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1

Już to diabeł musi się nieco na muzyce znać

100%
Lipka K.
Konteksty - Polska Sztuka Ludowa
|
2018
|
vol. 72
|
issue 1-2(320-321)
16-21
PL
Autor dzieli się wrażeniami z ponownej lektury (po latach) Czarodziejskiej góry i Doktora Faustusa. Próbuje obie powieści porównać i poddać pewnej krytyce. Bardziej szczegółowo zajmuje się wątkami muzycznymi dzieł; przy czym problemy dotyczące muzyki stara się – ze względu na krótką formę wypowiedzi – scharakteryzować bardzo ogólnie w ten sposób, by uwypuklić różnice w muzycznym myśleniu Manna po upływie lat dzielących oba utwory.
EN
The author shares his impressions from rereading (after an interval of many years) The Magic Mountain and Doctor Faustus and attempts comparing the two novels and subjecting them to a criticism of sort. The musical motifs of both works are examined in greater detail, and owing to the brief form of his statement the author tries to characterise problems involving music in a very general fashion so as to emphasize the differences in Mann’s music-oriented reflections, which occurred in the time separating the two works.
2

THE MADNESS OF THE ORDINARY - THE ORDINARY MADNESS. FRANCIS FORD COPOLLA'S RUMBLE FISH) (Szalenstwo zwyczajnosci - zwyczajnosc szalenstwa. Rumble Fish Francisa Forda Coppoli)

100%
Lipka K.
Kwartalnik Filmowy
|
2011
|
issue 74
129-142
EN
The film Rumble Fish (1983) centers on the relationship between two brothers - younger brother Rusty James, and the older, Motorcycle Boy. Both are trapped within the hopelessness of the suburbia. Rusty is looking for meaning in life, whilst the colour blind and more experienced Motorcycle Boy understands better the drama of freedom and necessity. The situation of the characters is represented through a play on symbolic things. The most important contradictions are reflected through the contrast between black and white picture and colourful fish in an aquarium. The scope of the symbols employed in the film is very wide: animals, both living and stuffed, clocks, a snooker game, motorcycle. Similarly the form is saturated with symbolism - film editing, images, light, moments of colour, metonimic treatment of the image. As a result, in this apparently simple film, one is dealing with a matter woven out of symbolic motifs of exceptional ethical focus.
3

LIFE AND DEATH. PETER BROOK'S MODERATO CANTABILE AFTER FIFTY YEARS (Zycie i smierc. Moderato Cantabile. Film Petera Brooka po polwieczu)

100%
Lipka K.
Kwartalnik Filmowy
|
2010
|
issue 71-72
11-126
EN
Peter Brook's Moderato cantabile (1959), based on a novel by M. Duras, is one of the greatest achievements of the French New Wave. The narrative technique applied shows a certain tendency for the theatrical, which is also a hallmark of Brook's work; in this case the theatrical aspect is found in the narration about narration. The characters relive a love affair, the story of which they tell to themselves. The affair concerns anonymous people involved in a local crime. The emotional experience is extremely intense (minimal means of narrative), and it does not need to be realized in the real world, as it is fulfilled in the narration itself and its final - tragic yet without a tragedy - is a literary, narrative conclusion. The narration in the film takes place on several planes: besides the construction in the imagination, certain narrative themes are provided by the music (Diabelli's Sonata) and the unconventional use of landscape.
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