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Wyszukujesz frazę "photography in film" wg kryterium: Wszystkie pola

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    Wyświetlanie 1-4 z 4
    Tytuł:
    Self-reflexiveness in Photo-film Form as Illustrated by Zbigniew Czapla’s "Paper Box"
    Autorzy:
    Sulejewska, Justyna
    Powiązania:
    https://bibliotekanauki.pl/articles/918078.pdf
    Data publikacji:
    2014-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    photo-film
    film based on photographs
    iconographic film
    Paper Box
    Zbigniew Czapla
    photography in film
    film genealogy
    genre hybrid
    film ze zdjęć
    fotografia filmowa
    Opis:
    The article interprets Paper Box by Zbigniew Czapla as an example of iconographic film and suggests that the genre be renamed photo-film. An analysis of particular means of film expression and photographic metaphors leads to seeing photo-film as a synthesis of various media, going beyond the world of cinema in terms of genealogy. 
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 15, 24; 113-118
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Fotografia i film w praktyce artystycznej oraz propozycjach teoretycznych Davida Hockneya
    Photography and Film in Artistic Practice and Theoretical Propositions of David Hockney
    Autorzy:
    Zawojski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/909567.pdf
    Data publikacji:
    2020-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    David Hockney
    joiners
    photography theory
    perspective
    image
    experimental film
    Opis:
    In his diverse works, David Hockney has used, and still uses, various media, which in some periods of his activity gained leading significance, while in the following they were abandoned or temporarily abandoned. But no matter what medium in the given period was the main form of creativity, the focus of his interest has always been the issue of image and imaging. The article is devoted to the practice and theoretical recognition of photography, which was a kind of introduction to experiments with a moving image. The author refers to the artist's numerous publications on the theory and history of image and imaging (including Secret Knowledge, History of Images, On Photography). Photography led to Hockney's audiovisual realizations. This is a kind of repetition of the natural evolution and developmental progression of the media, also, and perhaps above all, in the technological dimension. The article is divided into three parts. In the first part, the author presents Hockney as a practitioner and theoretician, in whose activities both these activities are closely intertwined. This is a sign of the times: practice and theory are equally important, awareness of the medium, or artistic and aesthetic self-awareness of artists, is an expression of the spirit of the era in which an intuitive approach to art today seems inefficient, not to say impossible. Hockney appears to be an exemplary artist, who is extremely conceptual in his artistic practice as a consequence of his research on the history of art and a constantly developed set of his own theoretical findings. He is an artist discursively commenting not only on his work as an artist in many media (painting, drawing, graphics, set design, photography, film, computer graphics), but also an art and media theoretician reflecting on the fate of images in a changing media landscape. The second part of the article is devoted to the reconstruction of Hockney's theoretical reflections on photography and the analysis of his photographic projects. First of all, experimental Polaroid compositions created in the early eighties, named by the artist joiners, as well as photographic collages and photographic images realized in the later periods of the British artist's work. The third part considers digital movies, as Hockney calls them, audiovisual realizations referring to both his previous photographic works and experimental video films in which multi-camera systems are used.  
    Źródło:
    Artium Quaestiones; 2020, 31; 101-122
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Automatyzm ludzkiej egzystencji w filmie "Dom" Jana Lenicy i Waleriana Borowczyka
    Automatism of Human Existence in Jan Lenica's and Walerian Borowczyk's “House”
    Autorzy:
    Prusinowski, Piotr
    Powiązania:
    https://bibliotekanauki.pl/articles/920005.pdf
    Data publikacji:
    2012-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    animation
    experimental film
    short film
    Polish film
    surrealism
    automatism
    depersonalization
    photography
    stop motion
    1950s film
    Opis:
    The aim of this article is interpretation of the short film directed in 1958 by Jan Lenica and Walerian Borowczyk and regarded as one of the most interesting works of Polish experimental animation. Author looked upon synopsis of House as the introduction to analysis of the world portrayed in film, all its elements, symbols and their meaning. The most important question concerns condition of depersonalized human jailed in the trap of automatically repeated activities and supressing his own sexuality in his subconscious. Author also paid attention to automatism as Lenica's and Borowczyk's artistic method derived from surrealism. In this context the special usage of photography and stop motion technique of animation in House is emphasized as very important in creative process. On the basis of interpretation of the characters and objects appeared in film author drew a conclusion of the eponymous house as a metaphor of our modern world where people as the collectivity divest themselves of individual features.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2012, 10, 19; 105-109
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Fotograficzna enklawa. Nowy Jork i jego mieszkańcy w soczewce aparatu
    Photographic enclave. New York City and its inhabitants through camera lens
    Autorzy:
    Sulejewska, Justyna
    Powiązania:
    https://bibliotekanauki.pl/articles/920056.pdf
    Data publikacji:
    2013-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Stefan Nadelman
    Smoke
    Wayne Wang
    Paul Auster
    One in 8 Million
    photography
    New York in film
    fotofilm
    Terminal Bar
    Opis:
    The title phrase “photographic enclave” expresses the condition of projects that tell about a city using a photographic medium. The article discusses three audiovisual works that use photos to portray New York and its inhabitants: Smoke by Wayne Wang and Paul Auster, Stefan Nadelman’s Terminal Bar, and the multimedia project One in 8 Million. The works represent a variety of film models (drama, documentary, interactive media), and their authors use the formal and cognitive aspects of photography in a different ways. The aim of the article is to analyze the function of photography for portraying urban communities and to see if this treatment was successful.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2013, 12, 21; 275-282
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-4 z 4

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