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CYRANO'S LETTERS, DESDEMONA'S SCARF AND PHANTOM OF THE OPERA'S ROSE OR THE MOVIE ROMANCE PROPS ROOM (Listy Cyrana, chustka Desdemony i róza upiora opery, czyli filmowa rekwizytornia romansowa)

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Stachówna G.

Kwartalnik Filmowy

2011

issue 74

153-164

In theatre and cinema a prop belongs to the sign system: when appearing on a stage or screen, it means something, it communicates something by itself on literal, dramatic and symbolic levels. From the limitless collection of movie props the author picks only those linked with love. They are distinctively marked by two lovers. These props remain themselves - i.e. particular objects - but at the same time they turn into material vehicles of love, they help to create the dramatic tension, they symbolize the affection, substitute for desire, and embody lovers present (or not) on the screen. They can be divided into two categories: 'good' - which support love, and 'bad' - which destroy it, leading the lovers to impending doom. In this context Stachówna analyses certain romance props: a letter, a diary, flowers, clothes, jewels, photos, portraits, dishes and beverages. On the screen they turn into fetish, symbolizing what the movie characters - and the spectators, following their example - really crave for. They transfer the desire from the actual object of adoration - i.e. lover's body - to something that is perceived with delight and touched without worry, letting us dispose of fears linked with sexuality. In cinema - and beyond - the romance props give a chance to maintain soothing balance and sense of security in personal and social dimensions.

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1 Kwartalnik Filmowy

1 2011

1 Stachówna G.

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CYRANO'S LETTERS, DESDEMONA'S SCARF AND PHANTOM OF THE OPERA'S ROSE OR THE MOVIE ROMANCE PROPS ROOM (Listy Cyrana, chustka Desdemony i róza upiora opery, czyli filmowa rekwizytornia romansowa)