology of visual perception and Susanne Marschall’s idea of colour playing a dramatic, symbolic and emotional role in the film.
Źródło:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2015, 16, 25; 105-112
1731-450X
Pojawia się w:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Kolor w przestrzeni miejskiej „Siedem” Davida Finchera
The Colour of Urban Areas in David Fincher’s Seven
Autorzy:: Choczaj, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/920105.pdf
Data publikacji:: 2013-01-13
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Seven
David Fincher
Darius Khondji
Lighting
Sound
Thriller
Serial killer
Seven deadly sins
Colors
Opis:: The city in Seven is full of dark and claustrophobic spaces, dominated by three colors: black, green and red. The significance of these colors is associated with sin: laziness (green), impurity (red) and pride (red, white). Desaturation of color and deep blacks throughout the film are the result of artistic treatments such as flyflashing and bleach-bypass. Color is complemented by light – sometimes minimal, other times quite blinding. The sound of thunder and rain complete the picture of the city as a place of moral decay, where two forces are fighting: light and darkness, purity and sin.
Źródło:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 307-316
1731-450X
Pojawia się w:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:: Biblioteka Nauki

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