Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
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Transmedia a sztuka Roberta Wilsona
Get PDFRobert Wilson’s works have been discussed here in the historical-artistic context of the 20th century and in reference to the modern theories of the media, which use such terms as “transmediality” and “media landscape”. The intermedial model of arts has been exhausted and there has appeared the problem of transmediality, as well as such issues like transcegenity, transinstrumentality, transperception and even transcompetence of art. Technologies which developed in the 20th century and media codes, redefined and new, provoked a change of thinking about the theatre and every other art which uses various instruments.R. Wilson – like other artists who exist in the transmedial net – sees the theatre through audiovisual arts and film; he does not introduce them to his performances but uses their tools and specific narrations characteristic for the arts.Transmedia and Robert Wilson’s ArtRobert Wilson’s works have been discussed here in the historical-artistic context of the 20th century and in reference to the modern theories of the media, which use such terms as “transmediality” and “media landscape”. The intermedial model of arts has been exhausted and there has appeared the problem of transmediality, as well as such issues like transcegenity, transinstrumentality, transperception and even transcompetence of art. Technologies which developed in the 20th century and media codes, redefined and new, provoked a change of thinking about the theatre and every other art which uses various instruments.R. Wilson – like other artists who exist in the transmedial net – sees the theatre through audiovisual arts and film; he does not introduce them to his performances but uses their tools and specific narrations characteristic for the arts
Marginalia kultury: o obrazach ciąży i ich znaczeniach w kulturze doświadczenia potocznego
Get PDF This essay describes meanings attributed to images of pregnancy in contemporary culture, to their idiomatic expressions and to fashions associated with pregnancy. It considers also semiotic and sociological contexts that are being modeled through these meanings. Pregnancy appears then as a symbol of prevailing values, a sign of social standing and ideological convictions. This essay contributes to the understanding and explanation of how meanings are formed in the culture of daily experience.On the Margins of Culture: Images of Pregnancy and their Meanings in the Culture of Daily ExperienceThis essay describes meanings attributed to images of pregnancy in contemporary culture, to their idiomatic expressions and to fashions associated with pregnancy. It considers also semiotic and sociological contexts that are being modeled through these meanings. Pregnancy appears then as a symbol of prevailing values, a sign of social standing and ideological convictions. This essay contributes to the understanding and explanation of how meanings are formed in the culture of daily experience
Muzyka i horror. "Lśnienie" Stanleya Kubricka
No full textThis article will argue that in The Shining, Kubrick has constructed a radical semantisation of instrumental music, composed or adapted to the film. It could be argued that in this context Kubrick has produced such a sophisticated backdrop of fusion between music and film that this production can be considered one of the masterpieces in this field. In this light, the study shall discuss five aspects: the context of programme and instrumental music in respect to both conflicting and complementary tendencies of 19th c. esthetics, discussion of the simplest compositions used to demonstrate the film’s world of the inferno and finally, Kubrick’s complex semanticisation based on a clear labyrinth construction (catalysing fear in the labyrinth-trap).The study shall employ Carl Dahlhaus’ (1971) model of “method of interpretative analysis” used in respect to Richard Wagner as well as the notion of Wagners Konzeption des musikalischen Dramas. Further, the discussion shall be based on a complementary authorial methodology in three parts; a reading of non-musicological semantic markers of synchronically arranged fragments of instrumental composition used in film narration, a diachronic analysis of forms and their elements relating to the film score and last, an examination of the most functional of concepts relating to the esthetics of music.On the basis of the above mentioned issues, it shall be maintained that the music used as an overlay to the unfolding narrative of the film, though multifarious in construction, is powered by a dominant topos, diabolus in musica, which is realised in the form of “polyphony without cantus firmus”. This in turn supports the view that the role of music ought to be seen as one integral to film as a communicative medium, and not one simply of background, as some would argue.In conclusion, it shall be argued that in constructing a semantic framework of music in such a rich multi-level fashion, Kubrick has turned the role of music into an integral element of a highly complex artistic structure. This, it ought to be added, allows the score of this film to be placed at the same level as synthetic works of art (musical drama) and in terms of the genre horror, The Shining is the most “musicalised” of Kubrick’s films.This study may provide a basis for further research into the nature of Film, in particular, the work of Stanley Kubrick.The Kubrick Horror Show: making music in “The Shining”This article will argue that in The Shining, Kubrick has constructed a radical semantisation of instrumental music, composed or adapted to the film. It could be argued that in this context Kubrick has produced such a sophisticated backdrop of fusion between music and film that this production can be considered one of the masterpieces in this field. In this light, the study shall discuss five aspects: the context of programme and instrumental music in respect to both conflicting and complementary tendencies of 19th c. esthetics, discussion of the simplest compositions used to demonstrate the film’s world of the inferno and finally, Kubrick’s complex semanticisation based on a clear labyrinth construction (catalysing fear in the labyrinth-trap).The study shall employ Carl Dahlhaus’ (1971) model of “method of interpretative analysis” used in respect to Richard Wagner as well as the notion of Wagners Konzeption des musikalischen Dramas. Further, the discussion shall be based on a complementary authorial methodology in three parts; a reading of non-musicological semantic markers of synchronically arranged fragments of instrumental composition used in film narration, a diachronic analysis of forms and their elements relating to the film score and last, an examination of the most functional of concepts relating to the esthetics of music.On the basis of the above mentioned issues, it shall be maintained that the music used as an overlay to the unfolding narrative of the film, though multifarious in construction, is powered by a dominant topos, diabolus in musica, which is realised in the form of “polyphony without cantus firmus”. This in turn supports the view that the role of music ought to be seen as one integral to film as a communicative medium, and not one simply of background, as some would argue.In conclusion, it shall be argued that in constructing a semantic framework of music in such a rich multi-level fashion, Kubrick has turned the role of music into an integral element of a highly complex artistic structure. This, it ought to be added, allows the score of this film to be placed at the same level as synthetic works of art (musical drama) and in terms of the genre horror, The Shining is the most “musicalised” of Kubrick’s films.This study may provide a basis for further research into the nature of Film, in particular, the work of Stanley Kubrick
Nuda podróżowania, nuda czekania. "Gerry" Gusa Van Santa a teatr Samuela Becketta
Get PDFJakub Popielecki draws on Roger Ebert’s anecdote and discusses similarities between Gus Van Sant’s Gerry and the theatre of Samuel Beckett. The movie and Beckett’s plays (such as Waiting for Godot) share many components: a sexually ambiguous pair of main characters, Buster Keaton’s physical comedy as a source of inspiration and use of wordplay in the title. Is Van Sant’s film a rethinking of “Beat Generation”-inspired road movie mythology? Are the characters played by Matt Damon and Casey Affleck nomads (as described by Gilles Deleuze)? What connects Van Sant’s and Beckett’s works with the phenomenon of boredom? Popielecki sees the minimalist style of these artists as a sign of a new attitude towards the problem of aesthetic experience.Boredom of travelling, boredom of waiting. Gus Van Sant’s “Gerry” and the theatre of Samuel BeckettJakub Popielecki draws on Roger Ebert’s anecdote and discusses similarities between Gus Van Sant’s Gerry and the theatre of Samuel Beckett. The movie and Beckett’s plays (such as Waiting for Godot) share many components: a sexually ambiguous pair of main characters, Buster Keaton’s physical comedy as a source of inspiration and use of wordplay in the title. Is Van Sant’s film a rethinking of “Beat Generation”-inspired road movie mythology? Are the characters played by Matt Damon and Casey Affleck nomads (as described by Gilles Deleuze)? What connects Van Sant’s and Beckett’s works with the phenomenon of boredom? Popielecki sees the minimalist style of these artists as a sign of a new attitude towards the problem of aesthetic experience
Film i dramat. "Śmierć i dziewczyna" Romana Polańskiego
Get PDFDeath 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. 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.
Muzy w intymnym świetle. O przemianach w sztuce Odwilży i Października
Get PDFThe study assesses the changing nature of the Polish art in the period of liberalization after Stalin’s death. It includes detailed analysis of various (social, political, philosophical and especially aesthetic) implications for important issues such as: poetry, drama, cinema, peinture, sculpture, song, popular culture etc.Marek Hendrykowski provides case studies that lead to alternative ways of viewing current conceptual frameworks of aesthetics and its consequences for interdisciplinary reflexion on arts.Muses in the intimate light. Transformation of Arts in the Years of “Thaw” and “Polish October 56”The study assesses the changing nature of the Polish art in the period of liberalization after Stalin’s death. It includes detailed analysis of various (social, political, philosophical and especially aesthetic) implications for important issues such as: poetry, drama, cinema, peinture, sculpture, song, popular culture etc.Marek Hendrykowski provides case studies that lead to alternative ways of viewing current conceptual frameworks of aesthetics and its consequences for interdisciplinary reflexion on arts
Pętla obrazów. Wideo według Mariny Abramović
No full textThe connection between video art and performance art has been inseparable since 1967, when the first commercial camera Sony Portapak appeared on the American market. The development of video art and performance art has been parallel. On the one hand, autonomous languages which used different discourses were created, on the other hand, the interaction was inextricable, long-lasting and very stimulating. Marina Abramović, recording her activities as a performer on video and then placing them in the space of her installations, gained a high level of energy in the picture, which became transcendent, a sign of body and life, a meditation. Abramović consciously sacralizes her art and highlights its meditational character. In that way the art became a loop of a video sequence, a multifaceted icon.The Loop of Images. Video According to Marina AbramowićThe connection between video art and performance art has been inseparable since 1967, when the first commercial camera Sony Portapak appeared on the American market. The development of video art and performance art has been parallel. On the one hand, autonomous languages which used different discourses were created, on the other hand, the interaction was inextricable, long-lasting and very stimulating. Marina Abramović, recording her activities as a performer on video and then placing them in the space of her installations, gained a high level of energy in the picture, which became transcendent, a sign of body and life, a meditation. Abramović consciously sacralizes her art and highlights its meditational character. In that way the art became a loop of a video sequence, a multifaceted icon
Zapach śmierci, epilepsja i portret papieża ("Tatarak" Andrzeja Wajdy i "Bracia Karamazow" Petra Zelenki)
Get PDFAndrzej Wajda’a Sweet Rush (Tatarak) and Petr Zelenka’s The Karamazovs (Karamazovi) are film adaptations of literature. Both directors represent very innovative approach to the literary material. Wajda wanted to depict the theme of death and passing in original way and combined various literary sources: Jarosław Iwaszkiewicz’s short story Sweet Rush, a novelette by Sándor Márai, and Last Notes by Polish actress, Krystyna Janda. Her text is a form of reflection on the death of her husband who was a recognized cinematographer. Wajda also incorporated into the picture scenes revealing the film’s making off. Petr Zelenka’s screen adaptation of the famous novel by Fiodor Dostoievsky is based on the film record of the Prague theater presentation (also based on The Karamazovs) made in the industrial space of the Sendzimir Ironworks inPoland. The recorded spectacle became the opportunity for the director to present his artistic statement on the history and culture of the Middle andEast Europe and the artist’s status nowadays.The Smell of Heath, Epilepsy and the Pope’s Portrait (Andrzej Wajda’s “Sweet Rush” and Peter Zelenka’s “The Brothers Kramazov”)Andrzej Wajda’a Sweet Rush (Tatarak) and Petr Zelenka’s The Karamazovs (Karamazovi) are film adaptations of literature. Both directors represent very innovative approach to the literary material. Wajda wanted to depict the theme of death and passing in original way and combined various literary sources: Jarosław Iwaszkiewicz’s short story Sweet Rush, a novelette by Sándor Márai, and Last Notes by Polish actress, Krystyna Janda. Her text is a form of reflection on the death of her husband who was a recognized cinematographer. Wajda also incorporated into the picture scenes revealing the film’s making off. Petr Zelenka’s screen adaptation of the famous novel by Fiodor Dostoievsky is based on the film record of the Prague theater presentation (also based on The Karamazovs) made in the industrial space of the Sendzimir Ironworks inPoland. The recorded spectacle became the opportunity for the director to present his artistic statement on the history and culture of the Middle andEast Europe and the artist’s status nowadays
Muzyka i medium. Szkic historiograficzny od początków do dzisiaj
No full textThe relationship between music and media is closer than it is obvious at first sight. That includes primary media such as the singer or the theatre performance of an opera, print media such as sheet music and music books, electronic media like the record, the tape, radio, film and television, and the recent digital media such as the world wide web, the compact disc or the i-pod.If turned historically, we can realize a chain of media expressing and describing the history of music – from the ancient priestess and singers over the aoide and the rhapsode in old Greek culture presenting epic poetry and narrative literature up to church and choir singers in Christian churches, from mine singers, hymnbooks and troubadours in the Middle Ages up to ballad singers and street musicians selling music sheets and books in the 18th century, from music performance as live music up to recorded and canned music and finally a kind of quarry music allowing everyone a subjective and eclectic selection. The functional history of music follows inevitably the history of media.Music and Media – From Ancient Times to The Present. A Historical EssayThe relationship between music and media is closer than it is obvious at first sight. That includes primary media such as the singer or the theatre performance of an opera, print media such as sheet music and music books, electronic media like the record, the tape, radio, film and television, and the recent digital media such as the world wide web, the compact disc or the i-pod.If turned historically, we can realize a chain of media expressing and describing the history of music – from the ancient priestess and singers over the aoide and the rhapsode in old Greek culture presenting epic poetry and narrative literature up to church and choir singers in Christian churches, from mine singers, hymnbooks and troubadours in the Middle Ages up to ballad singers and street musicians selling music sheets and books in the 18th century, from music performance as live music up to recorded and canned music and finally a kind of quarry music allowing everyone a subjective and eclectic selection. The functional history of music follows inevitably the history of media
Historia bez pointy
Get PDF“To dance the silence” reveals the story of a documentary which could have been produced but it never was. The film was intended to present the world of silence trough three different characters working together ona dancing project – Caroline, Ann and Katherine. Caroline, 15, at that time, is outstanding ballet dancer. The dreams of her coach, Anna, is to train her so well so the girl will join the National Dance Theatre. But Caroline does not dream. For her – the future does not exist. As for the others who share her fate – the deaf people – who due to their deafness are deprived of abstract thinking. Catherine who is the costume designer of the dancing show “Other Worlds” has no such problem – even though she is deaf, she has learned how to speak and hear with the help of an hearing aid. She is a successful business woman with happy family. The idea of the film – and the article – was to explore Wittgenstein’s words “The borders of my language are the borders of my world”.The Story With No Punchline“To dance the silence” reveals the story of a documentary which could have been produced but it never was. The film was intended to present the world of silence trough three different characters working together ona dancing project – Caroline, Ann and Katherine. Caroline, 15, at that time, is outstanding ballet dancer. The dreams of her coach, Anna, is to train her so well so the girl will join the National Dance Theatre. But Caroline does not dream. For her – the future does not exist. As for the others who share her fate – the deaf people – who due to their deafness are deprived of abstract thinking. Catherine who is the costume designer of the dancing show “Other Worlds” has no such problem – even though she is deaf, she has learned how to speak and hear with the help of an hearing aid. She is a successful business woman with happy family. The idea of the film – and the article – was to explore Wittgenstein’s words “The borders of my language are the borders of my world”