Wyniki wyszukiwania - Biblioteka Nauki

1

Shimmer and whisper

100%

Stok W.

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2021

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tom 30

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nr 39

313-322

EN

The author of the article, one of the acclaimed Polish cinematographers, describes his practical eforts involved in making two short documentary films on Holocaust directed by him. The first one,Sonderzug (1978), was based on Stok’s idea to recreate his first emotional reaction to the landscape around Treblinka in the film that lasts 9 minutes, as long as the way of the Jews from the ramp to their end in the death camp. The other film, Prayer (1981), is the portrayal of a Japanese Buddhist monk praying at the site of the former Auschwitz-Birkenau concentration camp. The formal inspiration of the film came from Japanese visual art.

2

Śladami niemieckich mistrzów

100%

Czerkawski P.

|

2014

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nr 10/1

102-107

3

Film genre patterns and complex narrative strategies in the service of authorship

84%

Virginás A.

|

tom 24

25 - 37

EN

From the Euro-American canon of contemporary filmmaking a selection of films has been made, the directors of which transition from low-budget, arthouse, regional first features made in the years 1997–1998 (mainly Cube and Pi, with occasional references to Run, Lola, Run and Following) to big-budget, Hollywood-funded blockbusters presented in the years 2009–2010 (Splice and Black Swan, occasionally referring to The International and Inception). Within this framework the issue of how generic patterns are used by these directors fond of narrative complexity is discussed. While in the debut features narrative complexity is the main issue, leading to a revisionist usage of sci-fi (Natali) and psychological thriller/horror (Aronofsky), as well as action film (Tykwer) and noir detection film (Nolan), in the 2009–2010 blockbusters narrative complexity is hidden behind apparently sincere generic imitation. This latter procedure, on closer inspection, reveals the allegorical recreation of genres as types (as defined by Laetz and McIver Lopes in The Routledge Companion to Film and Philosophy). The aim is to examine narratively complex designs as tools in establishing the authorial names of these directors, based on their first features, with attention paid to the consistency of film genres referenced.

4

Narracja i produkcja znaczeń w filmowym neomodernizmie

67%

Syska R.

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nr 22

91-104

EN

This essay analyzes the narration strategies and methods of making meanings in neo-modernism movement. Filmmakers, who are its representatives, prefer the opposite model of cinematic communication which is commonly used in mainstream movies. The article begins with the definition of neo-modernism and description of key components that provide specific forms of narration and reception. Moreover, there were presented main terms related to the modernism and so-called slow cinema. In main fragments of the essay the author focused on some neo-modernist crime stories, which have been created through different, than in traditional cinema, methods of making meaning. Then, there were analyzed such elements of cinematic style as: use of off-screen space and non-conventional concepts of narrative ellipsis.

PL

This essay analyzes the narration strategies and methods of making meanings in neo-modernism movement. Filmmakers, who are its representatives, prefer the opposite model of cinematic communication which is commonly used in mainstream movies. The article begins with the definition of neo-modernism and description of key components that provide specific forms of narration and reception. Moreover, there were presented main terms related to the modernism and so-called slow cinema. In main fragments of the essay the author focused on some neo-modernist crime stories, which have been created through different, than in traditional cinema, methods of making meaning. Then, there were analyzed such elements of cinematic style as: use of off-screen space and non-conventional concepts of narrative ellipsis.Zadaniem artykułu jest przeprowadzenie analizy narracji i sposobów produkcji znaczeń w filmowym neomodernizmie. Podejmowane w ramach tej formacji strategie inscenizacyjne stanowią rewers metod powszechnie używanych w kinowym mainstreamie. Esej rozpoczyna próba zdefiniowania, czym jest neomodernizm oraz czym się charakteryzuje – zarówno na płaszczyźnie narracyjnej, jak też odbiorczej. Ważnym elementem opisu stało się wprowadzenie terminologii związanej z filmowym modernizmem i tzw. slow-cinema. W głównych fragmentach eseju zostały poddane analizie neomodernistyczne kryminały, oparte na odrębnej, niż dzieje się w tradycyjnym kinie, produkcji znaczeń. Potem opisane zostały kluczowe strategie inscenizacyjne, w których priorytetowymi zadaniami było przeniesienie ważnych fabularnie zdarzeń w przestrzeń pozakadrową i niekonwencjonalny sposób wprowadzania elips czasoprzestrzennych.