Manhattan Woody'ego Allena. Poetyka Introdukcji

• Authors: Marek Hendrykowski

Title variants

EN

Woody Allen's Manhattan. Poetics of the Introduction

• Languages of publication: PL

Abstracts

PL

Woody Allen’s Manhattan. Poetics of the Introduction Marek Hendrykowski’s innovative study on the four-minute opening sequence to Manhattan analyses one of the most beautiful introductions in the history of world cinema. Its subtle simultaneous construction based on European and American traditions and key canonical texts of 20th-century art: Walther Ruttmann’s Berlin: Symphony of the City, John Dos Passos’s Manhattan Transfer and George Gershwin’s Blue Rapsody. A semiotic apparatus has been included, along with deep explanatory commentaries and close-readings that identify step-by-step the details of its content, contradictory fiction-nonfiction relationships, and the roles of visual image, word and music, narrative, personal point of view, and stream of consciousness technique in the film. The suggestive film overture to Manhattan composed by Woody Allen represents continuities as well as disruptions, sustained between avant-garde artistic tradition and film art of the 1970s.

EN

Marek Hendrykowski’s innovative study on the four-minute opening sequence to Manhattan analyses one of the most beautiful introductions in the history of world cinema. Its subtle simultaneous construction based on European and American traditions and key canonical texts of 20th-century art: Walther Ruttmann’s Berlin: Symphony of the City, John Dos Passos’s Manhattan Transfer and George Gershwin’s Blue Rapsody. A semiotic apparatus has been included, along with deep explanatory commentaries and close-readings that identify step-by-step the details of its content, contradictory fiction-nonfiction relationships, and the roles of visual image, word and music, narrative, personal point of view, and stream of consciousness technique in the film. The suggestive film overture to Manhattan composed by Woody Allen represents continuities as well as disruptions, sustained between avant-garde artistic tradition and film art of the 1970s.

Keywords

PL

opening sequence; Woody Allen; George Gershwin; John Dos Passos; Gordon Willis; introduction; Manhattan; New York City; film; music; representation; narration

EN

opening sequence; Woody Allen; George Gershwin; John Dos Passos; Gordon Willis; introduction; Manhattan; New York City; film; music; representation; narration; opening sequence; Woody Allen; George Gershwin; John Dos Passos; Gordon Willis; introduction; Manhattan; New York City; film; music; representation; narration

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
• Year: 2013
• Volume: 12
• Issue: 21
• Pages: 17-31

Dates

published

2013-01-13

Contributors

author

Marek Hendrykowski

• Katedra Filmu, Telewizji i Nowych Mediów UAM

References

• New York, New York: la cittá, il mito, il cinema, red. A. Barbera, S. Cortellazzo, D. Tomasi, Aiace, Torino 1986.
• J. Łotman, O modelującym znaczeniu „końca” i „początku” w przekazach artystycznych (Tezy), przeł. J. Faryno, w antologii: Semiotyka kultury, wybór i opracowanie E. Janus i M.R. Mayenowa, przedmowa S. Żółkiewski, PIW, Warszawa 1977, s. 344‒349.
• Picturing a Metropolis, New York City Unveiled, Avant-Guard Film 1894‒1941. Anthology Film, w antologii DVD: Unseen Cinema. Early American Archives, Image Entertainment, 2005, disc 5.

Identifiers

DOI

10.14746/i.2013.21.02