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    Wyświetlanie 1-6 z 6
    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
    Tytuł:
    Pianista – obraz getta w filmowym języku Romana Polańskiego
    The Pianist – the image of a ghetto in the film language of Roman Polanski
    Autorzy:
    Śliwińska, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/919855.pdf
    Data publikacji:
    2011-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    film language
    Roman Polański’s style
    the image of a ghetto
    film genre
    Opis:
    The work of Roman Polański has always been a unique example of both craftsmanship and interesting subjects. Each of his films (even of those crushed by the superficial interpretations of the reviewers) functioned perfectly well in popular culture and as an artistic accomplishment. It reconciled the tastes of both sophisticated viewers and those who looked for simple entertainment. Roman Polański’s method of creation entails the use of a number of curtains (genres, popular culture subjects, popular patterns) which cover the deeply hidden truth about the world and relations among people. In The Pianist the subject of the Holocaust was used as the key to show the mechanisms that rule the world. Also in this case the most obvious diagnosis proves to be the least important. The Pianist is not an autobiography dealing with the memories from a getto. Definitely more significant is the attempt to juxtapose the image of a ghetto and its inhabitants with the film language of Roman Polański. It makes it possible to read the problem of the Holocaust against the motifs always present in his work, including the context of the cinema of the kind. In The Pianist Polański joins the precision of a craftsman with the memory of a witness. As a result, using the solutions known from Hollywood films, he tells the story of a ghetto, which is seen as the metapher of the whole world.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2011, 9, 17-18; 53-68
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Lambeth Walk, czyli widz wyzwolony spod presji obrazu
    The Lambeth Walk, or the spectator liberated from the pressure of the picture
    Autorzy:
    HENDRYKOWSKI, MAREK
    Powiązania:
    https://bibliotekanauki.pl/articles/921082.pdf
    Data publikacji:
    2016-10-09
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    lambeth walk
    The Borough of Lambeth
    popular culture
    dance
    parody
    footage film
    stunt scene
    film poetics
    editing
    language of moving pictures
    Opis:
    A quintessential work of British and European cinema of World War II “The Lambeth Walk” is the epitome of world-class art of moving picture editing. Marek Hendrykowski's close-reading analysis places this short movie in its aesthetic, cultural and generic contexts and in the international landscape of the anti-propaganda film.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2016, 18, 27; 97-110
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Słowa, gesty a poznanie w filmowej interakcji. Casus "Dekalogu I" Krzysztofa Kieślowskiego (1988)
    Words, gestures and knowledge in film interaction. The case of the "Decalogue I" by Krzysztof Kieślowski (1988)
    Autorzy:
    Grodź, Iwona
    Powiązania:
    https://bibliotekanauki.pl/articles/1852689.pdf
    Data publikacji:
    2018
    Wydawca:
    Narodowe Centrum Kultury
    Tematy:
    dialog
    słowo i gest w filmie
    film jako język ruchomych obrazów
    komunikacja filmowa
    wspólnota komunikacyjna
    język i gest a poznanie
    dialogue
    word and gesture in the film
    film as a language of moving
    images
    film communicaxion
    communicaxion community
    language
    gesture and
    knowledge
    Opis:
    The paper concentrates on the verbal and nonverbal (mimics, gestures) aspects of human-human and human-computer communication, both of which are present in Krzysztof Kieślowski’s Decalogue I. In the first part of my text, I will make an extensive study of the scenes in the film, in which the director reflects on the crux of interpersonal communication (human-human): a conversation between the father and the son; a conversation between the boy and his aunt; the main character’s lecture on communication. In the second part, I will describe Kieślowski’s film which is a pioneering work as it creates statements about the new ways of interpersonal communication, connected with technicalization: a human-computer communication. Detailed analysis of the scenes: “the conversations” between the boy and his mother via the computer; spontaneous starting/start-up of the computer; mathematical “genius” of the machine. In the conclusions, I will mention the director’s reflections on the communication in the year of 1988, which are still up-to-date, as well as those that have outdated.
    Źródło:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2018, 99, 1; 144-156
    1230-4808
    Pojawia się w:
    Kultura Współczesna. Teoria. Interpretacje. Praktyka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Przestrzenie dialogu. Antynomie językowego dyskursu filmowego
    Dialog space. Antinomies of linguistic film discourse
    Autorzy:
    Skowronek, Bogusław
    Powiązania:
    https://bibliotekanauki.pl/articles/521316.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    język w filmie
    mediolingwistyka
    antynomie semantyczne
    językowy obraz świata
    tekstowy obraz świata
    language in film
    mediolinguistics
    semantic antinomies
    linguistic image of the world
    textual image of the world
    Opis:
    In my article I discuss the characteristics of linguistic film discourse. I present the artistic significance and semantic meaning of the verbal dimension of a cinematographic work. While discussing the language in film I usually refer to the main tenets of mediolinguistics and I focus mostly on specific antinomies, tensions, and dialectic contradictions, which characterise the verbum sphere of the cinema. The antinomies relate to various aspects of language: systemic, textual, cognitive and cultural.
    W artykule omawiam cechy językowego dyskursu filmowego. Pokazuję artystyczną wagę i semantyczne znaczenie warstwy werbalnej w dziele kinematograficznym. Omawiając specyfikę języka w filmie, wykorzystuję głównie założenia mediolingwistyki i koncentruję się przede wszystkim na specyficznych antynomiach, napięciach, dialektycznych sprzecznościach, które charakteryzują sferę verbum w kinie. Antynomie owe dotyczą różnych aspektów języka, zarówno tych systemowych, jak i tekstowych oraz kognitywno-kulturowych.
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura; 2020, 12, 1; 98-106
    2083-7275
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dalla sintassi alla pragmatica nel linguaggio filmico di generazioni diverse: “Il Gattopardo” e “Perfetti sconosciuti” messi a confronto
    From Syntax to Pragmalinguistics: Comparing the Language of Film across Generations in “The Leopard” and “Perfect Strangers”
    Autorzy:
    Klímová, Eva
    Powiązania:
    https://bibliotekanauki.pl/articles/34655838.pdf
    Data publikacji:
    2023-12-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    The Leopard
    Visconti
    Perfect Strangers
    Genovese
    language of film
    context
    differences
    pragmalinguistics
    Il Gattopardo
    Luchino Visconti
    Perfetti Sconosciuto
    Paolo Genovese
    linguaggio
    del cinema
    pragmalinguistica
    Opis:
    The paper analyses the language of two Italian films set in different historical and social contexts. The Leopard (Il Gattopardo) by Luchino Visconti is set in Sicily in 1860, on the background of contemporary political events, with a language corresponding both with the historical period and the social setting. In the film Perfect Strangers (Perfetti sconosciuti) by Paolo Genovese, old friends meet at a dinner table. With their informal talk, the characters’ language strives to be as close as possible to everyday language. The aim of the article is to demonstrate the differences between the language of the first film and the “natural” language of everyday life of the second one. Through comparative analysis, the article demonstrates how the differences in the historical social contexts determine the language of both films. Within the framework of pragmalinguistics, some aspects of the modality and of the information structure of the sentence are taken into consideration.
    Questo articolo si concentra sull’analisi del linguaggio filmico di due film italiani appartenenti a contesti storici e sociali diversi: Il Gattopardo di Luchino Visconti, film che racconta la Sicilia del 1860, sullo sfondo degli eventi politici dell’epoca, con un linguaggio corrispondente sia al periodo storico che all’ambiente, e il film Perfetti sconosciuti di Paolo Genovese, che racconta di un incontro informale tra alcuni amici, in cui gli autori si sforzano di avvicinare il più possibile il linguaggio alla lingua quotidiana. L’obiettivo del lavoro è dimostrare quali siano le differenze tra il parlato filmico e il parlato naturale; nel processo di analisi comparativa si mirerà a dimostrare che così come il contesto storico e sociale dei due film è diverso, allo stesso modo è diverso e diversificato il linguaggio. Nel quadro teorico della pragmalinguistica vanno considerati i fattori della situazione comunicativa e alcuni aspetti della modalità e della struttura informativa dell’enunciato.
    Źródło:
    Italica Wratislaviensia; 2023, 14.2; 137-151
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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