Wyniki wyszukiwania - Biblioteka Nauki

1

Film i dramat. "Śmierć i dziewczyna" Romana Polańskiego

100%

Choczaj M.

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2009

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tom 7

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nr 13-14

111-121

EN

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.

PL

Film and Drama. Roman Polanski’s “Death and the Maiden” 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.

2

Dramaturgia barw w Zaginionej dziewczynie Davida Finchera

100%

Choczaj M.

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2015

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tom 16

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nr 25

105-112

EN

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.

3

„Amadeusz”. Miloš Forman i Peter Shaffer

100%

Choczaj M.

Przestrzenie Teorii

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2012

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nr 18

173-200

EN

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.

4

Kolor w przestrzeni miejskiej „Siedem” Davida Finchera

100%

Choczaj M.

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tom 12

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nr 21

307-316

EN

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.

PL

The Colour of Urban Areas in David Fincher’s Seven 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.

5

Tribschen – początki burzliwej przyjaźni. Nietzsche vs. Wagner

100%

Choczaj M.

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nr 15-16

210-218

EN

This text is an analysis of a relationship between two outstanding minds of modernist period. The relationship significantly influenced personality and development of the author of The Birth of Tragedy. The main part of the disquisition focuses on Nietzsche’s complex personality which gets revealed not only in his relationship with Wagner but also in his way of thinking and style of writing, which is still a challenge for most readers.

PL

Tribschen – the Beginning of a Stormy Friendship. Nietzsche vs. Wagner This text is an analysis of a relationship between two outstanding minds of modernist period. The relationship significantly influenced personality and development of the author of The Birth of Tragedy. The main part of the disquisition focuses on Nietzsche’s complex personality which gets revealed not only in his relationship with Wagner but also in his way of thinking and style of writing, which is still a challenge for most readers.

6

O adaptacji, ekranizacji, przekładzie intersemiotycznym i innych zmartwieniach teorii literatury, filmu i mediów

100%

Choczaj M.

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nr 16

11-39

EN

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.