Tańczące muzy. Kino i korespondencja sztuk

• Authors: Marek Hendrykowski

Title variants

EN

Dancing muses. Cinema and the correspondance of arts

• Languages of publication: PL

Abstracts

PL

Dancing muses. Cinema and the correspondance of arts How traditional arts are used and adapted by film? In what ways do they correspond and cooperate as structural elements supporting a fully coherent piece of film? These fundamental questions open many areas of film research. The paper examines three competing definitions of cinema as polimorfic art and gives overview of various versions and modes of coexistence of arts in film. Author argues that ambivalence is evidenced between policy of adapting established arts and policy of modelling new art by filmmakers. The role of film practice in orchestrating individual strategies is used to highlight this ambivalence. Aspirations good for one separate art can be wrong for film as specific medium and kind of art. „The play’s the thing”. As far as symbiosis of many different arts is important for cinema, culture of adaptation remains key question in film practice and filmmaking.

EN

How traditional arts are used and adapted by film? In what ways do they correspond and cooperate as structural elements supporting a fully coherent piece of film? These fundamental questions open many areas of film research. The paper examines three competing definitions of cinema as polimorfic art and gives overview of various versions and modes of coexistence of arts in film. Author argues that ambivalence is evidenced between policy of adapting established arts and policy of modelling new art by filmmakers. The role of film practice in orchestrating individual strategies is used to highlight this ambivalence. Aspirations good for one separate art can be wrong for film as specific medium and kind of art. „The play’s the thing”. As far as symbiosis of many different arts is important for cinema, culture of adaptation remains key question in film practice and filmmaking.

Keywords

PL

film history; film art; correspondence of arts; film practice; theory of film; collective creation; filmmaking; teoria filmu; korespondencje sztuk

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
• Year: 2009
• Volume: 7
• Issue: 13-14
• Pages: 5-14

Dates

published

2009-06-13

Contributors

author

Marek Hendrykowski

• Uniwersytet im. Adama Mickiewicza, Katedra Filmu, Telewizji i Nowych Mediów

References

• D. Wiertow, My. Wariant manifestu, przeł. T. Karpowski, w: Człowiek z kamerą, Warszawa 1976, s.
• A. Bazin, O film nieczysty: obrona adaptacji, w: Film i rzeczywistość, wybór tekstów, przekład i po-słowie B. Michałek. Warszawa 1963, s. 81.
• E. Panofsky, Styl i tworzywo w filmie, przeł. B. Mi-chałek, w: Studia z historii sztuki, oprac. J. Białostocki, Warszawa 1971, s. 374. Pierwodruk: „Critique", 1947, vol. 1, nr 3.
• M. Hendrykowski, Język ruchomych obrazów, Poznań 1999. Zob. zwłaszcza rozdziały: „Ekran i kadr",
• „Język ruchomych obrazów jako system modelujący" oraz „Język artystyczny filmu".
• R. Arnhem, Film jako sztuka, przeł. W. Wertenstein, Warszawa 1961, s. 171.
• R. Ingarden, Kilka uwag o sztuce filmowej, w: Studia z estetyki, t. 2, Warszawa 1996, s. 315.

Identifiers

DOI

10.14746/i.2009.13.14.01