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Wyświetlanie 1-2 z 2
Tytuł:
Angelologiczny traktat filmowy pomiędzy sztukami. O "Niebie nad Berlinem" Wima Wendersa
Angelologic treatise between the arts. On “The Wings of Desire” by Wim Wenders
Autorzy:
Lisiecka, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/920302.pdf
Data publikacji:
2009-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
film and music
musca mundana
musica humana
musica instrumentalis
Wim Wenders
muzyka filmowa
Niebo nad Berlinem
Opis:
The study titled Angelologic treatise between the arts. On “The Wings of Desire” by Wim Wenders undertakes to analyze aesthetic and cultural contexts which have impinged on the overall significance of the film. Commencing with the presentation of the angelic motifs and the relations they bear to the angelologic tradition of Western culture, the author identifies some thematic and formal elements which influenced the original concept of spiritual reality depicted in Wenders’s film. Due to its consistent fictional and artistic vision, the picture has been dubbed “the angelologic film treatise”. The second part of the article focuses on the analysis of the visual and musical aspects of the film. The most significant interpretative framework revolves around the concept of visual games and the topos of musical harmony (musica mundana, humana and instrumentalis). The issues under consideration demonstrate the great significance all the formal devices, both in terms of presented images and music, have in constructing deep layers of meaning. A particular importance should be assigned to these audio-visual elements that underscore the relevance of spiritual and existential aspects, constituting the substance of Wenders’s film.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 191-204
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Muzyka i horror. "Lśnienie" Stanleya Kubricka
The Kubrick Horror Show: making music in “The Shining”
Autorzy:
Kozłowski, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/920354.pdf
Data publikacji:
2009-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
semantisation of music
programme music
instrumental music
diabolus in musica
music and horror
Stanley Kubrick
Lśnienie
muzyka i horror
Opis:
This article will argue that in The Shining, Kubrick has constructed a radical semantisation of instrumental music, composed or adapted to the film. It could be argued that in this context Kubrick has produced such a sophisticated backdrop of fusion between music and film that this production can be considered one of the masterpieces in this field. In this light, the study shall discuss five aspects: the context of programme and instrumental music in respect to both conflicting and complementary tendencies of 19th c. esthetics, discussion of the simplest compositions used to demonstrate the film’s world of the inferno and finally, Kubrick’s complex semanticisation based on a clear labyrinth construction (catalysing fear in the labyrinth-trap).The study shall employ Carl Dahlhaus’ (1971) model of “method of interpretative analysis” used in respect to Richard Wagner as well as the notion of Wagners Konzeption des musikalischen Dramas. Further, the discussion shall be based on a complementary authorial methodology in three parts; a reading of non-musicological semantic markers of synchronically arranged fragments of instrumental composition used in film narration, a diachronic analysis of forms and their elements relating to the film score and last, an examination of the most functional of concepts relating to the esthetics of music.On the basis of the above mentioned issues, it shall be maintained that the music used as an overlay to the unfolding narrative of the film, though multifarious in construction, is powered by a dominant topos, diabolus in musica, which is realised in the form of “polyphony without cantus firmus”. This in turn supports the view that the role of music ought to be seen as one integral to film as a communicative medium, and not one simply of background, as some would argue.In conclusion, it shall be argued that in constructing a semantic framework of music in such a rich multi-level fashion, Kubrick has turned the role of music into an integral element of a highly complex artistic structure. This, it ought to be added, allows the score of this film to be placed at the same level as synthetic works of art (musical drama) and in terms of the genre horror, The Shining is the most “musicalised” of Kubrick’s films.This study may provide a basis for further research into the nature of Film, in particular, the work of Stanley Kubrick.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 47-64
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-2 z 2

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