Autor: Choczaj, Małgorzata - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: „Amadeusz”. Miloš Forman i Peter Shaffer
Amadeus. Miloš Forman and Peter Shaffer
Autorzy:: Choczaj, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/1392117.pdf
Data publikacji:: 2012-01-01
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: film
dramat
obraz
muzyka
Opis:: The study is devoted to Miloš Forman’s film, a story about Mozart’s life, taken from Peter Shaffer’s drama. The author proposes a detailed analysis of Forman’s film as an autonomous work in the production of which the film was a medium. The film was an effect of collaboration between the author of the play and the director. The effect of the work is a film which is an example of a close connection of the form and the content – harmony between picture and music, which becomes almost one of the main characters. Individual compositions of Mozart form a network of motives closely connected with the visual aspect and make its sense deeper according to several rules of showing music as a part of the film medium, such as musical motives, explaining the music by the composer or music which uses media. Connecting the music and the aesthetics of the film make Amadeus a harmonious audio-visual performance.
Źródło:: Przestrzenie Teorii; 2012, 18; 173-200
2450-5765
Pojawia się w:: Przestrzenie Teorii
Dostawca treści:: Biblioteka Nauki

Artykuł

Zmień widok

na półce

Skocz do pozycji: 2.

Tytuł:: O adaptacji, ekranizacji, przekładzie intersemiotycznym i innych zmartwieniach teorii literatury, filmu i mediów
Adaptation, film adaptation, intersemiotic translation and other concerns of the theory of literature, film and media
Autorzy:: Choczaj, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/1392356.pdf
Data publikacji:: 2011-01-01
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: literatura
estetyka
sztuka
media
adaptacja
Opis:: The basis of this deliberation is a critical discussion of common perspectives and research methodology concerning the notion of adaptation. The author searches for universal adaptation models, describes creating new techniques of translation and examines relations among arts. The aim of reminding and critical discussion of the state of research of adaptation is to find the threats referring to common acceptance of one research paradigm, i.e. the perspective of literary studies and semiotics. One of the effects of such a way of thinking may be ungrounded equating a book with a literary work as such, as well as perceiving a film as something second-rate, which often functions only in reference to a book. The author, who refers to Werner Faulstich’s concept of the media, sees the paradigm which is currently binding in the research of adaptation as incomplete and inconsistent. Thus, she is inclined to accept the point of view of media experts. According to that viewpoint, both the book and the film seem to be the media that process and transfer literature (a particular story, e.g. War of the Worlds) in accordance with the principles of its own aesthetics. The concept encourages to change the scientific paradigm and liberates the notion of adaptation from all kinds of the consequences assumed by literary studies. It also allows to concentrate on the aesthetics of a particular medium.
Źródło:: Przestrzenie Teorii; 2011, 16; 11-39
2450-5765
Pojawia się w:: Przestrzenie Teorii
Dostawca treści:: Biblioteka Nauki

Artykuł

Zmień widok

na półce

Skocz do pozycji: 3.

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

Artykuł

Zmień widok

na półce

Skocz do pozycji: 4.

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

Artykuł

Zmień widok

na półce

Skocz do pozycji: 5.

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

Artykuł

Zmień widok

na półce

Informacja

Wyszukujesz frazę "Choczaj, Małgorzata" wg kryterium: Autor

Źródło danych

Dostawca treści

Kolekcja

Rok wydania

Wydawca

Temat

Autor

Typ dokumentu

Język