Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

Wyszukujesz frazę "(cinema)" wg kryterium: Temat


Wyświetlanie 1-9 z 9
Tytuł:
Audiowizualne oblicza przesądu. O niektórych funkcjach motywu lustra w dziele filmowym
Audiovisual Aspects of Superstition. Some Functions of the Mirror Motif in the Film
Autorzy:
Kuc, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/555556.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
mirror
cinema
movies
superstition
audiovisual work
motif
Opis:
The purpose of this article is to show the role played by the mirrors and related to them themes in audiovisual works, not only at the production stage, but also as symbols which are hidden in those works. I presented, in an abbreviation, how the filmmakers are using the mirrors in the production process, i.e. technical aspects, as well as their functions in the frame, like including them as an attractive ornament to the scene. Each role and func- tion of the mirror has been highlighted in the article by examples from the selected movies. In the next part I focused on showing the mirror from the perspective of superstitions that are associated with it, and I also made an attempt to isolate and clarify its roles and functions which can be found in the movies. The di- vision I proposed was constructed in such a way that it could be easily expla- ined, in one or two words, what lies beneath them, and so the distribution is as follows: wraith (emphasis on the problem of identity), magical mirror (introducing elements of magic to the movies), the gates of truth (revealing the true face of reality), medium (mediating between the worlds), bad omen (the preaching of someone’s death), prison for the soul.
Źródło:
Załącznik Kulturoznawczy; 2014, 1; 158-178
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
"Happy End", czyli zaciemnianie Hanekego i rozjaśnianie Europy
Autorzy:
Wojnowski, Konrad
Powiązania:
https://bibliotekanauki.pl/articles/1186592.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
Michael Haneke
critical cinema
cultural criticism
Happy End
Opis:
The subject of this essay is the place and meaning of Michael Haneke’s latest film, Happy End (2017), in his filmography. The author, who analyses the comic strategies in the film, suggests that they express a change in the director’s attitude towards today’s Western European problems, which may be related to the point of view of the representatives of the youngest generation in the middle class – people who use different media and language than their parents.
Źródło:
Załącznik Kulturoznawczy; 2019, 6; 473-480
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Murky Images. The Poetics of Intertextual Dissonance in the Apocryphal Films of Andrei Zviagyntsev
Autorzy:
Pawłowska-Jądrzyk, Brygida
Powiązania:
https://bibliotekanauki.pl/articles/555585.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
Russian cinema
Andrei Zvyagintsev
intertextuality
modern apocrypha
Christian symbolism
Opis:
The first two films of Andrei Zvyagintsev, The Return and The Banishment, deserve to be called modern apocrypha, as they methodically and compre- hensively utilise elements of Christian symbolism and are part of the non- -canonical dialogue with religious messages. The films are characterised by a multiplicity of thematic plans that are outlined mainly through a variety of intertextual references. Among these relationships, a particular place is occupied by biblical and evangelical references, which are mostly mediated by artistic intertexts (especially paintings). The Russian director entangles the viewer in a subtle play of meanings: he evokes canonical scenes and stories, but distorts symbolic references, multiplying and confusing further interpretive clues. In addition to (completely inconsistent) references to the works of others, intertextual tensions are shown in his work on at least two levels: between different elements or levels of a given film (the function of the photograph motif next to the rest of the film text) and between the various films of Zvyagintsev himself (casting the same actor in both leading roles). The talented successor to Tarkovsky follows the mystery of human fate, eager to capture the metaphysical community of critical experiences. This mystery in the work of Zvyagintsev emerges in a quite obvious way from the eternal truths established in archetypes, in biblical and evangelical wis- dom. It is much easier to see it in the fusion of ‛murky imagesʼ than it is to understand.
Źródło:
Załącznik Kulturoznawczy; 2015, 2; 240-255
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
(Auto)refleksyjność w "Tremie" Alfreda Hitchcocka. O adaptacji powieści Selwyna Jepsona
Autorzy:
Birkholc, Robert
Powiązania:
https://bibliotekanauki.pl/articles/1186418.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
Alfred Hitchcock
self-reflexivity
film adaptation
spectacle
modernist cinema
unreliable narration
Opis:
The article is devoted to self-reflexive strategies used in Stage Fright by Alfred Hitchcock, based on a novel Man Running by Selwyn Jepson. Unlike European modernists such as Jean-Luc Godard, Hitchcock didn’t use experimental film form, but he applied some metafictional narrative techniques within a classical narrative structure. Comparing Stage Fright with the literary original, the author shows how Hitchcock made his film self-referential. The director achieved it by embedding the action deeper in a theater environment, adding a complex symbol of a curtain, using a figure of authorial metalepsis, problematizing the issue of the characters, identity and making narration unreliable. Stage Fright is self-reflexive not only on the level of the plot and dialogues, but also on the level of the narration. As the author argues, Hitchcock not only talks about the mechanisms of creating the spectacle, but also draws attention to the role of lies, fiction and play in our lives.
Źródło:
Załącznik Kulturoznawczy; 2020, 7; 117-140
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Upaństwowienie romantyzmu" w kinie II RP. O "Panu Tadeuszu" w reżyserii Ryszarda Ordyńskiego
Autorzy:
Szyngiel, Elżbieta
Powiązania:
https://bibliotekanauki.pl/articles/1186762.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
Pan Tadeusz
Adam Mickiewicz
Ryszard Ordyński
film adaptation
Romanticism
cinema of the Second Polish Republic
Opis:
The article concerns the film Pan Tadeusz (1928) by Ryszard Ordyński, and issues related to the adaptation process and political reception of Mickiewicz’s artwork. In the first part of the text, the author discusses the application of 19th-century romantic ideas by the Sanacja authorities as part of their historical policy. The cult of Romanticism was realized on many levels, including everyday life as well as literature, art and journalism. Its functioning was conditioned by the existence of a holistic romantic narrative and the possibilities it brought in terms of building the continuity of tradition in social awareness. These possibilities resulted from the patriotic staffage, which over time surrounded the work of romantic bards. The second part of the text describes the tendencies dominating in Polish cinema at that time, the most important of which are the politicisation and the domination of love themes. These directions influenced the final shape of the films made in the 1920s. Afterwards, R. Ordyński’s film was presented, taking into account the political and cultural background mentioned above. The production of the picture aroused great interest among the public opinion and reviewers. The subject of discussion at that time was fidelity of the film adaptation to the literary prototype. In the article, Pan Tadeusz was presented as an example of an artwork committed to ideology. The screen trivialization of the content of Mickiewicz’s poem took place at the level of creation of a world that was simplified and devoid of romantic ambivalence, as well as in meticulous presenting details at the cost of more significant elements of the work, and intentional lowering of the level of presented content. In this way, Pan Tadeusz was a commercial undertaking, and at the same time it participated in the process of a kind of social engineering. It was a tool for building national consciousness in a reborn Polish state and, in a way, for reigning souls.
Źródło:
Załącznik Kulturoznawczy; 2018, 5; 55-75
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ciężkość - lekkość - perswazyjność. Czyli co wynika z organizacji estetycznej filmu "Dwunastu gniewnych ludzi" Sidneya Lumeta
Autorzy:
Pawłowska-Jądrzyk, Brygida
Powiązania:
https://bibliotekanauki.pl/articles/1186758.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
American cinema
court drama
persuasiveness
film narrative
film aesthetics
gravity
lightness
12 Angry Men
Sidney Lumet
non-verbal persuasion
Opis:
The author aims to show that Sidney Lumet’s cinema classic 12 Angry Men (1957) is not only a film about persuasion (making art the subject of persuasion about something that presents the clash of various attitudes and views), but also a persuasive film (placing an emphasis on persuading the viewer for specific reasons). For the second of these perspectives, non-verbal persuasion is of fundamental importance – implicit, in its immanent essence, because it uses certain narrative techniques and remains in a purposeful relationship with the organisation of its aesthetics. The axis of this kind of organisation is determined by the categories of gravity and lightness, which seem to fundamentally define various aspects of the film, ranging from the weight of the issues discussed to the implications associated with the setting of the drama. Lumet’s work is a model example of a text that methodically engages audiences in an aesthetic-affective game with the help of gravity and lightness, but also gives the game a world-view sense: it shapes beliefs and assessments that weigh not only on viewers’ attitudes towards conflicts that determine the relationship in the film world, but also affect the perception of non-textual reality (not openly making viewers approve the American model of democracy).
Źródło:
Załącznik Kulturoznawczy; 2018, 5; 37-54
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Mapowanie sektorów kreatywnych. W poszukiwaniu definicji i metody
Autorzy:
Wróblewska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1187215.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
creative industry
cultural industry
mapping
film industry
audiovisual industry
film
Gdynia
film festival
film culture
film production
cinema
strategic analysis
Opis:
The author discusses a new method, rarely used in Poland so far − a method of mapping cultural industries and creative industries. The concept of mapping creative industries is founded on the Anglo-Saxon ground and goes beyond the usual plotting of the maps. This method enables countries, regions and cities to estimate the value of the creative sectors. It is based on determining a set of analytical methods for collecting and presenting information on the scale and the scope of the creative industries. In mapping, both quantitative and qualitative methods are used, as well as such sources of knowledge, as literature review, analysis of official government data, research on specific sectors, analysis of data from non-governmental sources, analysis of the industry informants and case studies. Mapping can be a valuable tool in lobbying the creative class, but its main purpose is to deepen the knowledge about this sector of the economy, which is still not sufficiently analyzed. The author considers and analyses not only mapping as a way to describe the dynamic sectors of culture, but also the very definition of mapping the creative sector, outlining the opinion and comments of Krzysztof Stachowiak, a researcher of problems of concentration of cultural industries. What serves as a frame of the article, is the description of the film industry growing currently in Gdynia and the ways in which this mini-industry can bedescribed using the principles of mapping creative industries.
Źródło:
Załącznik Kulturoznawczy; 2016, 3; 268-283
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Between Job and Homo Sovieticus: Sergei Bondarchuk’s "Fate of a Man" as a Masterpiece of Propaganda Cinema
Autorzy:
Pawłowska-Jądrzyk, Brygida
Powiązania:
https://bibliotekanauki.pl/articles/1187081.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
Sergey Bondarchuk
Fate of a Man
Soviet cinema
propaganda
film
Book of Job
Mikhail Sholokhov
trans-semioticity
trans-mediality
religious references
intertextuality
Opis:
The subject of this article is a famous Soviet war-film, Fate of a Man (1959), directed by Sergey Bondarchuk and based on the short-story written by the Nobel Price winner, Mikhail Sholokhov. The proposed analysis aims at uncovering an essential but hidden context of Bondarchuk’s vision of 20th century traumatic human experiences: the Old Testament Book of Job. Focused on the subtle meanings being created between gestures, words, sounds and pictures, the author tries to show the presence as well as the function of biblical images in this ‘most Soviet of the Soviet movies’. It would be useless to seek such dimensions in the literary version of the same story. Owing to his audiovisual sensibility, Bondarchuk turns out to be a real master of ‘soft’ adapting of the religious tradition to the needs of the new ideology.
Źródło:
Załącznik Kulturoznawczy; 2017, 4; 293-307
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Narzeczona w tafli lodu, czyli jak kino mawia o nieprzeniknioności uczuć miłosnych ("45 lat" Andrew Haigha)
Autorzy:
Pawłowska-Jądrzyk, Brygida
Powiązania:
https://bibliotekanauki.pl/articles/1186521.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:
45 Years
British cinema
love dilemmas in film
internal
experience in film
theme of the glass coffin
the idea of opacity
the opacity/
impenetrable of existence
Andrew Haigh
Opis:
The subject of analysis in the article is the 2015 British film 45 Years (dir. Andrew Haigh), which is an adaptation of David Constantine’s novel In Another Country. The film presents an intimate image that, in a subtle way, talks about the complexity of feelings of love, constantly oscillate between the desire for intimate closeness and exclusiveness, and the fear of disappointment (longing for emotional fullness and a sense of failure). Inscribing the problem of the dialectical complexity of the emotional life of a man in the context of old age and transience seems unconventional and, therefore, particularly valuable in this film. An important theme in 45 Years, emphasised by the title itself, is the past; invisible on a daily basis, it lurks under the surface of the present. Its iconic (though only imaginary) representation is connected with the plot of the first, lost fiancée of the hero, whose remains – after half a century – are unexpectedly found on a Swiss glacier. The author of the article argues that the fact that it concerns a young woman’s body (preserved in a transparent substance in a strange coincidence), by virtue of intertextual implications, brings an archetypal element to the essentially prosaic story; this archetypal element has then far-reaching consequences in the symbolic plan of the film. Skilful reference to the fairy-tale motif of the ‘glass coffin’ allowed the British director forportraying in this audio-visual story, which talks about the emotional dramas of two elderly people, an image of these internal experiences that in their intimate subtlety remain impenetrable and inexpressible.
Źródło:
Załącznik Kulturoznawczy; 2019, 6; 355-368
2392-2338
Pojawia się w:
Załącznik Kulturoznawczy
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-9 z 9

    Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies