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Jak zabija kapitalizm? Requiem dla snu Darrena Aronofsky’ego jako film radykalny

100%
Pietrzak J.
Panoptikum
|
2008
|
issue 7(14)
119-136
EN
The author mercilessly examines the neglected context of Darren Aronofsky’s film Requiem for a Dream – its radical and political significance. Pietrzak follows the film’s construction of the cinematic world and the way its postmodern form (editing full of redundancy, repetitions and chronological disorders, as well as other “non-transparent” devices, among which the physiological realism seems to be dominating) is almost entirely subordinated to its content (which, contrary to the empty variant of this kind of devices, that refer to nothing but themselves). Following Aronofsky, the author relates the postmodern interpretation of reality to its socio-economic dimension. Apart from interpretational movements of ideas, symbols and contexts, cinematic representation of the mechanisms of “structural, intentional and functional exclusion” become the most important issue. The author internalized the theoretical tools of Althusser, Adorno and Foucault, whereby he demonstrated the process of destruction of the culture appropriated by the capital.
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Motyw łabędzia w filmach Piknik pod Wiszącą Skałą Petera Weira i Czarny łabędź Darrena Aronofsky’ego

88%
Paulina Margas P.
Załącznik Kulturoznawczy
|
2014
|
issue 1
179-213
EN
In the article there are described methods and functions of swan motif used in films Picnic at Hanging Rock by Peter Weir and Black Swan by Darren Aronofsky. In the work of Australian director very important on that mat- ter are the following: the main character (Miranda), pictorial intertexts, plot structure and some of the formal elements. In Black Swan various connec- tions between the film and Peter Tchaikovsky’s ballet Swan Lake are crucial. In the article there is also presented initiation process of both film characters, which is important for the swan motif. It is an area of comparison of these relatively different works as well. Last part of the article discusses elements of kitsch in the mentioned motif (because of considerable amount of it in low standard art) and tries to prove that methods of exploiting the swan motif by both Peter Weir and Darren Aronofsky are far from kitsch.
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