Results found: 2

Search results

Sort By:

Limit search:

'SMALL SPACE CINEMA' AS AN ANTHROPOLOGICAL AND MYTHOLOGICAL PLACE. LITERARY AND FILM IMAGES AS THE ANTHROPOLOGICAL TESTIMONY (Male kino .... Literackie i filmowe przedstawienia malego kina jako swiadectwa antropologiczne)

100%

Lubaszewska M.

Konteksty - Polska Sztuka Ludowa

2008

vol. 62

issue 2(281)

102-112

The subject of this article is 'small space cinema', which is situated in opposition to 'large space cinema' - the symbol of our times. In Marc Aug's term 'small space cinema' is an anthropological place, which has its own identity, is symbolic and is able to create communion (or bonds) between the spectators during the projection. 'Small space cinema' refers to the tradition of cinZ-clubs, which were founded in France in the 1920s and have all but disappeared. This type of cinema is not found in large numbers, but is quite popular because it is part of the contemporary 'nostalgia' for 'retro' things and places. In Roland Barthes' interpretation, the 'small space cinema' is also a kind of 'mythological' place; this means that each element of the projection room (the screen, the seat, the darkness) has its own significance. Many depictions of 'small space cinemas' can be found in literature, poetry and film, which points to the anthropological and mythological character of these spaces. The authoress calls these works 'anthropological testimonies'. They all evoke common elements: a small space, coziness, privacy intimacy, the darkness; they have common functions: space for a date (also entertainment?) These literary, poetic, and filmic descriptions evoke the idea of the 'small cinema' as 'home' or 'asylum', which can be compared to the Gaston Bachelard's theory of 'oniric home'. The element of the darkness can be referred to as the 'regime nocturne' of Gilbert Durand. In the conclusion, the authoress returns to the three emblematic images of 'small cinema': Tornatore's 'Cinema Paradiso', Trenet's 'Mon vieux cine' and K. I. Galczynski's poem 'Male kina'. These three examples simultaneously reinforce and create an ideal mythological and anthropological model of this kind of cinema. All of these images can be defined by the convention of kitsch which generally contribute to the popularity.

Marzenie – lot – przygoda. „Arizona Dream” Emira Kusturicy

100%

Lubaszewska M.

Konteksty - Polska Sztuka Ludowa

2019

vol. 73

issue 3 (326)

271-275

Niniejszy tekst to próba prześledzenia obrazów związanych z symboliką powietrza oraz toposem marzenia – marzenia sennego, jak i marzenia na jawie – w filmie Arizona dream Emira Kusturicy. Filmem tym, przepełnionym cytatami oraz intertekstualną grą, filmem, w warstwie formalnej „ludycznym”, rządzi pewna ukryta myśl przewodnia. Jest nią – jak staram się tego dowieść– poszukiwanie duchowości, marzenie o duchowej przemianie. Wskaźnikiem zaś, sygnalizującym owo poszukiwanie, są trzy motywy: motyw skrzydeł (symbol związany par excellence ze sferą duchową), motyw podejmowania prób wzbicia się w powietrze własnoręcznie skonstruowaną maszyną latającą, i wreszcie leitmotiv, scalający całość dzieła: obraz latającej ryby. Ten ostatni sprawia, że nakładają się na siebie dwa symboliczne porządki: symboliki powietrza i symboliki akwatycznej. Uchwycone w dziele filmowym Kosturicy przenikanie się tych dwu sfer, staje się niejako ucieleśnieniem rozważań Gastona Bachelarda, który zajmował się poszukiwaniem śladów owej interferencji w obrazach literackich, w sferze wyobraźni poetyckiej.

An attempt at following images associated with the symbolic of the air and the topos of the dream - experienced both while asleep and awake - in Arizona Dream, a film by Emir Kusturica. This motion picture, suffused with quotations and an intertexual game, a film with a “ludic” formal stratum, is governed by a certain concealed leitmotiv. The latter - as the author of article endeavoured to prove - is a quest for spirituality, a dream about spiritual transformation. The manifestation of this search consists of three motifs: wings (a symbol connected par excellence with the spiritual sphere), attempts at soaring in air in a handmade flying machine, and, finally, a leitmotiv merging the entire work: the image of a flying fish. The latter becomes the reason why two symbolic orders: aerial and aquatic, overlap. The permeation of the two spheres captured in the Kusturica film becomes as if an embodiment of reflections pursued by Gaston Bachelard, who searched for traces of that interference in literary imagery and poetic imagination.

Refine search results

2 Konteksty - Polska Sztuka Ludowa

1 2019

1 2008

2 Lubaszewska M.

Search results

'SMALL SPACE CINEMA' AS AN ANTHROPOLOGICAL AND MYTHOLOGICAL PLACE. LITERARY AND FILM IMAGES AS THE ANTHROPOLOGICAL TESTIMONY (Male kino .... Literackie i filmowe przedstawienia malego kina jako swiadectwa antropologiczne)

Marzenie – lot – przygoda. „Arizona Dream” Emira Kusturicy