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  1. 3 Spalinska-Mazur J.

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1

The image of childhood as a fetish. The City of Lost Children by Jean Pierre Jeunet and Marc Caro

100%
Spalinska-Mazur J.
Kwartalnik Filmowy
|
2008
|
issue 61
78-86
EN
In Jean Pierre Jeunet and Marc Caro's 'City of Lost Children', the image of childhood takes on the role of a fetish, as defined by Neo-Freudian psychoanalysis. The primordial childhood fear is revealed in the split picture of artificial dreams present in the prologue, and the image of dreams just before the end of the film. Both scenes of this disturbing film are grounded in the same symbolic space. Bearing in mind that this film presents adults as egoistical, deviant, sick or thoughtless beings, the death of an adult, in this case the death of Krank, who stole children's dreams, is the death of the world of adults, those adults, who are no longer capable of maintaining their own defensive mechanisms. In such a world, children are treated as sources of energy, that will serve to sustain the suppressed adult drives, and the childhood is merely an illusion, upholding the stability of institutionalized world. The question of where does this image of childhood as a fetish comes from appears less important than the question of how this image works and why it is so persistent.
2

The Observer Inside the Circle of Death

100%
Spalinska-Mazur J.
Kwartalnik Filmowy
|
2006
|
issue 53
133-139
EN
The authoress tries to identify the meanings of 'Don't Look Now' that are implied in Daphne du Maurier's short story on which Roeg's film is based. In her view Roeg enters into a discussion on the problem of seeing (looking/watching) and asks about the identity of the hero who is in the ring of death. The ring is delineated by a number of elements that appear in view of the main hero. What manifests in the ring is what materializes in the picture. She uses Deleuze's concept of crystal-image and the categories of actual and virtual image, which she thinks integrate in the film the past and the present. The reference to Bergson's paramnesia (illusion of déja-vu or already having been there) serves to accentuate the contemporaneous existence of past and present images.
3

Anamorphosis According to Timothy and Stephen Quay

100%
Spalinska-Mazur J.
Kwartalnik Filmowy
|
2008
|
issue 64
88-93
EN
In their film 'De Artificiali Perspectiva/Anamorphosis' (1991) brothers Quay present, using striking examples, how anamorphic technique is used in European paintings. The intention of the film makers is to remind us of the concept of anamorphosis that was created by European painters. The Quay brothers highlight the idea of painters from the 16th and 17th century, for whom anamorphosis was the true way of representing vision. It is not the first time when Quay brothers used the technique for their animation work. They used it before in 1990 in 'Comb (from the Museums of Sleep)', where an attentive viewer may recognize the influence of anamorphic art (e.g. in Emmanuel Maignan's fresco) and the use of anamorphic technique, which nonetheless differs slightly from its use in paintings. The title comb becomes an object of changing proportions, depending on the point of view. Timothy and Stephen Quay argue that it is the point from which we observe that shapes what we see. The image is not created by the perspective, but it is the image that suggests the perspective of looking.
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