Functions of screen space in shots by Mieczysław Jahoda in the example of his first feature films: Zimowy zmierzch and Pętla

• Authors: Marcin Maron

Title variants

PL

Functions of screen space in shots by Mieczysław Jahoda in the example of his first feature films: Zimowy zmierzch and Pętla

• Languages of publication: EN

Abstracts

PL

The text is devoted to discussing the formation methods and the functions of screen space in shots by Mieczysław Jahoda in the films Zimowy zmierzch (directed by S. Lenartowicz) and Pętla (directed by W.J. Has). Mieczysław Jahoda is presented as one of the main initiators of stylistic changes in the films of Polish School in the mid 1950s. The analysis concerns the camera means applied by Jahoda in order to obtain screen effects: light, frame composition, photographic optics and perspective transformation. The film shots by Mieczysław Jahoda are characterized by an exceptional ability to evoke mental space, emotions, memory and imagination via the shapes of screen space. Their feature is a special esthetization aimed at creating the atmosphere of films, as well as symbolic and cultural references.

Keywords

EN

Mieczysław Jahoda; art of cinematography; film space; Stanisław Lenartowicz; Wojciech J. Has; Polish Film School; Mieczysław Jahoda; art of cinematography; film space; Stanisław Lenartowicz; Wojciech J. Has; Polish Film School

PL

Mieczysław Jahoda; art of cinematography; film space; Stanisław Lenartowicz; Wojciech J. Has; Polish Film School

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
• Year: 2020
• Volume: 27
• Issue: 36

Dates

published

2020-12-15

Contributors

author

Marcin Maron

• Maria Curie-Skłodowska University, Lublin

• https://orcid.org/0000-0003-1753-2575

References

• Arnheim R., Sztuka i percepcja wzrokowa. Psychologia twórczego oka, przeł. J. Mach, Gdańsk 2004
• Eberhardt K., Wojciech Has, Warszawa 1967
• Hendrykowski M., Ekran i kadr, “Przestrzenie Teorii” 2002, no. 1
• Jahoda M., Styl plastyczny obrazu filmowego, a indywidualność twórcy-operatora, praca magisterska (maszynopis), Archiwum PWSFTviT, Łódź 1953
• Maron M., Mieczysław Jahoda. Fenomeny światła (z opracowaniem biograficznym A.M. Leśniewskiej-Zagrodzkiej), Łódź 2019
• Radzinowicz A., Scenografia filmowa, Łódź 1958
• Wohl S., Operator? To filar polskiego kina. Nasza rozmowa z prof. Stanisławem Wohlem, rozmawiała B. Mruklik, “Kino” 1972, no 7
• Wunenburger J.-J., Filozofia obrazów, przeł. T. Stróżyński, Gdańsk 2011

Identifiers

DOI

10.14746/i.2020.36.08