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Ulatujące obrazy. O filmie „Wings of Desire” Wima Wendersa

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Gubała M.

Konteksty - Polska Sztuka Ludowa

2019

vol. 73

issue 3 (326)

227-231

This analysis and interpretation of Wim Wenders’ Wings of Desire (1987) embark upon reflections on the sensual and corporeal aspect of experiencing the world and participating in it from the vantage point of the stand represented by Maurice Merleau-Ponty; it also draws attention to the aspect of an active embodiment of experience by the realisation of life via art. An essential role is played in the article by Gabriel Marcel’s concept of the necessity of extracting a higher level of the visible as well as by R. M. Rilke and his Duino Elegies. The author presented a thesis claiming that the film calls for noticing the superiority of a sensual and corporeal experiencing of the world in contrast to intellectual speculation. She also embarked upon the problem of the memory of transmissions and images, their record, language and speech. Finally, M. Gubała posed a question about a convenient perspective for the observation of images and their behaviour in an era of an excess of the visible.

This analysis and interpretation of Wim Wenders’ Wings of Desire (1987) embark upon reflections on the sensual and corporeal aspect of experiencing the world and participating in it from the vantage point of the stand represented by Maurice Merleau-Ponty; it also draws attention to the aspect of an active embodiment of experience by the realisation of life via art. An essential role is played in the article by Gabriel Marcel’s concept of the necessity of extracting a higher level of the visible as well as by R.M. Rilke and his Duino Elegies. The author presented a thesis claiming that the film calls for noticing the superiority of a sensual and corporeal experiencing of the world in contrast to intellectual speculation. She also embarked upon the problem of the memory of transmissions and images, their record, language and speech. Finally, M. Gubała posed a question about a convenient perspective for the observation of images and their behaviour in an era of an excess of the visible.

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1 Konteksty - Polska Sztuka Ludowa

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Ulatujące obrazy. O filmie „Wings of Desire” Wima Wendersa