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TVORBA A SEBAKRITIKA

100%

Palúch M.

tom 59

nr 4

343 – 348

The study attempts to trace self-critical elements related to the reflection of film art on the three examples. The first example refers to the debutants of the French new wave, who began their career as film critics around the magazine Cahiers du Cinema. Later they moved from critical reflection of contemporary cinema to self-critical new film making, trying no longer repeat the past mistakes, which were in the sharp contrast to their own definition of film making. The second example relates to the functioning of self-critical reflection of the author who discusses his work from the adequate time perspective, as in the book of interviews between F. Truffaut and A. Hitchcock. A third example, the film by Korean director Kim Ki Duk Arirang (2011), critically describes his current situation which the author controls the best through the communication medium.

NICE OTHER: THE SLOVAK IDENTITY IN CZECH FILM AFTER YEAR 1993 (Mily iny: slovenska identita v ceskom filme po roku 1993)

100%

Dudkova J.

Slovenské divadlo (Slovak Theatre)

2009

tom 57

nr 1

11-23

The representation of Slovak is nearly connected by finding available pictures and national identity of ourselves in Czech film. View of Slovak like a lovable, but most social, culture and economically worse, is the important support component of own national self-confidence. The authoress describes basic trends in representation of Slovak in Czech film in last years, including wider ambit of non explicative 'too Slovak' characters, which are played by actors from Slovakia. She is interested in explicit and implicit indicating of 'too Slovak' concept, from what this concept (seen and cultivated by actual moving picture in Czech Republic) consists of and what are the strategies of its innovation, debugging, even revaluation.

Romana Ingardena “Kilka uwag o sztuce filmowej” w perspektywie dzisiejszej

100%

Konicka H.

2010

tom 38

nr 3

69-81

This article considers the originality of Ingarden’s approach to the cinema with respect to the classical theory of the Seventh Art. Among the philosopher’s observations it brings out in full relief the points of convergence and anticipation with respect to contemporary ideas on the subject of film inspired by inquiries concerning the processes of cognition. The illusion of perceptive flux, the material’s status and the pragmatic function of cinematographic representation, the interactive relation between movie and spectator, diegesis as a cognitive-perceptive structure are the subjects of reflexion considered in Ingarden’s work devoted to moving pictures.

VIZUÁLNA KOMPOZÍCIA FARIEB AKO ESTETICKÁ KVALITA FILMU

88%

Mergeš J.

ESPES

2015

tom 4

nr 2

47 – 59

The paper deals with the visual composition of colour and its applying to the art of cinema, highlighting the importance of colour as an element in the mise-en-scène of a cinematographic work. Despite the fact that we live in a world composed of colours and perceive them in an active way, the colour as an aesthetic means of the film is not often taken as object of interest. It is mainly caused by secondary nature of colours perception of the cinematographic work at the expense of the picture as a whole. The colour generally acts in the film realistically, and therefore rarely comes to the fore. A closer look at its function in mise-en-scène and narratives proves that the motivation of choosing colours in the film is clearly identified as conditional. This paper attempts to identify and summarize the typology of the above outlined motivations.